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HOLA COMRADES!!!!!!!

 if you still aren't a patron, delight join us.

at that place is no other manner, in today's music business, that we could make non-commercial art this ambitious.

we. are. the. media.

…………..

if yous don't want to read this long-ass post and y'all desire to just skip to the video, it's hither on youtube:

https://youtu.be/70ApTTyKpdg

………………

and now the long part.

greetings from woodstock…i'g at dwelling and upward at the ass-crack of dawn to go this post out, since the premiere of the video was with NME.com in the UK (whee ha, thanks for premiering this, NME).

the earth is wet, the late-summertime crickets are a-buzzin, neil is comatose and snoring, ash isn't up all the same, rachel is here with her 2-year old asa, coco and sxip are here with 6-week old thelonious, and a new journalist/author friend of mine named leslie is sleeping upstairs.

i literally just got ash ready for camp before pressing the PUBLISH button.

……………

i wanna say something, outset, about the patreon itself before i get into the deep nitty gritty of what went into this video. don't worry, this post is long AF and i have a ton to say.

it is non unrelated.

(p.s. it's all related. are nosotros getting this yet? it's ALL RELATED. ONE Large Art LIFE Project IN THE Sky.)

i finished a new ukulele song yesterday.

a ukulele song about mass shootings.

i haven't written a new song since long before the final record ( At that place Will Be No Break ) came out. i've but been busy…decorated touring, busy existence behind, decorated being a mom.

then the shootings in dayton and el paso happened, back to back, and again i institute myself, along with and then many people in my country, feeling a new depth of hopelessness about how terrible our fucking system is.

this is what information technology feels like: that no matter how bad it gets, no thing how many people die, the system that serves the rich, the white, the privileged in america must be protected at any cost.

it feels like nosotros are in wartime.

…………….

i experience similar i can do a few things, as an artist.

i tin pick upwardly a ukulele and write a song in a few hours, and put information technology on my patreon. that song cost me cipher to write, and information technology will price me goose egg to record information technology on my iphone in my underwear in the kitchen and put information technology up on youtube (which i probably volition, next calendar week).

and i tin can spend hundreds of thousands of dollars, all in, to make a supremely produced vocal past a grammy-award-winning producer, hire a cast of dozens, and spend half dozen months working on a music video. and put it out. using your coin.

as long as you realize these two offerings are nearly identical:

the $0.00 budget ukulele vocal and the $100k budget MTV-fashion video:

nosotros are on the same page.

it's all art

and

it'due south all important.

some of it is grand, some of information technology is humble. the toll tag isn't the indicate.

all easily on fuckin' deck.

for those of yous who are supporting the patreon, i hope you can see how this is all coming together.

it's simply revolutionary.

there is no way i would be able to pay for this level of art-making if i were working with a label.

this sort of ambition would be out of pocket, or literally united nations-budgetable.

but because all of you contributed your $1 here, your $30 in that location, we were able to mount this massive undertaking, hire all these people, and make this huge, incredible THING.

………….

throughout my tenure as an artist, and especially since trump got into office, journalists take been asking me this question:

"what do you lot feel is the political responsibility of the artist?"

they inquire it in english language, they ask it in german, they ask information technology in japanese.

when i was in the dresden dolls, i used an answer that however works to this day….

the artist is political whether they endeavor to exist or not.

whether the cloth is directly political folk music, or personal ballads almost love and tragedy.

being a adult female in america and getting on a stage and singing about your true experiences is, in itself, a political deed.

i have always written songs all over the spectrum…..songs more about myself (" runs in the family ", " ampersand ", " daughter anachronism " come up to heed), songs more than most the general state of the globe (" sing ", " the bed song ", " ukulele anthem " and " modern moonlight " come to mind), and songs that live in the standoff in betwixt (" berlin " comes to mind).

………..

that being said, this video wouldn't feel complete – whether yous are new to the patreon or non –  without reminding you that this was the starting time "oversupply-sourced" song i wrote.

you are in it. yous are it.

which means i acted more as a scribe for the tribe, a vessel, than a first-person narrator.

or, better put,  i felt like i was running the feelings and thoughts my community through a song automobile shaped like me, and delivering an offering out the other end.

i was the machine, the tool, the oven that cooked the songs: but the ingredients came from this patreon, from the crowd, from my tribe.

get back, if y'all have a second, and read the weblog i posted back on august 29th, 2017

https://www.patreon.com/posts/i-am-open up-for-me-14099481

i posted this blog, read the 600-700 comments that flooded in immediately, sat downwardly to write the song the next mean solar day – on the 30th – and recorded and released the demo on the 31st.

the timing of all this was not an accident.

i had two videos late in product and had to get SOMETHING out for august or i would lose access to all of the money that your patronage offers.

