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Saturday 23 September 2023

Ani DiFranco

Discover more in New York (NYC)

158 Bleecker Street 10012 New York (NYC), NY, US 212 796 0741 www.lepoissonrouge.com

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Doors open: 18:00

Concert in your area for Folk & Blues , Indie & Alt , and Rock .

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Ani DiFranco Concert Setlists & Tour Dates

Ani difranco at borough of manhattan community college, new york, ny, usa.

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Ani DiFranco at The Cabot, Beverly, MA, USA

• Little Plastic Castle
• Independence Day
• Simultaneously
• Angry Anymore

Ani DiFranco at Le Poisson Rouge, New York, NY, USA

• Two Little Girls
• Boots of a Soldier

Ani DiFranco at Tarrytown Music Hall, Tarrytown, NY, USA

• Still My Heart

Ani DiFranco at Flynn Center for the Performing Arts, Burlington, VT, USA

Ani difranco at waterville opera house, waterville, me, usa, ani difranco at point of the bluff vineyards, hammondsport, ny, usa.

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Ani DiFranco at KEMBA Live!, Columbus, OH, USA

• You Had Time

Ani DiFranco at Riot Fest Chicago 2023

• Untouchable Face

Ani DiFranco at The Blue Note, Columbia, MO, USA

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Most played songs

• Shameless ( 617 )
• Gravel ( 534 )
• Anticipate ( 515 )
• Shy ( 473 )
• Two Little Girls ( 453 )

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Dan Bern BettySoo Wallis Bird Zoe Boekbinder Brandi Carlile Alana Davis Ani DiFranco, Greg Brown & Gillian Welch The Dresden Dolls Antje Duvekot Mark Erelli Evan + Zane Livia Ferri Jon Fuller God Street Wine Zachariah Hickman Indigo Girls Kirsten The Mountain Goats Peter Mulvey Amanda Palmer Anneliese van der Pol Dianne Reeves Eric Peter Schwartz Soulive The Moment Before Frank Turner Justin Vernon Keller Williams

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[unknown] Burt Bacharach The Beatles Bee Gees Dan Bern Bitch and Animal Zoe Boekbinder Bon Iver Brinsley Schwarz Greg Brown Buffalo Springfield James "Beale Street" Clark The Clash Lucille Clifton Bruce Cockburn Dire Straits Bob Dylan John Gorka Woody Guthrie Mildred J. Hill & Patty Hill The Impressions Indigo Girls Rick James Amanda McBroom Anaïs Mitchell Peter Mulvey Holly Near John Newton Phil Ochs Pamela Means Utah Phillips Prince John Prine The Prison Music Project Amy Ray Adrienne Rich Paul Simon Andy Stochansky Tampa Red The Wailers The Weavers Gillian Welch Bill Withers Stevie Wonder

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1,482 people have seen Ani DiFranco live.

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Buyer guarantee, about ani difranco, early life and education.

Ani DiFranco was born in Buffalo, New York, to parents who had both been artists. Her mother, Elizabeth “Betsy” Levy, was a jazz singer and painter. Her father, Dante Americo DiFranco, was a poet and an abstract expressionist painter. Betsy’s family was Jewish; Dante’s family was Catholic. Ani grew up with her sister Maria in a bohemian atmosphere.

As a child, Ani learned to play the piano and the guitar. She started writing songs at the age of nine. When she was fourteen years old, she dropped out of high school to pursue a music career full-time (a decision that caused much friction with her parents). She began touring the country, coffeehouses, and small clubs.

DiFranco’s music has been classified as both folk-rock and alternative rock, although she has stated that she does not like to be pigeonholed into any one genre. She is known for her use of unconventional meters, often mixing together four-, five- and six-beat patterns. Her lyrics often focus on social issues such as abortion, sexism, and racism. DiFranco has also released several albums of politically charged material. In 1998, DiFranco won the Grammy Award for Best Contemporary Folk Album for her album Living in Clip.

