Copyright 2000 Times Mirror Company
Los Angeles Times
May 14, 2000, Sunday, Home Edition
SECTION: Calendar; Page 5; Calendar Desk
LENGTH: 1385 words
HEADLINE: POP MUSIC;
BARDS OF A FEATHER;
MARRIED SINGER-SONGWRITERS MICHAEL PENN AND AIMEE MANN
SHARE A TALENT FOR WRITING LYRICS, MELODIES--AND THEIR OWN TICKET TO CRITICAL
ACCLAIM.
BYLINE: NATALIE NICHOLS, Natalie Nichols is a regular contributor
to Calendar
BODY:
It's a sunny afternoon in Laurel Canyon,
but things are a little stormy inside the home of singer-songwriters Aimee
Mann and Michael Penn. The stress of a photo session has sent Penn
out the front door in pursuit of a nicotine fix as his wife mildly objects.
He returns almost immediately. "I only had one puff," he says.
That's not so bad, he's told. "It is when it's your first day quitting,"
he replies sharply, clearly annoyed with himself.
But Penn quickly mellows as he and Mann settle into chairs in their large
living room, which is adorned with books, art, musical instruments, exotic
rugs and comfortably distressed furniture. Sitting near a bookcase filled
with reference works (including "The Pop-Up Book of Phobias"),
they lightheartedly rehash the discomfort of posing for pictures, and soon
the tension dissipates.
The talking certainly helps, but the returning calm seems just as much the
result of a nonverbal communion between these two remarkably well-matched
people, who got together five years ago and were married in late 1997.
As individual artists, Mann, 39, and Penn, 41, share a knack for writing
beautiful melodies in the tradition of the Beatles, the Beach Boys, Elvis
Costello and R.E.M., as well as lyrics about terribly dysfunctional relationships.
Both are blue-eyed, and each has a birthday in August. They have each collaborated
with filmmaker Paul Thomas Anderson, Penn on the scores for "Hard Eight"
and "Boogie Nights," and Mann on the soundtrack to last year's
"Magnolia," earning an Oscar nomination for the song "Save
Me."
Both are also part of the scene at Largo, the tiny Fairfax district nightclub
that has cultivated a community of literate, eccentric artists including
Jon Brion, Fiona Apple and Grant Lee Phillips.
The Largo vibe has proven so comfortable that Mann and Penn are taking it
on the road in the form of their Acoustic Vaudeville tour, which comes to
the Henry Fonda Theatre on Thursday and Friday and the Sun Theatre on May
25.
Modeled after their intimate club performances, the show features the duo
taking turns in the spotlight, backed by each other and a band. They'll
also continue their quirky practice of having stand-ins handle the between-song
banter (in the case of the Fonda shows, comedian Patton Oswalt), relieving
them of a chore that ranks right up there with posing for pictures.
"It's hard enough to get a grasp of the songs we've rehearsed,"
Mann jokes.
As much as they enjoy re-creating a familiar setting in unfamiliar places,
Mann and Penn are also delighted to be presenting a concert the way they
want to, rather than following conventional wisdom by doing individual sets.
"Every system that the music industry has, has served each of us poorly,"
says Penn, summarizing their separate long histories of baffling record
labels with their critically praised but unfashionable pop. "So the
more systems we can subvert, the more exciting it is."
"Also, there's something to be said for doing something that's meaningful
to you, rather than in this rigidly prescribed way," says Mann, whose
successful reacquisition from Universal Music Group of her latest album,
"Bachelor No. 2," has been a big story in the music press.
Her husband recently negotiated a similar release from Epic Records, gaining
ownership of his latest collection, "MP4 (Days Since a Lost Time Accident),"
and his Web domain name (michaelpenn.com). Thus, he joins Mann and many
other enduringly talented musicians who are using the Internet to connect
directly with their audiences.
Ironically, at least for Mann's former label, shortly after she became independent
her "Magnolia" work garnered the most attention she's had since
scoring the 1985 hit "Voices Carry" with her old band 'Til Tuesday.
