Amanda palmer and brian viglione dating
the piano is just sort of where i gravitated when i had free time and i would sit down and play what came into my head.
My parents weren’t generally too happy about the sounds coming from the living room, so i generally only played when nobody was in the house. and here is, for your enjoyment, is a map of my soul from around that time: i didn’t play my songs for anybody.
they joined forces and gathered money and sleeping bags and hit the big city.
they found an alley and built a shack out of cardboard beer boxes and scrapwood.
) this is a picture of me at the piano at about that age: when i was about 10, i wrote my first musical.
it was about four suburban girls who decided they were fundamentally misunderstood.
i wrote the lyrics in lined composition books and sometimes recorded with my four track and dreamed that one day, when i was grown up and famous, that someone would find them interesting for posterity’s sake.
here is a page from my first composition book: (this song was called “aphrodisiac” i threw it away, because it was pretty bad) my first real public appearance as a songwriter was in the high school auditorium as the intermission act of the Rogers and Hammerstein muscial “Carousel”. i took lessons with a woman for a few years when i was about ten and quit, because i didn’t like her. i came up with infinitely more ideas for songs than i ever had the discipline to fully write, and i would record these ideas into a tape recorder i kept on the piano.
i couldn’t work the record player by myself and so the housekeeper, brenda, would flip “Sgt.
i kept playing solo around boston but didn’t really push myself to book shows or publicize. then one fateful halloween night in 2000, my friend shawn setaro came to a party at my house and brought his fine friend brian viglione. we settled on Out of Arms and premiered ourselves at the Zeitgeist Gallery in cambridge (R. sometime after that we changed the name to The Dresden Dolls (much better, don’t you find? our first demo was recorded at emerson college where my childhood friend owen curtin was working as an engineer and had access to a studio and a piano.
here are some photos of the only show “the void” ever played: i tried to take piano lessons again but the teacher i found tried to seduce me. as usual, i played a few songs for my guests and brian liked what i played. we met a few days later and tried to play together. this is what rock love looks like: we tried to think of a good name. at the time of this writing, we are practicing in the basement next door and are planning to bring the gospel of the dresden dolls to boys and girls all over the world.
this is a picture of me purchasing “three imaginary boys” in HMV in london: i am fourteen. he was half-german and he turned me on to the music that provided the soundtrack for a typical tortured high school girl …the legendary pink dots, dead can dance, current 93, kraftwerk and other obscurities that you couldn’t find in the record stores of the deep suburbs.
for some reason i was pretty friendless throughout high school, so i spent most lunches with my latin teacher or sitting with a styrofoam tray full of canned fruit and peanut butter and fluff sandwich in one of the practice rooms in the music department pounding out chords on the piano and writing about things i didn’t like. this is a self-portrait from that time: i can’t remember actually ever sitting down with the intention to “write a song”.i’m not very proud of that performance, but it makes a good story. it was called “potential”: i didn’t perform my songs for the general public, really, until about that time at college (college…), when i was about 18, and set up a few little shows in cellars and coffeehouses. but i did take piano lessons during college with a very good teacher who taught me more about sight reading. after i moved back and finished up college (college…), i decided to embark on a serious rock star career and started “Amanda Palmer and the Void” with jonah sacks on cello and (briefly) martin bernert on drums.