Tuesday, November 14, 2017

Now can we take Bill Clinton's alleged sex offenses seriously?

In an article for the Atlantic called "Bill Clinton: A Reckoning," Caitlin Flanagan writes:

let us not forget the sex crimes of which the younger, stronger Bill Clinton was very credibly accused in the 1990s.

Juanita Broaddrick reported that when she was a volunteer on one of his gubernatorial campaigns, she had arranged to meet him in a hotel coffee shop. At the last minute, he had changed the location to her room in the hotel, where she says he very violently raped her. She said she fought against Clinton throughout a rape that left her bloodied.

At a different Arkansas hotel, he caught sight of a minor state employee named Paula Jones, and, Jones says, he sent a couple of state troopers to invite her to his suite, where he exposed his penis to her and told her to kiss it.

Kathleen Willey said that she met him in the Oval Office for personal and professional advice and that he groped her, rubbed his erect penis on her, and pushed her hand to his crotch.

It was a pattern of behavior; it included an alleged violent assault; the women involved had far more credible evidence than many of the most notorious accusations that have come to light in the past five weeks. But Clinton was not left to the swift and pitiless justice that today’s accused men have experienced. . . .

The notorious 1998 New York Times op-ed by Gloria Steinem must surely stand as one of the most regretted public actions of her life. It slut-shamed, victim-blamed, and age-shamed; it urged compassion for and gratitude to the man the women accused. Moreover (never write an op-ed in a hurry; you’ll accidentally say what you really believe), it characterized contemporary feminism as a weaponized auxiliary of the Democratic Party.

Called “Feminists and the Clinton Question,” it was written in March of 1998, when Paula Jones’s harassment claim was working its way through court. It was printed seven days after Kathleen Willey’s blockbuster 60 Minutes interview with Ed Bradley. If all the various allegations were true, wrote Steinem, Bill Clinton was “a candidate for sex addiction therapy.” To her mind, the most “credible” accusations were those of Willey, whom she noted was “old enough to be Monica Lewinsky’s mother.” And then she wrote the fatal sentences that invalidated the new understanding of workplace sexual harassment as a moral and legal wrong: “Even if the allegations are true, the President is not guilty of sexual harassment. He is accused of having made a gross, dumb, and reckless pass at a supporter during a low point in her life. She pushed him away, she said, and it never happened again. In other words, President Clinton took ‘no’ for an answer.”

Steinem said the same was true of Paula Jones. These were not crimes; they were “passes.” Broaddrick was left out by Steinem. . . .

The widespread liberal response to the sex crime accusations against Bill Clinton found their natural consequence 20 years later in the behavior of Harvey Weinstein: Stay loudly and publicly and extravagantly on the side of signal leftist causes and you can do what you want in the privacy of your offices and hotel rooms. . . .

The Democratic Party needs to make its own reckoning of the way it protected Bill Clinton. The party needs to come to terms with the fact that it was so enraptured by their brilliant, Big Dog president . . . that it abandoned some of its central principles. The party was on the wrong side of history and there are consequences for that.
I'm inclined to agree with all that. And yet, this article seems oddly incomplete: it talks a lot about "Democrats" and "feminists" . . . but says nothing about the media as a whole. The media is making a bigger story of a movie producer's sex offenses than the media ever made out of the 42nd President's sex offenses! The vast majority of articles I've read that mention Bill Clinton's sexual misconduct use relatively benign-sounding terms like "personal life," or "affairs," or "peccadilloes." A "peccadillo" means "a slight offense." I've seen the media use that kind of language to describe what Bill Clinton has done far more often than I've seen terms like "sexual harassment," "sex offenses," "sex crimes," "sexual violence," "sexual assault," or "rape."

Saturday, July 29, 2017

Charlie Christian

Charlie Christian, who played guitar in Benny Goodman's band, would have turned 101 today. He died of tuberculosis in 1942, at age 25.

If you were asked to quickly write up a list of the most influential guitarists off the top of your head, you’d have to include Chuck Berry and Jimi Hendrix. You might also say Keith Richards, George Harrison, Jimmy Page, Eric Clapton, Eddie van Halen.

But would you think of Charlie Christian?

The great jazz guitarist Jim Hall said that when he started playing guitar, listening to a recording of Charlie Christian and Benny Goodman was his “spiritual awakening.” He also influenced Thelonious Monk and Miles Davis.

But in “Waiting for Benny,” we hear Charlie Christian in 1941 playing licks not far from what Chuck Berry would start playing in the mid-‘50s. (See the first comment.)