Penn escorted her to the Academy Awards ceremony in March, feeling not only
proud of his wife, he says, but also "happy to see something really
good getting some acknowledgment, from whatever quarter. Because of 'Magnolia,'
Aimee's gotten some recognition, where she was sort of slighted in the whole
female revolution of a few years ago."
Penn seems not at all envious of her time in the spotlight--not only because
they are a mutually supportive couple, but also because neither particularly
enjoys being scrutinized.
"We don't like public speaking," says Penn. For him, it's too
much like acting, an occupation he has assiduously avoided (outside of some
long-ago work as an extra and a small role in "Boogie Nights"),
partly because it's the chosen livelihood of his entire family, including
younger brothers Sean and Christopher, mother Eileen Ryan and his late father,
director-actor Leo Penn.
Instead, Michael took up guitar as a child, joined cover bands in junior
high, and was writing songs by the time he was attending Santa Monica High
School. After a stint in the '80s band Doll Congress, he launched his solo
career on RCA with 1989's "March," which produced his biggest
hit, 1990's "No Myth." The follow-up, 1992's "Free for All,"
didn't fare as well. Problems with the label ensued, and five years passed
before Penn emerged with "Resigned," this time on Epic.
Virginia-born Mann attended the Berklee School of Music in Boston, where
'Til Tuesday was formed in 1983. Her romantic travails informed both "Voices
Carry" and the songs on her critically acclaimed solo albums, 1993's
"Whatever" and 1995's "I'm With Stupid."
A combination of creative differences and corporate mergers kept her at
odds with record companies for years, until last year when she became free
and clear. She initially sold "Bachelor No. 2" on her Web site,
and it was distributed to stores earlier this month.
*
Acoustic Vaudeville has required them to spend more time together--or, as
Penn puts it, "less inappropriate time apart"--but both insist
they never get sick of each other. In fact, the idea of familiarity breeding
contempt contradicts their sense of what a relationship should be, although
Mann observes that "most people do marry their enemy, and they're in
constant opposition."
That kind of strife is a fascination for these songwriters, who both tend
to analyze romantic malfunctions from the viewpoint of someone who can't
quite believe how bad they were. Penn says his songs are a way of "dissecting
the past and trying to figure out the patterns I've been in."
Conflict certainly lends a more satisfying bite to their pretty tunes, but
Penn says he's also on a bit of a mission to expose the "gilded lie"
that is Western culture's ideal of love.
"If you talk about, say, 'Romeo and Juliet,' most people will think
of it as a play about the highest form of romantic love," he says.
"They won't realize that it is a horrible tragedy. And this notion
of a soul mate is so damaging. That isn't love at all. It's a knee-jerk
reaction that has much more to do with your parents and your own dysfunction,
and knowing that's a person you can repeat a pattern with. It has nothing
to do with the person."
Not that Penn doesn't believe in true love, he hastens to add. "But
that's something that develops out of friendship," he says. "That's
the cosmic thing, the spiritual thing that happens later."
Indeed, the Mann-Penn union evolved in just that way. They first met about
a decade ago, not long after 'Til Tuesday released its last album, when
Penn was touring to support his debut collection, "March." A fan
of Penn's music, Mann caught his show in Boston, then later "borrowed"
his producer Tony Berg to work on material for her debut album. Years passed,
then they met again when Mann came to Los Angeles to work on "I'm With
Stupid."
"We were both out of relationships and determined to never get into
one again," Penn recalls. "We were just hanging out as friends,
and it grew from there."
They have so much in common, however, that the attraction occasionally seems
a little strange even to them.
"At the same time," Penn says, "what we do is sort of the
mating call of a very specific kind of animal, so it makes sense that we
wound up together."
*
Aimee Mann and Michael Penn play Thursday and Friday at the Henry Fonda
Theatre, 6126 Hollywood Blvd., 8 p.m. $ 31. (323) 480-3232. Also May 25
at the Sun Theatre, 2200 E. Katella Ave., Anaheim, 8:30 p.m. $ 25. (714)
712-2700.
GRAPHIC: PHOTO: The Acoustic Vaudeville tour has required
Penn and Mann to spend more time together, but both insist they never get
sick of each other. PHOTOGRAPHER: KIRK McKOY / Los Angeles Times