(as great as this was…this kind of scramble was also why nosotros instituted the " state of all things ")

………..

the comments from everybody contained and then much weight, so much fright, so much darkness.

hurricane harvey was threatening to demolish parts of texas.

the idea that climatic change was only effectually the corner….

the eclipse had just happened.

i sat in that location, all that day of the 29th and forenoon of the 30th, pen in hand with scraps of newspaper and notecards, scribbling away everybody'due south thoughts and fears and impressions about the world.

i saw a lot of water. a lot of fear. a lot of people feeling solitary, disconnected despite their electronic tether to one another.

late on the morn of the 30th, i headed into the recording studio to write.

and (if yous saw my evidence, you know what'southward coming) i fabricated the mistake, late that morning of my exciting-oversupply-songwriting-mission, of posting to facebook about taylor swift finally embracing her goth side (wait! her new video is and so un-taylor! she's wearing black and total of malaise! HOORAY). somebody on facebook decided that i was "clearly an unapologetic  racist" becauseast i was discussing taylor swift without addressing her racism and appropriation of black culture.

it was a very facebook moment.

i was then fucking irritated.

i was very lucky.

that irritation, similar a piece of sand in a clam shell, fueled my unabridged songwriting twenty-four hours.

…………

the song collided it all.

(here, you tin can listen to the demo version of the song that i recorded the twenty-four hour period after i wrote it. it'south pretty dandy for a demo:
https://www.patreon.com/posts/new-song-in-to-14146224 ).

……………….

so the song became one of the most intricately produced tracks on In that location Will Be No Intermission.

……………..

and then, i asked michael pope, my long long fourth dimension art-partner in the film-world, which track he wanted to attack. i gave him the whole anthology to pick from.

this is the song he chose.

it spoke to him.

photograph by krys pull a fast one on
………………..

this is the well-nigh aggressive (and expensive) video i have made in years.

the concluding huge-upkeep videos i made were back in 2012 when we filmed " the killing type " and " the bed song " from the kickstartered Theatre is Evil album.

pope and i took a collaborative breather during that era and i worked with a few different directors ("killing type" was directed by tim pope – no relation – and "the bed song" was directed by michael mcquilken, who was also the drummer in the k theft orchestra, my back-up band).

…………………

every video pope and i have e'er made is a stumbling stumble towards an ultra-clear vision. all art is this manner, to some caste. the bigger, the scarier.

sometimes you lot smash the vision in your head, sometimes you wind up with a surprise, sometimes information technology's somewhere in-between…..

sometimes you realize you like working with professional stumblers because the true joy is in the stumble.

the ideas always come from conversations, over the phone, from our heads, in cafes and bars…..michael pope and i take been making videos together since " girl anachronism " back in 2004, and i remember sitting on the couch in my kitchen in the cloud society, our arts collective, and saying "THERE MUST BE MANY COSTUMES, MANY AMANDAS" with pope scribbling onto a notebook he probably promptly left under the couch.

the conversation of images and how they Prove music is one we take been having since then…..we've probably done over xx film projects birthday, including coin-operated boy , night reconnaissance , astronaut , the signal of it all .

nosotros consider each other family.

i gotta say, with pride: we still don't know what we're doing.

this is why we are crawly.

every time we try to assail something, our art-optics are bigger than our art-stomachs, and nosotros decline to work within the bounds of what we know how to do.

had either of us ever shot a bunch of dancers in a post-apocalyptic water-earth?

hell no. merely we all got the idea in our heads, and so we did it.

that'southward what i beloved about the patreon, and what i love nigh my friends, and what i love about art.

the frightening swoop into doing what you take no idea how to do, and the dive being the thrill of fucking life itself.

why else art.

…………..

pope and i hammered out our commencement ideas over the telephone.

i meet dancers, i said.

let's go coco.