That recording is on the Charlie Christian album appropriately titled The Genius of the Electric Guitar, which I can't recommend enough.

This is a poor-quality recording which unfortunately has a few seconds where the volume goes way down, but you can hear the influence of Chuck Berry even more clearly here.

From an NPR profile on him:

Charlie Christian was the single-greatest influence on the signature 20th century instrument, the electric guitar, even though he died at age 25 and did all his recording in under two years. He made most of his records in Benny Goodman's sextet, where he competed for space with other good soloists. In that band, he took beautifully crafted 30-second improvisations, serving up fresh variations on every take of a tune. . . .

Amplified slide guitarists in white western swing bands showed Christian how electric guitar could project. He wasn't the first electric picker who played on the frets. He dug Chicago pioneer George Barnes. But Christian had the most imposing sound.

Charlie Christian's timing was impeccable. His heavy, front-loaded attack underlined his aggressive beat and inspired untold jazz, blues, and rock-guitar players. Benny Goodman loved him but begged him to turn his amplifier down. Christian once explained, I like to hear myself. Like other great lead players, He was an adept rhythm guitarist - strumming like mad, riffing with precision or cutting against the grain. . . .

He died in hospital the following spring before he could hear the new music of bebop come to fruition and long before electric guitar conquered popular music and the full impact of his playing could be felt. Charlie Christian has left his mark on many thousands of musicians who never knew his name. That's about as influential as you can get.
My favorite solo by him is in "Rose Room" starting at 1:00. Not his most technically impressive, but every note is perfectly chosen.



By today’s standards, his facility with the electric guitar is fine but not outstanding. But he’s widely regarded as the most enduring of the instrument’s original pioneers. For his influence on both jazz and rock music, I’d rank Charlie Christian among the most important guitarists of all time. And certainly one of the most tragic losses.

Monday, June 12, 2017

The Diary of Anne Frank

75 years ago today, in 1942, Anne Frank received a blank book for her 13th birthday, and soon started writing her diary in it.

From a 2014 article about Anne Frank's living relatives (which I've previously blogged):

Eva Schloss, a playmate of Anne Frank’s in Amsterdam whose mother later married Anne’s father, recalls an 11-year-old who hopscotched, shot marbles, gossiped and talked so much her friends nicknamed her “Miss Quack Quack.”

Anne also had an intense interest in clothing, boys and Hollywood stars like Deanna Durbin.

“When I told her I had an older brother, she said: ‘Oooh. I must come to your apartment and meet him.’ ”

Anne was a lively girl who could be something of “a busybody,” Monica Smith said about her young second cousin — and she often had ink stains on her slender fingers. . . .

The memories, unremarkable as they may seem, are about a girl whose diary and death from typhus in the Bergen-Belsen concentration camp at 15 have made her perhaps the Holocaust’s foremost symbol of slaughtered innocence. People are fascinated or moved by the slimmest morsel of information about her. When watershed Holocaust dates come up on the calendar, like the anniversary of Kristallnacht, the pogrom in Germany and Austria on Nov. 9 and 10 in 1938, Anne’s surviving relatives and friends are invited to share tidbits as well as tell their own often harrowing stories. . . .

Mrs. Smith’s parents put her on the Kindertransport to Holland that rescued 2,000 German-Jewish children, though one-third did not survive the Nazi occupation. Mrs. Smith, who was about 15, spent weeks quarantined in a barracks sleeping on a mattress on the floor, was taken to a more rural camp, and then to the Burgerweeshuis, an orphanage housing 75 refugee children.

Anne and her father, by then living in Amsterdam, visited the orphanage a dozen times, sometimes bringing treats. Mrs. Smith also saw Anne’s older sister, Margot, who was “totally different” — quiet and demure. Mrs. Smith remembers staying in the Franks’ modern apartment block on the Merwedeplein square and visiting Otto Frank’s spice-company offices on Prinsengracht — where he was to arrange for “the secret annex” that his family hid in for two years. And she remembers how engaged Anne and her father were with each other.

“The two of them were very close,” she said. . . .

Eva Schloss, 85, is an elegant, articulate woman who worked as a photographer, ran an antiques shop, raised three daughters and wrote a 1988 book, “Eva’s Story: A Survivor’s Tale by the Stepsister of Anne Frank.” She was born Eva Geiringer in Vienna on May 11, 1929, a month before Anne. Hers was an assimilated family that owned a shoe factory. In school, children were separated for religious classes.

