A close reading of Beyoncé’s Video phone illuminates the strategic interplay of subjectivities in a video that essentially disrupts and complicates heteronormative notions of viewing.
In this analysis, the workings of female power versus the male gaze lead to a theoretical conception of gender that contextualizes masculinity and hegemonic femininity. Ultimately, it is in the aestheticized landscape of Video phone that a counter-argument to mainstream heterosexual male imaginary emerges, one where the posthuman figure, in all its hyperreality, is musicalized in a way that defies all conventions.
This according to “Gender, sexuality and the politics of looking in Beyoncé’s Video phone (featuring Lady Gaga)” by Lori Burns and Marc Lafrance, an essay included in The Routledge research companion to popular music and gender (Abingdon: Routledge, 2017, pp. 102–16).
Today is Beyoncé’s 40th birthday! Above and below, the video in question.
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From its beginnings in the late 1960s and early 1970s, heavy metal has emerged as one of the most consistently popular and commercially successful music styles. Over the decades the style has changed and diversified, drawing attention from fans, critics, and scholars alike. Scholars, journalists, and musicians have generated a body of writing, films, and instructional materials that is substantial in quantity, diverse in approach, and intended for many types of audiences, resulting in a wealth of information about heavy metal.
Metaldata (RILM Abstracts of Music Literature 2021-3687) provides a current and comprehensive bibliographic resource for researchers and fans of metal. This book also serves as a guide for librarians in their collection development decisions. Chapters focus on performers, musical instruction, discographies, metal subgenres, metal in specific places, and research relating metal to the humanities and sciences, and encompass archives, books, articles, videos, websites, and other resources by scholars, journalists, musicians, and fans of this vibrant musical style.
The Zimbabwean singer-songwriter Paul Matavire was widely celebrated for his witty but sharply pointed songs addressing themes of intimacy, romance, and social relations, earning him the nickname Doctor Love.
Matavire’s well-calculated social commentary, disseminated through sungura music, continues to hold a special place of reverence in Zimbabwe, even long after his death. His songs are unique in the ways that he used humor to drive his concerns home.
For example, in Akanaka akarara (A person is only good when asleep) Matavire code-switches between Shona and English phrases and expressions, joking that his wife may be possessed by spirits, and maintaining that he is not asking her to cook sadza for him—he just wants money for beer to treat his hangover. Using intrinsic Shona linguistic structures, the song satirizes the foibles of both men and women as they grapple with tensions between traditional and modern gender roles.
This according to “Tracing humour in Paul Matavire’s selected songs” by Umali Saidi (Muziki: Journal of music research in Africa XII/1 [May 2015] 53–61; RILM Abstracts of Music Literature 2015-6205).
Today would have been Doctor Love’s 60th birthday! Below, his recording of Akanaka akarara.
Joni Mitchell’s 1971 album Blue is one of her most universally recognized works. Generations of people have come of age listening to it, inspired by the way it clarified their own difficult emotions, and critics and musicians admire the idiosyncratic virtuosity of its compositions. The largely autobiographical albums of what might be called Mitchell’s Blue period lasted through the mid-1970s.
In 1970 Mitchell was living with Graham Nash in Laurel Canyon and had made a name for herself as a singer-songwriter notable for her soaring voice and skillful compositions. Soon, though, feeling hemmed in, she fled to the hippie community of Matala, Greece. Here and on further travels, her compositions were freshly inspired by the lands and people she encountered as well as by her own radically changing interior landscape.
After returning home to record Blue, Mitchell retreated to British Columbia, eventually reemerging as the leader of a successful jazz-rock group and turning outward in her songwriting toward social commentary. Finally, a stint with Bob Dylan’s Rolling Thunder Revue and a pivotal meeting with a Tibetan lama prompted her return to personal songwriting, which resulted in her 1976 album Hejira.
Mitchell’s Blue period featured her innovative manner of marrying lyrics to melody; her inventive, highly expressive chord progressions that achieved her signature blend of wonder and melancholy; her pioneering approach to personal songwriting; and her contributions to bringing a new literacy to the popular song.
This according to Will you take me as I am: Joni Mitchell’s Blue Period by Michelle Mercer (New York: Free Press, 2009; RILM Abstracts of Music Literature 2009-1442).
Blue is 50 years old today! Below, the full album.
When Clint Eastwood was asked to “play Misty for me” in the classic movie of the same name, the song was played by its composer Erroll Garner, one of jazz’s most popular and prolific artists.
A completely self-taught pianist who never learned to read music, Garner created a unique and idiosyncratic but always accessible style. His musical approach was based on elements of swing and bop, while being harmonically reminiscent of French impressionistic composers such as Debussy and Ravel. This style, combined with a winning stage persona, made him arguably the most successful jazz artist of the 1950s.
Garner composed several songs that went on to become jazz standards, but the one with which he will be linked forever is “Misty” (1954). With lyrics by Johnny Burke, the song became a hit for such artists as Johnny Mathis and Sarah Vaughan.
The critic Leonard Feather eulogized him as a pianist who played “cascades of jubilant chords that seemed to tell you, ‘Boy, am I having a ball!’”
This according to “Garner, Erroll” by Michael R. Ross (Encyclopedia of music in the 20th century [New York: Routledge, 2013] p. 641); this resource is one of many included in RILM music encyclopedias, an ever-expanding full-text compilation of reference works.
Today is Garner’s 10oth birthday! Below, the composer holds forth.