(photograph by krys fox)

coco karol has been an important part of my life for the past few years. i write about this in the art book . she and i went through back-to-dorsum miscarriages together, and she'south go a soul-sis of sorts, a mirror friend. she and sxip, my old touring friend of yore, have spent a lot of time up at our firm in woodstock.

here is our photo (from the art book):

coco was 7 months pregnant when nosotros shot this video.

(photograph by krys play tricks)

……………

pope and coco and i sat down for the first meetings about six months ago.

nosotros listened to the vocal over and over again, and we drafted our wish-listing of what we would make if nosotros had a limitless upkeep.

there were ships, and storms, and drowning churches. fires in the wood.

we wanted the video to be not literal, but a feeling…a feeling that nosotros all three of u.s. saw in our heads.

about flailing. about ability and control. nearly drowning.

nosotros filled pages and pages with our writing-ideas….

this was the fun part.

……………..

then came the hard part.

making information technology happen.

pope and i aren't "commercial" filmmakers, neither of us sits around making movies for other people all mean solar day. but we are existent artists. what we lack in skill we make upward for in hope and dreams. nosotros figure it out as we become even if we've got no idea what we are dong because we've never washed it before. we know information technology might go, as neil and the brits like to say, "TITS UP", or we might strike golden with our "whatever let'due south just fucking try it" attitude.

……………

putting this shoot together was a MASSIVE undertaking. the coiffure was enormous and the budgets were tight, even with my patreon. i try to go on my patreon projects at about $10-20k each, so that we can pay all the bills and go on the staff fed and the lights on. this video looked like it was going to cost north of $65k, so, of course, the upkeep kept ballooning.

there were two sets: i behind our house, in our backyard old-school puddle,

….and one downward the street in woodstock a sound/phase studio called "utopia"…..

(fun fact: the utopia soundstage building was originally build FOR THE PURPOSE of shooting music videos….back in the 80s. it was built past todd rundgren'south manager, albert grossman,  who was also bob dylan's director until they got art-divorced).

…………

nosotros needed to build a dystopian water-world.

Easy!!!

we had the old piano from the THERE WILL Be NO INTERMISSION photoshoots, so we re-used it. simply we had to haul information technology effectually. michael cooter, me and neil's handy carpenter, helped with that…..and a massive crew assembled a waste-land in the utopia building.

on the limited budget, we simply had a few angles to shoot from, which was one of the things that actually wound up annoying pope in the edit.

—-

words from pope:

Beautiful. Brutal. Impossible. Inevitable – Not necessarily in that social club.

It takes a demanding kind of love and guts to become all-in on artistic impulse. These specific artists and comrades in arms, nether these exact weather, at this exact moment in time, did just that.

Oh, what a fcking ride.

To Those About To Live We Salute You

words from coco:

In the video I am 7 months significant. It was wild to be pregnant dancing, choreographing, and being a role of the creative squad with Pope and AFP. It was empowering— a wish fulfilled to get to go on to make fine art and do maternity. The procedure was an artistic wet dream: to sit down downwards, dream up some crazy ideas with artists I honey, and then watch impossibilities and imagined images go realities—for example, submerging a piano in a swimming pool, and filling a stage with four inches of water to create a reflecting pool!

The content of the song is and then poignant, and potent: our drowning world, our drowning words, the violence of our blindness, the power structures of survival. Through out my whole pregnancy, but especially within the context this video and this vocal, I became aware of the symbolism and significant the image of my pregnant body takes on for others, becoming a site and a carrier for their projections, hopes, and fears. In the choreography of the video, I feel my character/ my dancing body both take on all that symbolism while also pushing back against it. It was possible for me to go to some of the extreme moments in the video, physically and emotionally, because of the love and trust that Amanda and I have built together through our deepening friendship and mutual respect. I also was lucky to piece of work with four of the most incredible dancers, an amazing production squad, and to have my husband Sxip on the set. I felt supported and cared for at all times.

………….

hither's a agglomeration of behind-the-scenes photos of the set-edifice….

this is michael cooter filling the puddle on the sound stage

photo by hayley
photos beneath by krys fob

……………

for the trip the light fantastic and choreography, we started early, back in wintertime.

here'south some photos of coco, effy, miguel, alexi, yeman and me working out the choreo in NYC….

photo by effy grey

photo past me

here,

the dancers:

coco karol:

effy grayness:

Instagram: @effyg_
Photography instagram: @fe_iron_works_
Twitter: @effyography
Facebook: Effy Grey

www.effygrey.com

alexi transparent:

Drowning in the Sound is a collective cry of a generation.

