Promiscuity, in human sexual behavior, refers to the practice of casual sex with multiple sexual partners.^[1] The term can carry a moral judgement and is viewed in the context of the mainstream social ideal for sexual activity to take place within exclusive committed relationships. A common example of behavior viewed as promiscuous within the mainstream social ideals of many cultures is a one night stand.

What sexual behavior is considered "promiscuous" varies between cultures as does the prevalence of promiscuity, with different standards often being applied to different genders and civil status. Feminism has traditionally argued that there is a significant double standard between how men and women are judged for promiscuity. Historically, stereotypes of the promiscuous woman have tended to be negative, such as "the slut", while male stereotypes have been more varied, some expressing approval, such as "the stud", while others imply societal deviance, such as "a womanizer". One scientific study found that promiscuous men and women are judged equally harshly^[2] and both genders express strong preference for sexually conservative partners.^[3] Promiscuity is very often portrayed in literature, cinema and television, for example in the popular series Sex and the City.

Promiscuity is common in many animal species. Some species have promiscuous mating systems, ranging from polyandry and polygyny to mating systems with no stable relationships where mating between two individuals is a one-time event. Many species form stable pair bonds but still mate with other individuals outside the pair. In biology, incidents of promiscuity in species that form pair bonds are usually called extra-pair copulations.

Human promiscuity[link]

Accurately assessing people's sexual behavior is difficult, since there are strong social and personal motivations, depending on social sanctions and taboos, for either minimizing or exaggerating reported sexual activity. Extensive research has produced mathematical models of sexual behavior comparing the results generated with the observed prevalence of sexually transmitted infections (STIs) to statistically estimate the probable sexual behavior of the studied population.

American experiments in 1978 and 1982 found that the great majority of men were willing to have sex with women they did not know, of average attractiveness, who propositioned them. No woman, by contrast, agreed to such propositions from men of average attractiveness. While men were in general comfortable with the requests, regardless of their willingness ("Why do we have to wait until tonight?", "[I'm sorry], I'm married"), women responded with shock and disgust ("You've got to be kidding", "What is wrong with you? Leave me alone").^[4]

The number of sexual partners an individual has varies within a lifetime, and varies widely within a population. In the U.S., a 2007 national survey had the following results: the median number of female sexual partners reported by men was seven; the median number of male partners reported by women was four. It is possible that men exaggerated their reported number of partners, women reported a number lower than the actual number, or a minority of women had a sufficiently larger number than most other women to create a mean significantly higher than the median, or all of the above (see Pareto principle). Twenty-nine percent of men and nine percent of women reported to have had more than 15 sexual partners in their lifetimes^[5]. Studies of the spread of STIs consistently demonstrate that a small percentage of the studied population have more partners than the average man or woman, and a smaller number of people have fewer than the statistical average. An important question in the epidemiology of sexually transmitted infections is whether or not these groups copulate mostly at random (with sexual partners from throughout a population) or within their social groups (assortative mixing).

A 2006 comprehensive global study (analyzing data from 59 countries worldwide) found no firm link between promiscuity and STIs, with poverty and mobility being more important factors.^[6][7] This contradicts other studies.^[8][9] In a 2004 news story, the BBC reported, "HIV infection rates have fallen from 15% to 5% in Uganda over the past decade. The experts said a nationwide campaign encouraging people to stick with regular partners contributed to the fall."^[8]

Global studies[link]

In 2008, a U.S. university study of international promiscuity found that Finnish people have had the largest number of sex partners in the industrialized world, British people having the largest number among big western industrial nations. The study measured one-night stands, attitudes to casual sex, and number of sexual partners.^[10][11][12]

Researchers said Britain's position on the international index "may be linked to increasing social acceptance of promiscuity among women as well as men". Britain’s ranking was "ascribed to factors such as the decline of religious scruples about extramarital sex, the growth of equal pay and equal rights for women and a highly sexualised popular culture".^[10][11][12]

The top-10 ranking OECD nations with a population over 10 million on the study's promiscuity index, in descending order, were the United Kingdom, Germany, the Netherlands, the Czech Republic, Australia, the United States, France, Turkey, Mexico, and Canada.^[10][11][12]

A non-scientific survey conducted in 2007 by condom-maker Durex measured promiscuity by a total number of sexual partners. The survey found that Austrian men had the highest number of sex partners of males globally with 29.3 sexual partners on average. New Zealand women had the highest number of sex partners for females in the world with an average of 20.4 sexual partners.

Except in New Zealand,^[13] men always reported more sexual partners than women.