Asked once whether his songs would endure, Cole Porter replied “I never gave it a thought…my enjoyment was in writing them.”
Porter’s passion for music was socially embedded; his personal performances were as central to his life as his songwriting. From early in his career, he loved references to historical as well as contemporary figures, usually in some brash situation that flatters his audience.
As a lyricist, Porter loved metonymic things, particularly lists. On the one hand, these lists frame a particular kind of eroticism—they most often appear in songs of romance (however ambivalent) and employ potentially endless wit, since the list could hypothetically continue to exhaustion, in the service of courtship.
But the list also serves to create an implied social world in which Cole’s immediate audience, which certainly recognized the references, was joined by a larger and more inchoate audience through magazines, recordings, and radio. Still, he depended heavily on the evanescence of the references, so his lists can have an unusually short cultural half-life—which is a cornerstone of their charm.
This according to “Lists of louche living: Music in Cole Porter’s social world” by Mitchell Morris, an essay included in A Cole Porter companion (Urbana: University of Illinois Press, 2016 73–85; RILM Abstracts of Music Literature 2016-2611).
Today is Porter’s 130th birthday! Above, with his wife, Linda Lee Thomas; below, Anything goesincludes numerous references to café society figures and events that were well known in Porter’s time, but are largely unfamiliar to today’s audiences.
“I almost didn’t put it on the album. I thought it was a little too ambiguous of a song, that maybe people wouldn’t quite know what I’m talking about.”
“The chorus came first. Actually, I wanted to write a chorus that had a lifting melody, that kind of went up.”
“I was in a relationship that was the kind of relationship you have in your early 30s. You think you’re all in it, but it’s all complicated. I had just hung up from a conversation where we didn’t say anything. And I just hung up and said, ‘Why did I do this?’ Oh, well, ‘I would dial the numbers, just to listen to your breath.’ I just want to connect with you so badly.”
“It certainly wasn’t what I thought a hit song was. And then, man, it came out and it just kept going and going and going. What do I know, you know?”
This according to “Melissa Etheridge: The Rolling stone interview” by Brian Hiatt (Rolling stone 16 September 2020; RILM Abstracts of Music Literature 2020-57467).
Today is Etheridge’s 60th birthday! Above, a photo from 2011 by Angela George (licensed under CC BY-SA 3.0); below, a live performance.
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The personification of Enya as a modern archetype of female Ireland has become irrevocably intertwined into the grand narratives of popular culture that make up the last decades of the 20th century.
Her music has many cultural significations; Celticism, romance, fantasy, spirituality, and femininity. The common denominator in Enya’s translucent embodiment of this myth is her seemingly unconscious femininity and her self-distancing from the media and her followers. The unwillingness of Eithne Ní Bhraonáin and her co-creators to discuss their work in turn assists the reading of Enya as a text rather than as an object of ethnographic inquiry.
The significations in the music of Enya’s How can I keep from singing? interrelate with the significations in the lyrics, and a semiotic analysis of the visual imagery in the song’s music video further illuminates how her work perpetuates and reinvigorates the myth of Ireland and Irish womanhood for popular culture.
This according to “How can I keep from singing?” Enya and the female myth of Ireland by Anna Maria Dore, an M.A. thesis accepted by the University of Limerick/Ollscoil Luimnigh in 2003 (RILM Abstracts of Music Literature 2003-21780).
Today is Enya’s 60th birthday! Above and below, the video in question.
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As a musician, Selena Quintanilla Pérez will be remembered for her ability to transform traditional Latino musical styles such as cumbia into viable pop mainstream commodities. As a personality, she has acquired a larger-than-life status, symbolizing tejano music’s increasing profile within the record industry during the 1990s.
Born in Freeport, Texas, Selena was encouraged to perform and record as a preteen. In 1989 the family band, Selena y Los Dinos (simply called Selena by 1991), graduated from generic synth-flavored, dance-pop released on indie labels to a more individualized sound.
The emotional depth of her singing, along with her brother A.B.’s clever songs and slick rhythmic arrangements, netted a Grammy for Selena live in 1993. Amor prohibido, the last album released prior to her tragic shooting by a former fan in 1995, demonstrated the band’s wide range of styles, including reggae-inflected dance fare, hard-edged rock, and torchy ballads.
This according to “Selena” by Frank Hoffman (Encyclopedia of recorded sound; this encyclopedia is one of many resources included in RILM music encyclopedias, an ever-expanding full-text compilation of reference works).
From 4 to 8 October 2021, The Barry S. Brook Center for Music Research and Documentation hosts the virtual conference Responses in Music to Climate Change. The event brings together scholars, performers, composers, and activists, with the goal of exchanging … Continue reading →
For it [the Walkman] permits the possibility…of imposing your soundscape on the surrounding aural environment and thereby domesticating the external world: for a moment, it can all be brought under the STOP/START, FAST FOWARD, PAUSE and REWIND buttons. –Iain Chambers, “The … Continue reading →
In 1947 Ella Fitzgerald, already an acclaimed singer of jazz standards, toured with Dizzy Gillespie, immersing herself in the new style known as bebop. Like Dizzy, Ella responded to bebop’s complex harmonies with an infallible ear, and easily translated its … Continue reading →
The American traditional song Go tell Aunt Rhody originated as a gavotte composed by Jean-Jacques Rousseau for his opera Le devin du village (1752). An English version of the opera was produced in London in 1766; subsequently the melody attracted … Continue reading →