DiFranco began her career at the age of 18 when she was living in New York City. She started playing guitar and writing songs when she was 14 years old. When she was 16, she started performing in clubs in Greenwich Village. One of these performances caught the attention of a representative from Righteous Babe Records, who offered to sign her to the label. DiFranco released her self-titled debut album in 1990 when she was 19 years old. The album received positive reviews from critics, and The New York Times called it “a surprising and mature debut.”

DiFranco’s second album, Not a Pretty Girl, was released in 1991. The album tackled themes of sexism and sexual violence and received mixed reviews from critics. However, it was a commercial success, selling over 100,000 copies. In 1992, DiFranco toured with folk singer Natalie Merchant. The two artists became friends and collaborators; they would later tour together again in 1993 and 1995.

In 1994, DiFranco released her third album, Out of Range. The album was another critical and commercial success; it peaked at #32 on the Billboard 200 chart and was nominated for a Grammy Award for Best Alternative Music Album. DiFranco continued to tour extensively throughout the 1990s, performing over 200 shows per year.

In 1998, DiFranco released her fourth album, Little Plastic Castle. The album was her most personal and introspective to date; it dealt with themes of growing up, love, and betrayal. The album was another critical and commercial success, peaking at #21 on the Billboard 200 chart.

In 2000, DiFranco released her fifth album, Revelling/Reckoning. The double album was a departure from her previous work; it featured more politically charged lyrics and a more experimental musical style. The album received mixed reviews from critics but was another commercial success, selling over 400,000 copies.

DiFranco has continued to release new music regularly since 2000, she has released 14 albums in total.

Music Style and Influences

Ani DiFranco is a singer-songwriter and guitarist who is widely considered a pioneer of the indie music scene. She is known for her confessional lyrics and political activism. DiFranco’s musical style has been described as folk-rock, alternative rock, and punk jazz. Her music is often personal, dealing with themes of love, sex, relationships, feminism, and social injustice.

DiFranco has cited Bob Dylan, Joni Mitchell, Miles Davis, The Clash, Annette Peacock, Nina Simone, Prince, and Neil Young as influences on her music. In an interview with Guitar World magazine, she said “I was really into Joni Mitchell and Bob Dylan – they were my two main songwriting influences – but I also loved jazz and listened to a lot of Miles Davis.”

Awards and Nominations

DiFranco has won numerous awards throughout her career. In 1998, she won the Best Folk Album Grammy Award for Living in Clip. She has been nominated for several other Grammy Awards including Best Female Rock Vocal Performance and Best Contemporary Folk Album. In 2007, DiFranco was inducted into the Rochester Music Hall of Fame. In 2011, she received the John Lennon Songwriting Prize for “Life Boat”. DiFranco has also been honored with several Amnesty International Awards including the Ambassador of Conscience Award in 2006 and the Humanitarian Award in 2014.

In 2012, DiFranco received the Woman of Courage Award from the National Organization for Women. In 2015, Di Franco was awarded an honorary doctorate degree from Syracuse University.

Personal Life

DiFranco married Mike Napolitano, her former producer, in 1997. The couple have one child together, Dante Gabrielle DiFranco-Napolitano, who was born on September 18, 2006. They divorced amicably in January 2013. In 2016, Di Franco entered into a relationship with Todd Sickafoose, an American musician best known for his work with Ani Difranco and Tiny Vipers.

On March 27th, 2020, Di Franco announced that she was pregnant with her second child. She is due in September 2020.

Di Franco is a vegan and has been since 1990. She is also an outspoken feminist and supporter of LGBT rights. In 2004, she founded the Righteous Babe Foundation, a non-profit organization that provides financial and emotional support to female musicians, artists, and activists.

Ani Di Franco is one of the most iconic and respected musicians of our time. Her music has inspired millions of people around the world and her commitment to social justice is an inspiration to us all.