One study found that people from developed Western countries had more sex partners than people from developing countries in general, while the rate of STIs was higher in developing countries.^[6]

According to the 2005 Global Sex Survey by Durex people have had on average 9 sexual partners, the most in Turkey (14.5) and Australia (13.3), and the least in India (3) and China (3.1).^[14]

Male promiscuity[link]

The examples and perspective in this article may not represent a worldwide view of the subject. Please improve this article and discuss the issue on the talk page. (July 2010)

Portrait of Giacomo Casanova

A 1994 study in the United States, which looked at the number of sexual partners in a lifetime, found that 20% of heterosexual men had 1, 55% had 2–20, and 25% had 20 or more. Early studies found men with homosexual contact were more likely to have a very large number of sexual partners, but a 1989 study found a very high number of partners (over 100) to be present though rare in that demographic. The difference was attributed to sampling problems with earlier studies, and the influence of AIDS.^[15]

The words womanizer, playboy, stud, player, ladies' man, lady killer, roué, and rake may be used in reference to a man who has romantic affairs or sexual relations, or both, with women and will not marry or commit to a relationship. The names of real and fictional seducers have become eponymous for such promiscuous men. The most famous are John F. Kennedy, Wilt Chamberlain, Warren Beatty, Howard Hughes, the historical Giacomo Casanova (1725–98),^[16] the fictional Don Juan, who first appeared in the 17th century, the fictional Vicomte de Valmont from Choderlos de Laclos's 18th-century novel Les Liaisons Dangereuses (Dangerous Liaisons), and Lothario from Nicholas Rowe's 1703 play The Fair Penitent. James Bond, Chuck Bass, James T. Kirk, Tony Stark, Bruce Wayne, Jack Harkness, Charlie Harper, Sam Malone, and Barney Stinson are famous fictional characters that can be considered womanizers.

During the English Restoration period (1660–88), the term rake was used glamorously: the Restoration rake is a carefree, witty, sexually irresistible aristocrat typified by Charles II's courtiers, the Earl of Rochester and the Earl of Dorset, who combined riotous living with intellectual pursuits and patronage of the arts. The Restoration rake is celebrated in the Restoration comedy of the 1660s and the 1670s. After the reign of Charles II, and especially after the Glorious Revolution of 1688, the rake was perceived negatively and became the butt of moralistic tales in which his typical fate was debtor's prison, permanent venereal disease, and, in the case of William Hogarth's A Rake's Progress, syphilis-induced insanity and internment in Bedlam.

Female promiscuity[link]

In 1994, a study in the United States found that almost all married heterosexual women reported having sexual contact only with their husbands, and unmarried women almost always reported having no more than one sexual partner in the past three months. Lesbians who had a long-term partner reported having fewer outside partners than heterosexual women.^[15] More recent research, however, contradicts the assertion that heterosexual women are largely monogamous. A 2002 study estimated that 45% to 55% of married heterosexual women engage in sexual relationships outside of their marriage.^[17] While the estimates for heterosexual males in the same study were greater (50%–60%), the data indicate that a significant portion of married heterosexual women have or have had sexual partners other than their spouse as well.

Since at least 1450, the word slut has been used, often pejoratively, to describe a sexually promiscuous woman.^[18] In and before the Elizabethan and Jacobean eras, terms like "strumpet" and "whore" were used to describe women deemed promiscuous, as seen for example in John Webster's 1612 play The White Devil.

In some tribes of Sierra Leone, promiscuity is a privilege of female nobility. "A woman who is a Paramount Chief may have sexual intercourse with as many men as she pleases."^[19]

Evolution[link]

Evolutionary psychologists propose that a conditional human tendency for promiscuity is inherited from hunter-gatherer ancestors. Promiscuity increases the likelihood of having children, and thus evolutionary fitness. Female promiscuity is advantageous in that it allows females to choose fathers for their children who have better genes than their mate, to ensure better care for their offspring, have more children, and as a form of fertility insurance.^[20] Male promiscuity was likely advantageous because it allowed males to father more children.

Primitive promiscuity[link]

Primitive promiscuity (or original promiscuity), was the (largely discredited) 19th-century hypothesis that humans originally lived in a state of promiscuity or "hetaerism" prior to the advent of society as we understand it.^{[21][22][23][24][25]}

Extra-pair copulation in animals[link]

In the animal world, some species of animals, including birds such as swans, once believed monogamous, are now known to engage in extra-pair copulations. Although social monogamy occurs in about 90 percent of avian species and about 3 percent of mammalian species, investigators estimate that 90 percent of socially monogamous species exhibit individual promiscuity in the form of extra-pair copulations.^[26][27][28]

Two examples of promiscuous animals are the primates chimpanzees and bonobos. These species live in social groups consisting of several males and several females. Each male copulates with many females, and vice-versa. In bonobos, the amount of promiscuity is particularly striking because bonobos use sex to alleviate social conflict as well as to reproduce.