“Everybody knew who was a Jew,” she said. “So after the Nazis came, we were immediately attacked and beaten up and the teachers were watching it and not doing anything.”

Her family ended up in Amsterdam, also living in the Merwedeplein apartments across from the Franks. The two girls were in a loose gang that played together in the square. Anne, she said, had a leader’s personality; she was a “big know-it-all,” occasionally “domineering,” who demanded attention.

When the Nazis occupied Holland in May 1940, Jews were forbidden, among other things, to go to movies.

“They showed the Disney film ‘Snow White and the Seven Dwarfs,’ and the Christian children talked about it,” Mrs. Schloss recalled. “For us it was already a tragedy.”

In July 1942, when the Nazis began calling up Jews like Margot and Eva’s brother, Heinz, for work assignments in Germany, the Frank and Geiringer families went into hiding, with the Geiringers splitting up among a succession of Dutch resistance families. In May 1944, Mrs. Schloss’s family was betrayed and wound up in Auschwitz. Only she and her mother survived.

Otto Frank, knowing his wife had died, was also liberated at Auschwitz and returned to Amsterdam to await news about his daughters. Mrs. Schloss’s mother and Otto became friends and eventually lovers.

“He looked like a ghost,” she said. “One day he came to us with a little parcel. It was a diary.

“It took him three weeks to read it,” she remembered, and “he said, ‘I didn’t really know my own child.’ ”

Sunday, June 4, 2017

The war on breasts




(Full disclosure: I'm friends with Sarah Siskind, one of the writers and editors of this Reason video.)

Thursday, June 1, 2017

Sgt. Pepper’s Lonely Hearts Club Band

It was 50 years ago today!

The Beatles released their seminal concept album, Sgt. Pepper’s Lonely Hearts Club Band, on June 1, 1967. (Well, that's what many sources say, although Wikipedia says it was released on May 26 in the UK and June 2 in the US.)

Comments on some of my favorite songs from the album:

With a Little Help From My Friends” has one of my favorite bass lines ever. Part of what’s great about it is that it’s so simple, so easy to play. This band wasn’t about showing off the individual members' ability to play their instruments; it was about them coming together to bring us a seemingly endless stream of ideas (musical and otherwise), and allowing us to bring our minds in tune with theirs. Ringo Starr gave what many would call his finest vocal performances on this song; his usually modest baritone suddenly switches to a triumphantly soaring tenor high note at the end. One nice thing about Beatles songs sung by Ringo is that he had great backing vocalists in John Lennon and Paul McCartney.

She’s Leaving Home” might seem overly sentimental or corny, but I don't mind that. The lyrics are wonderfully detailed; someone (Elvis Costello?) remarked that you don't normally hear the word "clutching" on a rock album. I love the interaction between Paul and John in the chorus, representing the main character's mother and father, respectively: Paul sings the title in falsetto, while John adds his distraught questions/comments in a lower register. I also love how a line that would seem prosaic on paper, “Waiting to keep the appointment she made,” becomes wound up with an exciting sense of possibilities as a result of the quivering vibrato of the strings. (Unusually for the Beatles, the orchestral instrumentation was arranged not by George Martin but by Mike Leander.) The wordplay of the father's hapless line, "We gave her everything money could buy/Bye bye," brings back the theme of the early Beatles hit "Can't Buy Me Love," while showing how much the band has matured since then.

"Being for the Benefit of Mr. Kite!" is a strange John song based on a 19th-century poster, which switches midway into a waltz overlaid with kaleidoscopic calliope music, thanks to George Martin carrying out John's instructions to conjure up a circus so vividly you can “smell the sawdust.”

The album's only song by George Harrison, “Within You Without You," is the spiritual centerpiece of the album — a beautiful merger of Indian and Western classical music. (Cultural appropriation? Yes please!)




