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Pole Dancing—Good for the Body, But What About a Woman's Soul? How powerful can a woman be when she's dangling by a leg and touching her "teaser"?
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DISD's Ghosts of Scandals Past If history tells us anything, the recent security crackdown at DISD signals doom for its superintendent.
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Green Cement Plants Could Mean Cleaner Air and Lower Costs Economic pressure from local cities helps clean up smoky kilns
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Tei An is a Soba Success These noodles come with an authentic twist—mostly
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Dashboard Confessional, Fun Fun Fun Fest, Tom Gabel, and The Prophet Bar are Full of Surprises A Dashboard Confessional member actually chose to live in Dallas. Also: Austin's Fun Fun Fun Fest Brings another Spillover, and—Hey—have you seen the Prophet bar's upcoming show calendar?
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National Features >
Riverfront Times
The Pope of Pork
Old-school hog farming makes a comeback, thanks to some fine swine from Frankenstein.
By Kristen Hinman
Broward-Palm Beach New Times
The Lost Season
Here's how you become one of those people who screams at his kid's coach.
By Bob Norman
SF Weekly
Border Crossers
Transgender hookers with rap sheets are successfully fighting deportation--by asking for asylum.
By Lauren Smiley
Houston Press
Deadly Evidence
First, Houston's DNA lab became a laughingstock. Then its controversial director was murdered.
By Randall Patterson
Amanda Palmer
Who Killed Amanda Palmer? (Roadrunner Records)
By Eryc Eyl
Published on October 08, 2008 at 8:16am
In a match made in piano-rock heaven, Dresden Dolls vamp Amanda Palmer teamed with fellow ivory-tickler Ben Folds to produce this strings-and-spinet stunner.
Originally, the singer had planned a low-budget project, showcasing some songs she felt sounded better without Dolls collaborator Brian Viglione's distinctive drumming. And, yes, Palmer's vocal acrobatics, dynamic pianism and incisive songwriting have even more punch in Folds' stripped-down settings. "Ampersand" provides a fresh feminist perspective on being one half of a couple, while "Oasis" tackles date rape and abortion, and "Blake Says" turns Lou Reed's favorite musical trope into a criticism of flaky dudes.
Even on what is probably her most courageously personal and poignant album yet, Palmer's wit, humor and musical mastery make Who Killed a delightful listen.
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