See also[link]

Sexuality portal

• Cottaging
• Hetaera
• Monogamy
• Polygamy
• Polyandry
• Polygynandry
• Polyamory
• Sexual addiction
• Mating system
• Swinging
• Sociosexual orientation

References[link]

Bibliography[link]

• Chakov, Kelly Nineteen Century Social Evolutionism
• Fortes, Meyer (2005) Kinship and the Social Order: The Legacy of Lewis Henry Morgan ISBN 0-202-30802-2 pp. 7–8
• Lehrman, Sally The Virtues of Promiscuity (2002)
• Lerner, Gerda (1986) Women and History vol. 1: The Creation of Patriarchy [1] ISBN 978-0-19-503996-2
• Lerner, Gerda The Origin of Prostitution in Ancient Mesopotamia Signs, Vol. 11, No. 2 (Winter, 1986), pp. 236–254
• Schmitt, David P. Sociosexuality from Argentina to Zimbabwe: A 48-nation study of sex, culture, and strategies of human mating Behavioral and Brain Sciences (2005) 28, 247-311
• Miller, Gerrit S. Jr. (1931) The Primate Basis of Human Sexual Behavior The Quarterly Review of Biology, Vol. 6, No. 4 (Dec., 1931), pp. 379–410
• Westermarck, Edward [1891] (2003) History of Human Marriage Part 1 Kessinger Publishing ISBN 0-7661-4618-9
• Weston, Kath (1998) Long Slow Burn: Sexuality and Social Science ISBN 0-415-92043-4
• Woock, Randy (2002) Promiscuous Women Should Be Praised

Kerry Cohen (born September 15, 1970 in Cleveland, Ohio) is an American author. She also writes as Kerry Cohen Hoffmann

Cohen grew up in suburban New Jersey.^[1] She received an MFA in creative writing from the University of Oregon and an MA in counseling psychology from Pacific University. A practicing psychotherapist and writing instructor, she lives with her husband and two sons in Portland, Oregon.^[1][2] She is the author of Loose Girl: A Memoir of Promiscuity, based on her own promiscuity during her teens. In 2006 she published Easy, a young adult novel.^[3]

Bibliography[link]

• Loose Girl: A Memoir of Promiscuity (Hyperion, 2008)
• Easy (Simon & Schuster, 2006)
  • 2006 ALA Quick Pick for Young Adults and 2006 Oregon Book Award finalist
• The Good Girl (Delacorte, 2008)
• It's Not You, It's Me (Delacorte, 2009)
  • 2010 Oregon Book Award finalist
• Seeing Ezra (Seal Press, 2011)
• Dirty Little Secrets (Sourcebooks, 2011)

External links[link]

• Official site

References[link]

1. ^ ^{a b} "Kerry Cohen On Her Publishing And Her Promiscuous Past". The Huffington Post. 2008-06-06. http://www.huffingtonpost.com/rachel-kramer-bussel/kerry-cohen-on-her-publis_b_105724.html. Retrieved 2008-08-20. 
2. ^ Cohen, Kerry (2008-06-19). "Confessions of a psychotherapist: ‘Some girls turn to drugs or alcohol. I chose promiscuity’". The Daily Mail. http://www.dailymail.co.uk/you/article-1027134/Confessions-psychotherapist--8216-Some-girls-turn-drugs-alcohol-I-chose-promiscuity-8217.html. Retrieved 2008-08-20. 
3. ^ "Author Details for Kerry Cohen". Random House. http://www.randomhouse.co.uk/catalog/author.htm?authorID=57219. Retrieved 2008-08-20. 

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Ani DiFranco
Ani DiFranco performing at the Ancienne Belgique in 2007
Background information
Birth name	Angela Marie DiFranco
Born	(1970-09-23) September 23, 1970 (age 41) Buffalo, New York
Genres	Folk rock, indie, alternative
Occupations	Singer-songwriter, musician
Instruments	Guitar, bass guitar, tenor guitar, vocals, percussion, piano
Years active	1990–present
Labels	Righteous Babe
Website	righteousbabe.com

Ani DiFranco ( /ˈɑːniː/; born Angela Maria DiFranco on September 23, 1970) is an American singer, guitarist, poet, and songwriter. She has released more than 20 albums,^[1] and is widely considered a feminist icon.^[2][3][4]

Biography[link]

DiFranco was born in Buffalo, New York,^[5] to Elizabeth and Dante DiFranco, who had met while attending MIT.^[6][7] She started playing Beatles covers at local bars and busking with her guitar teacher, Michael Meldrum,^[8] at the age of nine.

In 1989, DiFranco started her own record company, Righteous Records.^[1] Early in her career DiFranco worked with manager Dale Anderson, a writer for the Buffalo News, who started another record label called Hot Wings Records, after the two parted ways, that released similar sounding material. Her self-titled debut album was issued on the label in the winter of 1990. Later, she relocated to New York City, where she took poetry classes at The New School and toured vigorously for the next 15 years, essentially pausing briefly only to record albums.

Righteous Records was renamed Righteous Babe Records in 1994.

In 1998, DiFranco's drummer, Andy Stochansky, left the band to pursue a solo career as a singer-songwriter. Their rapport during live shows is showcased on the 1997 album Living in Clip.