After the reprise of the album's title song, which would feel to someone hearing the album for the first time like it must be the last song, the sound of the audience fades out as the band starts playing an encore, "A Day in the Life" — the artistic pinnacle of this album if not the whole band. It starts in a dream-like state as John sings about disconcerting imagery (with outstanding drumming by Ringo), before being interrupted by an orchestra with each instrument chaotically sliding from a low, quiet note to a high, loud note. That crescendo segues into a more relaxed, upbeat section in which Paul sings about the details of everyday life, using a melody that has some resemblance to John’s but in a different key and more choppy (staccato) and repetitive, which is appropriate to talking about such ordinary details (“woke up... drank a cup...”) — in contrast with John’s melody, with its legato, drawn-out quality that's more evocative of dreaming. One seemingly mundane detail in Paul's section is that he “had a smoke,” which at first calls to mind a man having his first cigarette of the day as he sets out in the morning, but then takes on a druggy meaning when he says he “went into a dream.” At that point, Paul sings in a more legato, John-like style over a disorienting sequence of chords, during which we have a hard time telling what key we're in (this is effective regardless of whether the listener knows music theory), eventually leading to John repeating the first line of the song ("I read the news today..." — which now feels like one more detail about an ordinary morning as in Paul's section). After John's last line (one of the defining statements of '60s rock: "I'd love to turn you on"), the orchestral crescendo happens again, and the song abruptly ends on a very loud and sustained piano chord in the same key as Paul’s section, seemingly closing the album by bringing us firmly back to reality. But there's one more surprise . . . before we're left to contemplate the genius we just heard.

Wednesday, May 24, 2017

My 20 favorite Soundgarden songs

In the week since the death of Chris Cornell, the great singer/songwriter/guitarist of Soundgarden, I’ve listened to the band’s last four albums straight through: Badmotorfinger (1991), Superunknown (1994), Down on the Upside (1996), and King Animal (2012).

I knew I’d be reminded of old favorites and hits, and that I’d rediscover some more obscure songs I’d forgotten. And yet I still felt overwhelmed by the ocean of extraordinary material — relentlessly innovative and challenging, often jagged and angular, mostly heavy and dark, occasionally with gentle or bright spots, but never tranquil, always disturbed and searching for something better.

So here are my 20 favorite Soundgarden songs, with the first letter of the album each song is from in parentheses, e.g. Badmotorfinger = (B). (And yes, I did listen to some of their other songs, but I found that all their highlights are from these four albums; their earlier work feels unripe, not like the band we love.)

I have to say, this makes a pretty great playlist — the equivalent of a double album, with the two discs being 1-10 and 11-20.

1. Outshined (B)

2. The Day I Tried to Live (S)

3. Spoonman (S)

4. Black Hole Sun (S)

5. Somewhere (B)

6. Fell on Black Days (S)

7. Slaves and Bulldozers (B)

8. Burden in My Hand (D)

9. My Wave (S)

10. Bones of Birds (K)

11. Superunknown (S)

12. Mind Riot (B)

13. Rusty Cage (B)

14. Been Away Too Long (K)

15. Pretty Noose (D)

16. Jesus Christ Pose (B)

17. Dusty (D)

18. Head Down (S)

19. Taree (K)

20. Black Saturday (K)


“I’ve always liked depressing music because a lot of times listening to it when you’re down can actually make you feel less depressed.” — Chris Cornell





(Photo of Chris Cornell by Marina Coelho.)

Tuesday, May 23, 2017

Why the terrorists hate us

Within the last couple years, ISIS or people associated with it have apparently attacked a pop concert in Manchester, England, a gay nightclub in Orlando, Florida, and a rock concert in Paris, France.

These are not the kinds of attacks you'd carry out if your goal were to protest US foreign policy. This is what you'd do if you hated great Western countries for our freedom. There is no way to appease the mass murderers' demands without giving up our whole culture.

Wednesday, May 10, 2017

The problem with social criticism

So much "social criticism" that's considered brilliant when phrased at the societal level ("our lives have become increasingly purposeless and devoid of meaning because ____") would seem like a clear symptom of depression if it were phrased at the individual level ("lately my life feels pointless and meaningless because ____").

Thursday, April 20, 2017

Annie Hall

Annie Hall was released 40 years ago today, on April 20, 1977.

A friend of mine once said he found the movie so sad it's difficult to watch. And I can understand that — it has an understated but heart-breaking pathos. But it's also probably brought more joy to more people than any other Woody Allen movie.

Woody Allen has said he doesn't think this is one of his outstanding movies. And it's not my favorite movie of his either. But when he dies, it'll be the first movie mentioned in every obituary. It was nominated for all five Academy Awards (best picture, director, actor, actress, and screenplay), and won all of them except best actor. It was also the only time Woody Allen has won best director out of over 40 movies.

There's so much to say about this movie's innovative techniques (subtitles of the characters' thoughts, split screens to show how the two main characters live in different worlds, animation, etc.); witty and insightful dialogue; affecting performances by Diane Keaton and Woody Allen; nice minor roles for Christopher Walken, Shelley Duvall, Carol Kane, and Paul Simon; and one great line by a young Jeff Goldblum.