Art begets art. You gave me permission to be. Yous told me to infect others.

Alexitransparent.com
Instagram: @homesoul
Facebook: Alexi Transparent

….

yeman dark-brown:

words from yemen

It was such an honor to work with Amanda and the many brilliant collaborators that gathered to make this piece of work. There was a divine power during our time together and I'1000 grateful we were brought together. And then give thanks you Amanda, for bringing us together.

Instagram: @brownyeman Twitter: @YEMANSTER Facebook: Yeman Brown

….

miguel angel guzman:

words from miguel:

We accept all come together
Yearning to end
Feeding the dark.
We turned upwards the lite
And plunged into
The healing waters.
We became community,
Fellowship, unity.
We understood  the heft of words, and
The echo they relate
In people's hearts.
The veil has fallen,
The bodies are drenched.
We were left with truth,
And with a heartbreaking reality.
Heartbreaking for its beauty,
And for its darkness.
Nosotros were left with the belief
That we are changing things.

Instagram: @angel_smg Facebook: Miguel Angel Guzman www.whoismiguelangel.com

……………………….

don't make me cry, miguel.

besides tardily.

…………………….

and

as for me

i dear this.

all of this.

y'all.

everything.

…………….

the costumes were obviously a massive function of this undertaking, and nosotros hired andrea lauer to exist the mastermind, later on we gave her a bones mood/direction and color palate. here she is, working on gear up.

photo by me

photo by effy greyness

photograph past krys fox

words from andrea:

Sometimes you find yourself in the middle of what feels like a dream, more of a magical realm where there is a blazon of creative utopia and as the day passes yous only wish it would slow downwardly. Working as the costume designer for the DITS music video was like this.  Each of u.s. bringing the tools of our trade with large imaginations and fifty-fifty larger hearts.  It is hard to say where one person'southward job began and the other ended equally collectively we merged in a identify of artistic action. I met so many amazing people that felt similar kindred spirits from a time passed and together we collaged this milky fantasia of a video.  All hail the bright director Michael Pope, my wonderous collaborators, and the i and but Amanda Fucking Palmer.

….

the dancers rehearsed once more the day earlier filming in woodstock. we periscoped some of information technology, watch hither:

https://www.periscope.television set/amandapalmer/1lDGLrYRRyYxm

photos below by krys fox

……………

the brand-up, as well, was a huge factor in the look and vibe of the video, and we brought in regina harris, who had as well dome the make-up for the There WILL NE NO INTERMISSION art book:

here are some photos of regina at work on the cast:

words from regina:

Makeup is virtually effective when used as a tool of cocky-expression and story telling. The makeup for Drowning in the Sound  suggests the glow of a smart phone.  Information technology is Butoh-esque and deconstructed.  Face paint is implemented hither to assistance tell a story.

…………….

the shoot itself lasted 2 days.

it was wet, common cold, fun, insane, exhausting.

our long-fourth dimension photo comrade krys fox and hayley both worked on the set to get together images.

that'southward krys on the correct in orangish…

photo by hayley

me and krys….

words from krys:

DITS is the fifth music video I've worked on with Amanda, and the third equally the Stills Photographer, and it was by far my favorite feel so far. Information technology's also my favorite song on the new anthology, and I played it over and over and over over again when we got the initial Patreon version about a year ago.

And so much of the song speaks to how I have felt the past few years, the way we all are feeling, like nosotros are treading h2o and holding onto loved ones for survival. I also am a huge fan of when Amanda dips deep into Rock Mode and this song just flat out kicks ass!!

As far as my office in the shoot, it was a technically challenging but emotionally invigorating week. They say in film to never work with children and animals, well, I don't hold, I always honey any chance I become to hang and shoot with Ash and the location gave me a herd of Guinea Pea Fowl, Chickens, a very macho Rooster and a certain problematic Raccoon to create with!

For me, the hardest elements to piece of work with are shooting in low contrasting light with fast motion and lots of h2o. And MOST of the days in this projection involved both. You kinda have to trust your instincts and hope yous got something pretty and in focus and emotional. And afterward a month and a half of editing.. I'm happy to study, I did!