In 2002 her rendition of Greg Brown's "The Poet Game" appeared on Going Driftless: An Artists' Tribute to Greg Brown.

Her father died early in the summer of 2004.^[9] In July 2005, DiFranco developed tendonitis and took a hiatus from touring. Her 2005 tour concluded with an appearance at the FloydFest World Music and Genre Crossover festival in Floyd, Virginia. She returned to touring in late April 2006, including a performance at the New Orleans Jazz & Heritage Festival on April 28 and a performance at the Calgary Folk Music Festival on July 30, 2006.

In 2005 she collaborated with fellow folk singer Dar Williams on "Comfortably Numb", a Pink Floyd cover song from Williams' album My Better Self.

DiFranco's album Reprieve was released on August 8, 2006. It was previously leaked on iTunes for several hours around July 1, 2006, due to an error saying it was released in 2002.^[10] DiFranco performed with Cyndi Lauper on "Sisters of Avalon", a track from Lauper's 2005 collection The Body Acoustic.

On September 11, 2007, she released the first retrospective of her career, titled Canon and for the first time, a collection of poetry in a book titled Verses.

Red Letter Year was released on September 30, 2008. Says DiFranco about the album:

"When I listen to my new record, I hear a very relaxed me, which I think has been absent in a lot of my recorded canon. Now I feel like I’m in a really good place. My partner Mike Napolitano co-produced this record – my guitar and voice have never sounded better, and that’s because of him. I’ve got this great band and crew. And my baby, she teaches me how to just be in my skin, to do less and be more."^[11]

DiFranco performed a live webcast from Ex'pression College for Digital Arts^[12] on June 24, 2010. She debuted a selection of new material, including the songs "Which Side Are You On?" (a reworking of the Florence Reece song with different lyrics penned by DiFranco), "Life Boat", "Unworry", "Promiscuity", "Splinter", "Amendment", "See See..." and "Hearse".

In 2010, DiFranco sued hip-hop horrorcore artist Necro for sampling her song, "Used to You" in a response track called "The Asshole Anthem" on his DIE! album. Due to the lawsuit, the album was reissued without the track.^[13]

She has continued touring through 2011. As of 2008 her backing band consists of Todd Sickafoose on upright bass, Allison Miller on drums, and Mike Dillon on percussion and vibes. DiFranco returned to the Calgary Folk Music Festival in July 2008.

She is also a poet and has been featured on Def Jam's poetry hour.

DiFranco released an album of new material on January 17, 2012, titled "¿Which Side Are You On?". It includes collaborations with Pete Seeger, Ivan Neville, Cyril Neville, Skerik, Adam Levy, Righteous Babe recording artist Anaïs Mitchell, CC Adcock, and a host of New Orleans-based horn players known for their work in such outfits as Galactic, Bonerama, and Rebirth Brass Band.

She and her husband currently reside in New Orleans.^[14][15]

Ani DiFranco, RZA, and Steve Albini at
The New Yorker festival in September 2005.

Relationships[link]

DiFranco identifies herself as bisexual,^[16][17] and has written songs about love and sex with women and men. She addressed the controversy about her sexuality with the song "In or Out". In 1998, she married sound engineer Andrew Gilchrist in a Unitarian Universalist service in Canada, overseen by folk singer Utah Phillips.^{[citation needed]} DiFranco and Gilchrist divorced five years later.

DiFranco gave birth to a daughter, Petah Lucia DiFranco Napolitano,^[18] at her Buffalo home on January 20, 2007. She married the child's father Mike Napolitano,^[19] also her regular producer, in 2009.

Critical reception[link]

DiFranco has been a critical darling for much of her career, if not always a commercial one, with a career album average of 72 on Metacritic.^[20] DiFranco has been toasted by the Buffalo News as the "Buffalo's leading lady of rock music." The News further said:

"Through the Righteous Babe Foundation, DiFranco has backed various grassroots cultural and political organizations, supporting causes ranging from abortion rights to gay visibility."^[21]

Starting in 2003, DiFranco was nominated four consecutive times for Best Recording Package at the Grammy Awards, winning in 2004, for Evolve.

On July 21, 2006, DiFranco received the "Woman of Courage Award"^[22] at the National Organization for Women (NOW) Conference and Young Feminist Summit in Albany, New York. Past winners have included singer and actress Barbra Streisand and Sen. Barbara Boxer, D-Calif. DiFranco is one of the first musicians to receive the award, given each year to a woman who has set herself apart by her contributions to the feminist movement.

Music[link]

Guitar style and collaborations[link]

DiFranco's guitar playing is often characterized by a signature staccato style,^[23][24] rapid fingerpicking and many alternate tunings. She delivers many of her lines in a speaking style notable for its rhythmic variation. Her lyrics, which often include alliteration, metaphor, word play and a more or less gentle irony, have also received praise for their sophistication.