But for now I'll just say that I lurve this movie, I luff it, it's transplendent, it's too wonderful for words.

The trailer:




The first meeting:




The Christopher Walken scene:




The subtitle scene (the "15 years" line refers to how long Woody Allen's character has been in therapy):




Diane Keaton accepting her Oscar:

Monday, April 17, 2017

The problem with talking about cultural appropriation

Even if what gets called "cultural appropriation" is often bad, calling it "cultural appropriation" doesn't explain what's bad about it. On the contrary, labeling something "cultural appropriation" distracts from any other criticism that might have been made of that thing, because once the attention-getting phrase "cultural appropriation" is invoked, all the attention turns to debating whether cultural appropriation is inherently bad. And the idea that it's inherently bad is pretty easily refuted, so the object of criticism gets off easy. Meanwhile, the kinds of people who are drawn to the "cultural appropriation" critique have spent their time and energy on what will ultimately be a losing argument (because the consequences of consistently rejecting cultural appropriation would never be accepted). They could've spent that time and energy putting forward a more powerful critique, but they didn't, and now that time and energy — finite resources — are lost.

Friday, March 17, 2017

Happy 50th birthday to Billy Corgan of the Smashing Pumpkins!

As I turn 36, I'm thinking of someone else born on St. Patrick's Day: Billy Corgan, who turns 50 today.

It's hard to know what to say about Billy Corgan. Any words would seem inadequate to describe someone whose music has loomed so large in my life. The idea of growing up and being in the 1990s without the Smashing Pumpkins is inconceivable; to think of myself in an alternate universe in which I had never heard their music is virtually impossible, because the word "myself" would no longer seem to apply. Billy Corgan, and especially his inimitable way with melody, has colored so much of my life that if you asked what it feels like to be me, I don't know that I could come up with words more accurate than listening to a Smashing Pumpkins song. To paraphrase Mendelssohn, it is not that the music is too indefinite or hazy to be put into words, but that any words would be too vague to express music so precisely definite.

As a singer/songwriter/guitarist, Billy Corgan is not just great. He's life-changing.

I shall be free!


Saturday, February 11, 2017

Whitney Houston died 5 years ago today.

Whitney Houston died 5 years ago, in 2012, at the tragic age of 48.

I'm not really a big fan of hers, but I love this song. I love how everything about it is just a little too much: the song is a bit too exciting, her voice is slightly too expressive and sensuous, the video is excessively colorful, and the whole thing is just too perfect an encapsulation of '80s pop. It would all be a little embarrassing, if it weren't so undeniably joyous and uplifting.


Tuesday, January 17, 2017

Green Day's Kerplunk turns 25

25 years ago today, on January 17, 1992, an obscure band called Green Day released their second album, Kerplunk (or at least the version we're familiar with — a shorter version was released a month earlier).

The production of Kerplunk, which was released by the indie label Lookout! Records, was weak. But the songwriting had already reached the level of excellence that would be exposed to the world two years later on their commercial breakthrough, Dookie.

This becomes especially clear if you listen to the versions of "Welcome to Paradise" on both albums. Unsurprisingly, the Kerplunk version lacks the polish of the Dookie version. But the fact that one of the best songs from Dookie had already appeared on Kerplunk shows that this band was pretty great from early on.




"Christie Road" is a nice break from the band's usual fare: introspective and mid-tempo — at least for a little while . . .




"2,000 Light Years Away" is an energetic but poignant pop-punk love song:

Monday, January 16, 2017

James Baldwin on race in America, 1965

James Baldwin, debating William F. Buckley, Jr., in 1965:

40 years ago, when I was born, the question of having to deal with what is unspoken by the subjugated, what is never said to the master — of ever having to deal with this reality, was a very remote possibility. It was in no one’s mind. When I was growing up, I was taught in American history books that Africa had no history, and neither did I — that I was a savage, about whom the less said the better, who had been saved by Europe and brought to America. And of course, I believed it. I didn’t have much choice. Those were the only books there were. Everyone else seemed to agree.
If you walk out of Harlem, ride out of Harlem, downtown, the world agrees: what you see is much bigger, cleaner, whiter, richer, safer than where you are. . . . Their children look happy, safe. You’re not. And you go back home, and it would seem that, of course, that it’s an act of God, that this is true: that you belong where white people have put you. . . .