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• Hip-Hop 50 @ The Tiny Desk
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Ani DiFranco: Tiny Desk (Home) Concert

Credit: Courtesy of the Artist

The Tiny Desk is working from home for the foreseeable future. Introducing NPR Music's Tiny Desk (home) concerts, bringing you performances from across the country and the world. It's the same spirit — stripped-down sets, an intimate setting — just a different space.

Ani DiFranco has always done things her way, and for this Tiny Desk (home) concert, she's a one-woman team, filming and recording herself in the front hall of her New Orleans home and studio, Big Blue. The not-so-tiny desk you see in the hallway was her great grandfather's. Other personal items seen as we scan her home include a purple painting of a tree by her cousin Jim Mott and a portrait of a woman and ghostly girl by a painter named Renata. At the time of this recording, Ani was planning to move after more than 10 years at Big Blue, so this concert is likely one of the last performances to take place in that space.

Ani opened her set with "Everest" from the 1999 album, Up Up Up Up Up Up, a song that for me is about viewing life through different lenses and finding beauty. Next, she sings the title track to her 1995 album, Not a Pretty Girl, which shakes the shackles of stereotypes. Her final song for this (home) concert is from her 22nd album and her latest release, Revolutionary Love. The song brings compassion to troubled times by dismissing hatred — or in her words, "To forgive but not forget." It's a message that shows the beauty and power of this artist, and her heart.

• "Not a Pretty Girl"
• "Revolutionary Love"
• Ani DiFranco: vocals, guitar
• Video: Folkmonger Productions
• Audio: Mike Napolitano

TINY DESK TEAM

• Producer: Bob Boilen
• Video Producer: Maia Stern
• Audio Mastering: Josh Rogosin
• Associate Producer: Bobby Carter
• Tiny Production Team: Kara Frame
• Executive Producer: Keith Jenkins
• Senior VP, Programming: Anya Grundmann
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Kinky Friedman, 79, Dies; Musician and Humorist Slew Sacred Cows

He and his band, the Texas Jewboys, won acclaim for their satirical takes on American culture. He later wrote detective novels and ran for governor of Texas.

By Clay Risen

Kinky Friedman, a singer, songwriter, humorist and sometime politician who with his band, the Texas Jewboys, developed an ardent following among alt-country music fans with songs like “ They Ain’t Makin' Jews Like Jesus Anymore ” — and whose biting cultural commentary earned him comparisons with Will Rogers and Mark Twain — died on Thursday at his ranch near Austin, Texas. He was 79.

The writer Larry Sloman, a close friend, said the cause was complications of Parkinson’s disease.

Mr. Friedman occupied a singular spot on the fringes of American popular culture, alongside acts like Jello Biafra, the Dead Milkmen and Mojo Nixon . He leered back at the mainstream with songs that blended vaudeville, outlaw country and hokum, a bawdy style of novelty music typified by tracks like “ Asshole From El Paso ” and “ We Reserve the Right to Refuse Service to You .”

With a thick mustache, sideburns, a Honduran cigar and a broad-brimmed cowboy hat, he played his own version of Texas-inflected country music, poking provocative fun at Jewish culture, American politics and a wide range of sacred cows, including feminism — the National Organization for Women once gave him a “Male Chauvinist Pig Award.”

Behind the jokes, he had serious musical talent. He sang with a clear, deep voice, modulated with a gentle twang, and played guitar in a spare, straightforward style borrowed from one of his idols, Ernest Tubb.

He toured widely in the 1970s, with his band and solo, including on the second leg of Bob Dylan’s Rolling Thunder Revue in 1976. He performed on “Saturday Night Live” and at the Grand Ole Opry — Mr. Friedman claimed to be the first Jewish musician to do so (though in fact others, including the fiddler Gene Lowinger, had beat him to it).

Another performance, recorded for the TV show “Austin City Limits,” was reported to be so profane that it has never been aired.

In the 1980s, after the band broke up, Mr. Friedman turned to writing detective novels, using the same casual irreverence that he brought to the stage in books like “Kill Two Birds and Get Stoned” (2001) and “God Bless John Wayne” (1995).