Although DiFranco's music has been classified as both folk rock and alternative rock, she has reached across genres since her earliest albums. DiFranco has collaborated with a wide range of artists including musician Prince, who recorded two songs with DiFranco in 1999 ("Providence" on her To the Teeth album, and "I Love U, but I Don't Trust U Anymore" on Prince's Rave Un2 the Joy Fantastic album); folk musician and social activist Utah Phillips (on The Past Didn't Go Anywhere in 1996 and Fellow Workers in 1999); funk and soul jazz musician Maceo Parker; and rapper Corey Parker. She has used a variety of instruments and styles: brass instrumentation was prevalent in 1998's Little Plastic Castle; a simple walking bass in her 1997 cover of Hal David and Burt Bacharach's "Wishin' and Hopin'"; strings on the 1997 live album Living in Clip and 2004's Knuckle Down; and electronics and synthesisers in 1999's To the Teeth and 2006's Reprieve. Samples from the track "Coming Up" were used by DJ Spooky in his album Live Without Dead Time, produced for AdBusters Magazine in 2003.

DiFranco herself noted that "folk music is not an acoustic guitar – that's not where the heart of it is. I use the word 'folk' in reference to punk music and rap music. It's an attitude, it's an awareness of one's heritage, and it's a community. It's subcorporate music that gives voice to different communities and their struggle against authority."^[25]

Lyrics, politics and religion[link]

Although much of DiFranco's material is autobiographical, it is often also strongly political. Many of her songs are concerned with contemporary social issues such as racism, sexism, sexual abuse, homophobia, reproductive rights, poverty, and war. In 2008, she donated a song to Aid Still Required's CD to assist with the restoration of the devastation done to Southeast Asia from the 2004 Tsunami. The combination of personal and political is partially responsible for DiFranco's early popularity among politically active college students, particularly those of the left wing, some of whom set up fan pages on the web to document DiFranco's career as early as 1994. DiFranco's rapid rise in popularity in the mid-1990s was fueled mostly by personal contact and word of mouth rather than mainstream media.^{[citation needed]}

DiFranco has expressed political views outside of her music. During the 2000 U.S. presidential election, she actively supported and voted for Green Party candidate Ralph Nader.^[26][27][28] She supported Dennis Kucinich in the 2004 and 2008 Democratic primaries. Kucinich appeared with her at a number of concerts across the country during both primary seasons.^[29][30] DiFranco went on to perform at the 2008 Democratic National Convention.

Early in her career, DiFranco considered herself an atheist. On the subject of religion, DiFranco has stated:

"Well, I'm not a religious person myself. I'm an atheist. I think religion serves a lot of different purposes in people's lives, and I can recognize the value of that, you know, the value of ceremony, the value of community, or even just having a forum to get together and talk about ideas, about morals – that's a cool concept. But then, of course, institutional religions are so problematic."^[31]

Since becoming a mother and releasing her Red Letter Year album in 2009, DiFranco has talked in concert about "finding religion".^{[citation needed]} At concerts she has stated that her song "The Atom" is an "alternative Christian proposal". In "The Atom" she sings ”Oh holy is the atom/ The truly intelligent design/ To which all of evolution/ Is graciously aligned.” In Reno in 2008 prior to singing "The Atom", she said "I've kind of gotten religion lately, I took a sweet religion, one I am sort of familiar with and sprayed a can of patriarchy-off and this is what I came up with."^{[citation needed]}

Label independence[link]

DiFranco was one of the first independent artists to own her own label, which has allowed her a considerable degree of creative freedom over the years, including, for example, providing all instrumentals and vocals and recording the album herself at her home on an analog 8-track reel to reel, and handling much of the artwork and packaging design for her 2004 album Educated Guess.^[32] She has referenced this independence from major labels in song more than once, including "The Million You Never Made" (Not A Pretty Girl), which discusses the act of turning down a lucrative contract, "The Next Big Thing" (Not So Soft), which describes an imagined meeting with a label head-hunter who evaluates the singer based on her looks, and "Napoleon" (Dilate), which sympathizes sarcastically with an unnamed friend who did sign with a label.

DiFranco has occasionally joined with Prince in discussing publicly the problems associated with major record companies. Righteous Babe Records employs a number of people in her hometown of Buffalo. In a 1997 open letter to Ms. magazine^[33] she expressed displeasure that what she considers a way to ensure her own artistic freedom was seen by others solely in terms of its financial success.

[edit] Discography

Studio albums[link]

	"Napoleon" noicon from Dilate
Problems listening to this file? See media help.

• 1990 – Ani DiFranco
• 1991 – Not So Soft
• 1992 – Imperfectly
• 1993 – Puddle Dive
• 1994 – Out of Range
• 1995 – Not a Pretty Girl
• 1996 – Dilate
• 1998 – Little Plastic Castle
• 1999 – Up Up Up Up Up Up
• 1999 – To the Teeth
• 2001 – Revelling/Reckoning
• 2003 – Evolve
• 2004 – Educated Guess
• 2005 – Knuckle Down
• 2006 – Reprieve
• 2008 – Red Letter Year
• 2012 - ¿Which Side Are You On?