One of the great things that the white world does not know, but that I think I do know, is that black people are just like everybody else. One has used the myth of Negro and the myth of color to pretend and to assume that you were dealing . . . with something exotic, bizarre, and . . . unknown. Alas, it is not true. We are also mercenaries, dictators, murderers, liars — we are human too. . . .

What is dangerous here is the turning away from . . . anything any white American says. The reason for the political hesitation, in spite of the Johnson landslide, is that one has been betrayed by American politicians for so long. Of course, I am a grown man, and perhaps I can be reasoned with. I certainly hope I can be. But I don’t know, and neither does Martin Luther King, none of us know how to deal with those other people whom the white world has so long ignored, who don’t believe anything the white world says, and don’t entirely believe anything I or Martin is saying.
And one can’t blame them. You watch what has happened to them in less than 20 years. It seems to me that the City of New York, for example . . . [is] able . . . to reconstruct itself, tear down buildings and raise great new ones downtown . . . and has done nothing whatever except build housing projects in the ghetto for the Negroes. . . .

Until the moment comes when . . . we the American people are able to accept the fact . . . that on that continent we are trying to forge a new identity for which we need each other, and that I am not a ward of America, I am not an object of missionary charity, I am one of the people who built the country — until this moment, there is scarcely any hope for the American dream, because the people who are denied participation in it, by their very presence, will wreck it. And if that happens, it is a very grave moment for the West.

That excerpt starts at 30:14 in this video:

Friday, January 6, 2017

Tori Amos's Little Earthquakes turns 25



(Photo by Rob Verhost/Redferns via Rolling Stone.)


Tori Amos released her first solo album, Little Earthquakes, on January 6, 1992 — 25 years ago today.

Although she's an American, the album was released only in the UK at first; the US version was delayed until late February. Apparently the thinking was that she might not be as appealing to Americans. The concern was unnecessary.

It's hard to express what a brilliant artist Tori Amos is. She does three things and is stellar at each one: songwriting (alternating between frankly confessional and slyly cryptic), singing (at its most mellifluous on this album but capable of being much more raw) and piano playing (classically trained but with pop and jazz sensibilities).

Whether or not Little Earthquakes is her best album, it's at least the essential starting point for approaching her sprawling 25-year body of work.

Rolling Stone's "track-by-track guide to Little Earthquakes" includes extensive quotes from her on the long process of self-realization that led to creating her solo debut after leaving an unsuccessful band.

"Coming out of beating myself up about the choices I had made, I just rolled up my sleeves and grasped at all of the poetry that had ever meant anything to me," Amos says. "From Rimbaud to Baudelaire, e.e. cummings, Emily Dickinson, and also the visual artists. I surrounded myself with the stories and the thinkers that formed me, not what those that had the power to push the button wanted me to be formed with."

"Silent All These Years" is quintessential early Tori Amos — the rare songwriter who can pull off rhyming a whole phrase with itself:
So you found a girl who thinks really deep thoughts
What's so amazing about really deep thoughts?
The sudden feeling of uplift and release in the bridge ("years go by...") is exhilarating.



(Live solo.)


In "Precious Things," she delves into themes of Christianity, gender, beauty, sexuality, and humiliation, over a relentlessly driving rhythm.



(Live solo.)


In "Crucify," Tori, whose father was a minister, again addresses Christianity ("Got enough guilt to start my own religion"):



(Very different live version.)


"Winter" is the emotional centerpiece of the album — an almost startlingly intimate ballad.



(Live solo.)


Near the end of Little Earthquakes, in "Me and a Gun" (the least musically interesting but most lyrically arresting song on the album), Tori leaves her piano aside and recounts her harrowing experience of being raped. She explained in an interview:
In the song I say it was "Me and a Gun," but it wasn't a gun. It was a knife he had. And the idea was to take me to his friends and cut me up, and he kept telling me that, for hours. And if he hadn't needed more drugs, I would have been just one more news report where you see the parents grieving for their daughter.

And I was singing hymns, as I say in the song, because he told me to. I sang to stay alive. Yet I survived that torture, which left me urinating all over myself and left me paralyzed for years. That's what that night was all about, mutilation, more than violation through sex.

I really do feel as though I was psychologically mutilated that night, and that now I'm trying to put the pieces back together again. Through love, not hatred. And through my music. My strength has been to open again, to life, and my victory is the fact that, despite it all, I kept alive my vulnerability.



Continuing the theme of "vulnerability," she sings in "China":
Sometimes, I think you want me to touch you
How can I, when you build the great wall around you?
Few albums keep vulnerability alive as beautifully and daringly as Little Earthquakes.