…
here'southward hayley helping to shoot backside the scenes footage of the pool…

photo by krys fox

and helping with the slate:

correct before wrapping the shoot, hayley periscoped some of the final scenes throwing things into the water with the help of stephanie:

https://www.periscope.television/amandapalmer/1zqKVaZmrXXxB

………
michael (mccommiskey, from team AFP) came on set and literally froze his ass off in the water to assist on the shoot.

(photo past krys fox)

Look AT THIS DEVOTION.

…………….

all in all….it went mostly according to plan.

we had a few disasters with the schedule, and one of the costume administration banged up her leg in a fall.

but mostly….we did it.

notable moments:

everybody holding their exhale while 7-month pregnant coco and i BASHED Information technology OUT on the dystopian trip the light fantastic toe floor.

(photos below by krys play a joke on)

we survived. i recall her infant will remember this forever.

as well:

holding my jiff underwater for a long time, while pope took that catastrophe shot.

that was….epic.

thanks yoga and meditation.
………….

here is a moving-picture show f the Unabridged crew from the video, in front of our firm in woodstock

i am and then grateful to every ane of these crazy fuckers for taking the art-plunge with u.s.a. and coming on lath for this video experiment.

whatever we fabricated…..we sure had a great fucking time making information technology.

and that'due south the bespeak, people.

that's the indicate.

(photo past effy grayness)

our production assistant bimini is missing from this photograph because she was on a drive to pick upward camera equipment from new york city. Thanks BIMINI.

………………….

a flake more than…
words from christina bryant (assistant producer/unit production manager/props):

I started out equally an Art PA on several Pope-directed Dresden Dolls videos, so when he approached me well-nigh this video, I was excited to reunite and in this more logistical part of support. I knew Pope, Amanda and Coco would make something honest and moving and that the process would evoke a transformation equally any time I have worked for Pope and Amanda/The Dolls, I've left with a renewed dedication to go further artistically.

Some of that can be attributed to the claiming of making ambitious videos on lower budgets (past industry standards); yous push across your perceived limits. What is unique is the dynamic that Pope, Amanda and this team creates on prepare, one where everyone jumps in to do what is needed regardless of title, where every person is vital. When our dancers and crew were freezing in the pool, everyone else was brewing and running hot teas out in cycles, keeping dry towels constantly on hand to swaddle them. At one point I realized – it feels like we're giving birth and nosotros're all acting as midwives. Maybe that was Coco's pregnancy and being surrounded by water, but it was also that sense of community focused on caring for each other while catching the truth and intensity of the performance.

I am very grateful to the cast and coiffure who worked so hard and kept such great attitudes throughout the shoot, and a special shout out to Michael Cooter, an intensely talented carpenter and problem solver who congenital our giant wading puddle, figured out how to submerge a piano and kept proverb "that'southward easy, what'due south the hard part?" Give thanks you lot Pope for the alchemical experience and thanks Amanda for creating art and experiences that open up the locked places inside of me.

…………..

the FULL CREDITS: DROWNING IN THE Audio

Executive Producer: Amanda Palmer

Manager, Producer: Michael Pope

Assistant Producer, UPM: Christina Bryant

Choreographer: Coco Karol

Dancer: Amanda Palmer

Dancer: Coco Karol

Dancer: Yeman Brown

Dancer: Alexi Transparent

Dancer: Effy Grayness

Dancer: Miguel Angel Guzman

Cinematographer: Benjamin Knight

Assistant Camera: Dan Mason

Gaffer: Daniel Hourihan

Central Grip: Dan Peck

Grip: Matt Kehoe

Makeup Artist: Regina Harris

Hair Stylist: Gerald Decock

Costume Designer: Andrea Lauer

Hair and Makeup Assistant: Harumi Yonemoto

Costume Assistant: Anna Metelina

Props Master: Christina Bryant

Caput Carpenter: Mike Cooter

Banana Carpenter: Ngo'due east Crossan

Key Production Assistant, Driver: Bimini Wright

Product Assistant: Stephanie Bryant

Editors: Michael Pope, James Holland

Post Product Wizard: James The netherlands

Assistant Editor: BriAnna Olson

Documentarian: James Holland

Stills Photographer: Krys Fob

Assistant to Amanda Palmer: Michael McComiskey

Assistant to Amanda Palmer: Hayley Rosenblum

Lifeguard: Sam Burt

Lighting & Grip Equipment: FastLights

Craft Services: Provisions Woodstock

Piano Movement: Loren Rose

Amanda Palmer Manager: Jordan Verzar

Special Thanks: Augusta Ogden, Kim Ross, Janette Johnston. Assa Sacko Zarcone and Utopia Soundstage,