Compilations[link]

• 1993 – Like I Said: Songs 1990–91^[34]
• 2007 – Canon

Live albums[link]

• 1994 – An Acoustic Evening With
• 1994 – Women in (E)motion (German Import)
• 1997 – Living in Clip
• 2002 – So Much Shouting, So Much Laughter
• 2004 – Atlanta – 10.9.03 (Official Bootleg series)
• 2004 – Sacramento – 10.25.03 (Official Bootleg series)
• 2004 – Portland – 4.7.04 (Official Bootleg series)
• 2005 – Boston – 11.16.03 (Official Bootleg series)
• 2005 – Chicago – 1.17.04 (Official Bootleg series)
• 2005 – Madison – 1.25.04 (Official Bootleg series)
• 2005 – Rome – 11.15.04 (Official Bootleg series)
• 2006 – Carnegie Hall – 4.6.02 (Official Bootleg series – available in stores)
• 2007 – Boston – 11.10.06 (Official Bootleg series)
• 2008 – Hamburg – 10.18.07 (Official Bootleg series)
• 2009 – Saratoga, CA – 9.18.06 (Official Bootleg series)
• 2009 – Chicago – 9.22.07 (Official Bootleg series)
• 2010 – Live at Bull Moose Music (Limited edition)^[35]

EPs[link]

• 1996 – More Joy, Less Shame
• 1999 – Little Plastic Remixes (limited distribution)
• 2000 – Swing Set

Demos[link]

• 1989 – Demo tape (unreleased)

Videos[link]

• 2002 – Render: Spanning Time with Ani DiFranco
• 2004 – Trust
• 2008 – Live at Babeville

Poetry[link]

• 2004 – "Self-evident: poesie e disegni"
• 2007 – Verses

Other contributions[link]

• 2004 – WFUV: City Folk Live VII – "Bliss Like This"
• 2006 – Jason Karaban – "Doomed to Make Choices"
• 2008 – The City That Care Forgot – Contributed backing vocals to the title track of Dr. John's 2008 album.
• 2009 – Jason Karaban – "Sobriety Kills"
• 2010 – Anais Mitchell – "Hadestown"
• 2011 – Twilight Singers – "Blackbird and the Fox"
• 2011 – Every Mother Counts – "Present/Infant" (Remix)

See also[link]

• Righteous Babe Records
• Category:Righteous Babe artists

References[link]

External links[link]

Wikiquote has a collection of quotations related to: Ani DiFranco

Wikimedia Commons has media related to: Ani DiFranco

• The Righteous Babe homepage
• Ani DiFranco at the Internet Movie Database
• Ani DiFranco discography at MusicBrainz
• Ani DiFranco at Rolling Stone
• Works by or about Ani DiFranco in libraries (WorldCat catalog)

Manu Chao
Manu Chao performing at the 2007 Coachella Valley Music and Arts Festival
Background information
Birth name	José-Manuel Thomas Arthur Chao Ortega
Also known as	Oscar Tramor
Born	(1961-06-21) June 21, 1961 (age 51) Paris, France
Genres	Alternative rock, ska, punk, reggae, Latin Alternative, salsa
Occupations	Musician, record producer
Instruments	Vocals, guitar, bass, keyboard
Years active	1984–present
Labels	Nacional Records (U.S.) Because Music (France) Virgin Records
Associated acts	Mano Negra Radio Bemba Sound System
Website	www.manuchao.net

Manu Chao (born José-Manuel Thomas Arthur Chao on June 21, 1961), is a French singer of Spanish roots (Basque and Galician). He sings in French, Spanish, English, Italian, Galician, Arabic and Portuguese and occasionally in other languages. Chao began his musical career in Paris, busking and playing with groups such as Hot Pants and Los Carayos, which combined a variety of languages and musical styles. With friends and his brother Antoine Chao, he founded the band Mano Negra in 1987, achieving considerable success, particularly in Europe. He became a solo artist after its breakup in 1995, and since then tours regularly with his live band, Radio Bemba.

Early life[link]

Chao was born to Spanish parents. His mother, Felisa Ortega, is from Bilbao, Basque country and his father, writer and journalist Ramón Chao, is from Vilalba, Galicia. They emigrated to Paris to avoid Francisco Franco's dictatorship—Manu's grandfather had been sentenced to death.^[1] Shortly after Manu's birth, the Chao family moved to the outskirts of Paris, and Manu spent most of his childhood in Boulogne-Billancourt and Sèvres. As he grew up he was surrounded by many artists and intellectuals, most of whom were acquaintances of his father.^[2] Chao cites much of his childhood experience as inspiration for some songs.^[3]

Career[link]

Manu Chao performs live

Early years and Mano Negra[link]

Heavily influenced by the UK rock scene, particularly The Clash, The Jam and Dr. Feelgood,^[4] Chao and other musicians formed the Spanish/English rockabilly group Hot Pants in the mid-1980s. The group released a demo entitled "Mala Vida" in 1984, which received plenty of local critical praise but otherwise gained them little attention. By the time the group released their first album in 1986 the Parisian alternative music scene had taken flight, and Manu, his brother Antoine Chao, and friends such as Alain from Les Wampas formed Los Carayos to incorporate this sound with the rockabilly and punk styles of Hot Pants. Los Carayos remained a side project of the artists for eight years, releasing three albums in the first two years followed by a final album in 1994.