He also wrote a column for Texas Monthly magazine in the 2000s, letting his freak flag fly with articles about politics, music and life in rural Texas.

Yet there was a surprising earnestness behind his weirdness. Mr. Friedman founded a ranch for rescue animals. He and his sister, Marcie, ran Echo Hill Camp, which they inherited from their parents and which they offered, free of charge, to children of parents killed while serving in the U.S. military.

“The Kinkster was a persona,” Mr. Sloman said. “Richard was one of the most sensitive, warmhearted people in the world.”

And while many people considered his independent run for Texas governor, in 2006, to be a joke, he insisted it was serious — and why not, given the recent successes of Jesse Ventura and Arnold Schwarzenegger?

He ran on a platform calling for drug legalization, an end to bans on smoking and a promise to lower the speed limit from 55 to 54.95 miles per hour. But he also called for higher pay for teachers and a crackdown on illegal immigration. He came in fourth, with 12 percent of the vote; the Republican incumbent, Rick Perry, won re-election.

Still, it could be hard to know when Mr. Friedman was joking and when he was serious — which, in his mind, was the point. A song like “Ride ’em Jewboy,” with its hilarious, offensive title, was in fact a sorrowful parable about the Holocaust.

“They Ain’t Makin’ Jews Like Jesus Anymore” was about antisemitism, and “The Ballad of Charles Whitman,” ostensibly about the shooter who killed 16 people in Austin in 1966, mordantly flayed Texans’ love for all things big and outrageous. (“The chancellor cried ‘It’s adolescent/And of course it’s most unpleasant/But I gotta admit it’s a lovely way to go.’”)

But he wasn’t above simply poking fun, and other songs were less nuanced. “Get Your Biscuits in the Oven and Your Buns in the Bed,” a mockery of feminism released in 1973, at the height of the women’s movement, earned condemnation from women’s groups; Mr. Friedman said that during a concert that year in Buffalo, a group of “cranked-up lesbians” stormed the stage.

Disarmingly, his biggest target was often himself.

“With a name like Kinky,” he told The New York Times in 1995 , “you should be famous, or else it’s a social embarrassment.”

Richard Samet Friedman was born on Nov. 1, 1944, in Chicago to Thomas Friedman, a psychologist, and Minnie (Samet) Friedman, a speech therapist. Shortly after his birth, the family moved to Texas Hill Country, west of Austin, where his parents founded and ran Echo Hill Ranch. His father also taught at the University of Texas.

As a child, Richard worked at the camp, played competitive chess and eased into his cowboy persona even as he proudly embraced his Judaism; when he was 9, he refused to participate in his school’s Christmas pageant.

He began playing music in high school, along with his friend and co-religionist Jeff Shelby, who later went by the name Little Jewford. Western swing, an off-kilter amalgam of country, polka and jazz, was at its peak, and he modeled himself on eccentric talents from that genre like Milton Brown and Bob Wills.

“I was the bastard child of twin cultures, and they seemed to have a lot in common, cowboys and Jews,” Mr. Friedman told The Aspen Times in 2006. “They both wear their hats indoors.”

He never married. He is survived by a brother, Roger, and a sister, Marcie Friedman.

Mr. Friedman studied psychology at the University of Texas, where a friend, seeing his ever-curly hair, gave him the nickname Kinky. After graduating in 1966, he spent two years in Borneo with the Peace Corps before returning to Texas and his musical career.

His first band, King Arthur and the Carrots, played songs that parodied surf rock; its only single, “Schwinn 24,” about a boy and his bicycle, played off Beach Boys songs about cars and girls. He joined Little Jewford and other musicians — all with outlandish stage names, like Wichita Culpepper and Sky Cap Adams — to form Kinky Friedman and the Texas Jewboys in 1973.

The band was part of a rising tide of country-rock bands, alongside acts like Gram Parsons, the Eagles and the Band. After releasing two well-received albums, “Sold American” (1973) and “Kinky Friedman” (1974), they found themselves in demand as an opening act for megastars like Mr. Dylan and Willie Nelson.