Bill Young and 100 Grand Dance, Allways Moving

Conceived & Written By: Amanda Palmer, Coco Karol & Michael Pope

…………………..

ane last note.

two months afterward we shot this video, coco gave nascence, at her and sxip'south home in brooklyn, to a gorgeous, healthy little boy.

his name is thelonious.

yesterday, i played him the first draft of my mass shooting ukulele song.

he canonical.

there is hope.

(photo past krys fox)

i beloved you all and so much.

thank you for beingness my patrons and

literally

making this video possible.

x

10

a

——THE NEVER-ENDING Every bit Ever———

i. if you're a patron, please click through to comment on this postal service. at the very to the lowest degree, if y'all've read information technology, indicate that by using the middle symbol.

2. see All the Things i've fabricated so far on patreon: http://amandapalmer.cyberspace/patreon-things

3. join the official AFP-patron facebook group: https://www.facebook.com/groups/afpland

4. new to my music and TOTALLY OVERWHELMED? TAKE A WALK THROUGH AMANDALANDA….nosotros fabricated a basic list of my greatest hits n stuff on this lovely page: http://amandalanda.amandapalmer.net/

v. full general AFP/patreon-related questions? enquire away, someone volition respond: patronhelp@amandapalmer.net

Wed Sep 4 – Netherlands – Amsterdam – Meervaart (SOLD OUT)

Fri Sep half-dozen – Deutschland – Berlin – Admiralspalast

Wed Sep 11 – Germany – Munich – Kongressaal

Friday Sep thirteen – Deutschland – Offenbach – Capitol

Sat Sep xiv – Austria – Vienna – Konzerthaus

Sun Sep 15 – Austria – Graz – Stefaniensaal

Wed Sep 18 – Germany – Stuttgart – Theaterhaus

Thu Sep 19 – Federal republic of germany – Essen – Colosseum

Fri Sep 20 – Belgium – Antwerp – De Roma

Tue Sep 24 – Germany – Hamburg – Laeiszhalle

We Sep 25 – Deutschland – Leipzig – Haus Auensee

Thu Sep 26 – Czechia – Prague – Hybernia

Fri Sep 27 – Grand duchy of luxembourg  – Luxembourg – Conservatoire

Saturday Sep 28 – French republic – Paris – Bataclan

Fri October 11 – Denmark – Copenhagen – Bremen Teater

Sat Oct 12 – Sweden – Stockholm – Södra Teatern (SOLD OUT)

Wednesday Oct 16 – United kingdom of great britain and northern ireland – Bexhill – De La Warr Pavilion

Saturday Oct 19 – Britain – Cardiff – St David's Hall

Sun Oct xx – United kingdom of great britain and northern ireland – Cambridge – Corn Exchange

Wed Oct 23 – Ireland – Cork – Opera House

Thu Oct 24 – Republic of ireland – Dublin – National Concert Hall

Sat October 26 – Ireland – Belfast – Ulster Hall

Sun October 27 – Ireland – Limerick – University Hall

Frin November ane – UK – Dunfermline – Carnegie Hall

Sat November ii – UK – Glasgow – Urban center Halls

Sun Nov 3 – Uk – Manchester – Albert Hall

Monday November four – United kingdom of great britain and northern ireland – York – Opera House

Thu November vii – UK – Newcastle – Tyne Theatre

Sun Nov 24 – Portugal – Braga – Theatro Circo

Thu Dec 5 – UK – London – Union Chapel (NEARLY SOLD OUT)

Fri December 6 – UK – London – Marriage Chapel (SOLD OUT)

Fri December 13th – Uk – London Union Chapel (Nigh SOLD OUT)

https://nointermission.amandapalmer.net

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Source: https://amandapalmer.net/posts/drowning-sound-music-video-official-thing/

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