In 1987, the Chao brothers and their cousin Santiago Casariego founded the multiracial band Mano Negra. Starting on a smaller label, the group released a reworked version of the Hot Pants single "Mala Vida", which quickly became a hit in France. The group soon moved to Virgin Records, and their first album Patchanka was released the following year. Though the group never gained much fame in the English-speaking market, popularity throughout the rest of the world soon followed, reaching the Top #5 in the Netherlands, Italy and Germany. The band achieved some fame in South America with 1992's Cargo Tour, where it played a series of shows in port cities, performing from a stage built into their tour ship's hold.^[5] Mano Negra also performed a tour through much of Colombia in a retired train, the "Ice Express".^[1] Still, rifts began to grow among band members during the port tour and the following year's train tour; many band members, including Manu's brother Antoine, had left the group by the end of 1994. Following that year's release of their final album, Casa Babylon, Manu Chao moved the band to Madrid, but legal problems with former band mates led Chao to disband the group in 1995.^[2]

Mano Negra's sound is mostly characterized by energetic, lively rhythms, symbolized by the title of their first album, Patchanka, derived from the word pachanga (which is a colloquial term for "party"), and a distinct informality which allows the audience to get involved and feel close to their sound. Mixed music genres are present throughout their albums. Manu Chao is friends with Gogol Bordello and that group has covered Mano Negra's song "Mala Vida" on their own and with Chao beginning in 2006.

Solo years with Radio Bemba[link]

Manu Chao in Prospect Park, Brooklyn, June 2007

After arriving in Madrid, Chao and other band mates from Mano Negra formed a new group, Radio Bemba Sound System (named for the communication system used in the Sierra Maestra by the Castro-and-Guevara-led rebels in the Cuban Revolution), featuring groups from diverse backgrounds, such as Mexican Tijuana No!, Brazilian Skank, and Argentinian Todos Tus Muertos.^[2] The goal was to replicate the sound of street music and bar scenes from a variety of cultures; to that end, Chao and the group spent several years travelling throughout South and Central America, recording new music as they went.^[6] The resulting music differed drastically from Mano Negra; the songs were primarily sung in Spanish with far fewer French tracks and the musical style had shifted from punk and alternative styles to the street vibe Chao was aiming for. The songs were collectively released as Clandestino in 1998, under Manu Chao's own name. Though not an instant success, the album gained a steady following in France with hits such as "Bongo Bong" and "Clandestino", and the album eventually earned the Best World Music Album award in 1999's Victoires de la Musique awards. It sold in excess of 5 million copies.^[1]

Chao's second album with Radio Bemba Sound System, Próxima Estación: Esperanza, was released in 2001. This album, named after one of the Madrid metro station stops (the title translates to "next station: Hope"), features similar sounds to Clandestino but with heavier Caribbean influences than the previous album. The album was an instant hit, leading to a successful tour that resulted in the 2002 live album Radio Bemba Sound System. Two years later, Chao returned to his French roots with the French-only album Sibérie m'était contée, which included a large book featuring lyrics to the album and illustrations by Jacek Woźniak.^[1][2]

Manu Chao's next album La Radiolina (literally "little radio" in Italian, but also "pocket radio") was released on September 17, 2007. This was the first international release since 2001's Próxima Estación: Esperanza. "Rainin in Paradize" was the first single from the album, available for download on his website before the release of the album.^[7] Concert reviews indicate that music from La Radiolina was already being performed live as early as April 2007's Coachella show.^[8]

Other works[link]

In 2003 he approached Amadou & Mariam and later produced their 2004 album Dimanche à Bamako ("Sunday in Bamako"). His song "Me llaman Calle", written for the 2005 Spanish film Princesas, earned that film a Goya nomination for Best Original Song. It has been released in 2007's La Radiolina. Vocals from the song are included in the Go Lem System song "Calle Go Lem". Time magazine named "Me Llaman Calle" one of The 10 Best Songs of 2007, ranking it at #8. Writer Josh Tyrangiel observed,

Chao's warm singing over José Manuel Gamboa and Carlos Herrero's leaping Flamenco counter melody creates a direct emotional line to the core of this mid-tempo ballad. With its easy melody and universal rhythm Me Llaman Calle walks proudly in the shadow of Bob Marley, the last guy who made world music this disarmingly simple.^[9]

His song "La Vida Tómbola" was featured in the documentary film Maradona by Serbian filmmaker Emir Kusturica.^[4] Manu Chao and Tonino Carotone performed the theme song "La Trampa" for the short-lived improvisational comedy Drew Carey's Green Screen Show.