Gregarious and warmhearted, Mr. Friedman made friends easily, including Mr. Nelson, a fellow chess player, and the radio host Don Imus, who made him a regular guest on his show. But he also found himself enjoying the life a bit too hard: “There is a fine line between fiction and nonfiction,” he wrote in 2004 , “and I believe Jimmy Buffett and I snorted it in 1976.”

After the Texas Jewboys broke up in 1979, he moved to New York, where he played small solo gigs in clubs and coffeehouses around his home in Greenwich Village.

In 1984, he was walking along a street, looking for cigars, when he saw a man assaulting a woman. He pulled them apart and waited for the police to arrive.

Later, he learned that the woman was Cathy Smith , who had been indicted in 1983 for injecting the comedian John Belushi with a lethal dose of heroin and cocaine.

“Out of 12 million people in the city, it had to be her,” he told Texas Monthly in 1993.

Mr. Friedman returned to Texas in 1986, partly in an effort to get sober. He lived at Echo Hill Ranch and, in lieu of rent, did laundry for the camp. He ran for justice of the peace in nearby Kerrville but lost after a newspaper revealed that he had let Abbie Hoffman, the 1960s radical, stay at the camp.

The incident with Ms. Smith inspired his second career, as a writer. Working out of a dark green trailer on the camp property, with only a cat and a pet armadillo for company, he wrote 18 books, including novels and essays.

Most of his fiction, starting with the 1986 novel “Greenwich Killing Time,” offered an even more gonzo version of his own life, built around a private detective from Texas, also named Kinky Friedman, who solved oddball crimes around New York.

Other titles had equally ridiculous names, including “Elvis, Jesus and Coca-Cola” and “The Love Song of J. Edgar Hoover.” His books sold swiftly, both in the United States and in Europe, eventually moving more than six million copies.

Mr. Friedman announced his run for governor in 2004 while standing in front of the Alamo in downtown San Antonio. Early slogans — “My Governor Is a Jewish Cowboy,” “How Hard Could It Be?” — seemed to hint at unserious intentions.

But with the support of other Texas musical celebrities like Mr. Nelson and Lyle Lovett, his campaign soon took flight.

“We’ve reached a point where Texans are taking this more seriously than I am,” he told The Aspen Times. “I didn’t think it would happen this soon.”

His lack of preparation showed, especially during a debate against Mr. Perry and other candidates. But his basic outsider appeal won over thousands of voters.

“The hopes of Texans are riding on this — cowboys, teachers, college students. Everybody,” he said. “I think the soul of Texas is riding on this campaign.”

After the race, Mr. Friedman returned to his Texas Monthly column, which he continued to write until 2010. He entered politics two more times, unsuccessfully running for state agriculture commissioner in 2010 and 2014.

He also returned to music, playing solo or with his old pals in the Texas Jewboys. His final album, “The Poet of Motel 6,” will be released this year.

And he spent an increasing amount of time on his ranch. The Echo Hill camp closed in 2013, but three years ago, he and his sister revived it, this time with a focus on helping the children of fallen service members as well as the children of refugee families from Afghanistan.

“There was a volunteer who fixed a water heater who I went over to thank,” he told Texas Highways magazine in 2023 . “He said, ‘You’re welcome. I’m doing it for Jesus.’ I told him, ‘I’m doing it for Moses.’”

An earlier version of this obituary misstated when Mr. Friedman died. It was Thursday, not Wednesday. It also partly misstated the name of one of his songs. It is “They Ain’t Makin’ Jews Like Jesus Anymore,” not “They Don’t Make Jews Like Jesus Anymore.” And an earlier version of a picture caption with this obituary misstated the year Mr. Friedman ran for governor of Texas. It was 2006, not 2008.

How we handle corrections

Clay Risen is a Times reporter on the Obituaries desk. More about Clay Risen