The songs "Bongo Bong" and "Je ne t'aime plus", which appear back-to-back on Clandestino, were covered by British singers Robbie Williams and Lily Allen, who recorded them as a single track, "Bongo Bong and Je Ne T'aime Plus" and released it as a single from the album Rudebox.^[10][11]

Style and influences[link]

Manu Chao sings in Spanish, French, English, Portuguese, Galician, Arabic and Wolof,^[12] often mixing several languages in the same song. His music has many influences, as punk, rock, French chanson, Iberoamerican salsa, reggae, ska, and Algerian raï. These influences were obtained from immigrants in France, his Iberian connections, and foremost his travels in Mesoamerica as a nomad following the disbanding of Mano Negra.

Many of Chao's lyrics talk about immigration, love, living in ghettos and drugs and often carry a left-wing message. This reflects Chao's own political leanings—he is very close to the Zapatistas and their public spokesman, Subcomandante Marcos.^[1] His band Mano Negra is possibly a reference to an anarchist group. He has many followers among the European left, the Latin American left and the anti-globalisation and anti-free trade movements.^[13] He is also a founding member of ATTAC.^[14] Punk and reggae historian Vivien Goldman commented of his work, "I was writing about Good Charlotte and The Police. They adopted the trappings of punk. They aren’t bad groups, but the punk aspect is more manifested by somebody like Manu Chao. He's one of the punkiest artists out there I can think of. It's an inclusionary spirit that is punk."^[15]

Manu Chao performs in Paris, France

Chao also has a tendency to reuse music or lyrics from previous songs to form new songs. The contemporary hit single in France "Bongo Bong", takes its lyrics from the earlier Mano Negra hit "King of the Bongo", which bears a similar style to that of The Clash. The musical backdrop for "Bongo Bong", in turn, was used in several other Chao songs, including "Je Ne T'Aime Plus" from the same album and "Mr. Bobby" and "Homens" from Próxima Estación: Esperanza. Also, the tune of "La Primavera", a track from that same album, is used in several other songs featured on the LP, while lyrics for a few songs on Sibérie m'était contée are repeated several times with different music, leading the lyrics to be interpreted in various ways depending on the mood of the track. Several musical themes and clips from that album also appear on Amadou & Mariam's Chao-produced Dimanche à Bamako, which were being produced at approximately the same time.

Though Chao is quite well known in Europe and Latin America, he has not had the same success in the English-speaking world. Tours in the United States with Mano Negra were not as successful as elsewhere and Chao seems inclined to focus his efforts in the places where his musical style finds its roots. Though his live performances in the U.S. are infrequent, Chao played a handful of dates there in 2006, including a headlining show at Lollapalooza 2006 in Chicago, IL.^[16] His final appearance on his 2006 U.S. tour was a benefit concert in the Prospect Park Bandshell in Brooklyn, New York on August 7. He returned to that venue in the summer of 2007 for two concerts, part of the multicultural "Celebrate Brooklyn" concert series. The crowd was treated to a nearly two-hour performance, including two encores. Manu Chao also appeared at Merriweather Post Pavilion in Columbia, Maryland to a sellout crowd on June 23, 2007. This was a semi-spontaneous endeavour between Thievery Corporation and Manu Chao facilitated by a new-found friendship developed during Lollapalooza 2006.^[16] He was one of the headlining acts at the 2008 Austin City Limits Music Festival and the Outside Lands Music Festival in Golden Gate Park. In January 2012 he was the headline act at the opening night of Sydney Festival, marking his first concert in Australia.

Discography[link]

	"Mr. Bobby" noicon A 23 second sample of "Mr. Bobby", the last single from Próxima Estación: Esperanza. The song uses samples from diverse sources and several instruments layered on top of each other.
Problems listening to this file? See media help.

With Mano Negra[link]

• Patchanka (Virgin France, 1988)
• Puta's Fever (Virgin France, 1989)
• King of Bongo (Virgin France, 1991)
• In the Hell of Patchinko (Live in Japan, Virgin France, 1992)
• Casa Babylon (Virgin France, 1994)

Solo[link]

• Clandestino (Virgin, 1998)
• Próxima Estación: Esperanza (Virgin, 2001)
• Radio Bemba Sound System (live, Virgin, 2002)
• Sibérie m'était contée (Virgin, 2004)
• La Radiolina (Because/Nacional, 2007)
• Estación México (Live in Mexico, 2008, limited release)
• Baionarena (Double live CD + DVD), 2009

DVD[link]

• Babylonia en Guagua (2002)
• Mano Negra: Out of time (2005)
• Manu Chao & radiobemba:baionarena" (2009)

References[link]