Category Archives: featured

Dolly Parton, from country and pop to film

The country singer, songwriter, actor, and businesswoman Dolly Parton was the fourth of twelve children in a family of sharecroppers in Sevierville, Tennessee, located in the Appalachian Mountains. Commenting on her childhood, Parton once said, “Everybody where we grew up had a hard time. We were mountain people. Most people were poor, but we didn’t realize that we were poor until some smart head said so. Everybody around us lived the same way, but you don’t think about that until you’re away. We had good parents, but we didn’t have all the big luxuries that I’m able to afford now. But I wouldn’t trade it for nothing.”

Surrounded by hymns, traditional mountain music, and popular music genres from the 1940s and 1950s, Parton began playing the guitar at a young age. By 10 years old, she was already performing regularly on radio and television shows in Knoxville, Tennessee, hosted by Orton Caswell (Cas Walker). In 1960, Parton traveled to Louisiana to record two rockabilly songs for the Goldband Records label. While still in high school, she performed at local venues, and after graduation, she moved to Nashville, where her uncle, the well-established songwriter Bill Owens, assisted her in finding work and refining her songwriting abilities.

Parton and Porter Wagoner on the set of their 1960s television show.

Parton achieved her first commercial success as a songwriter in Nashville in 1966 when she recorded her debut country record. Country singer Porter Wagoner invited her to become a regular partner on his television show and also produced her solo recordings, helping her establish a moderately successful career. Parton’s major breakthrough came when she recorded a cover of Muleskinner blues, followed by her original song Joshua, which reached number one on the Billboard country charts. In the early 1970s, Parton rose to become one of country music’s biggest female stars, crafting a public image that celebrated her Appalachian roots, such as in the songs The Appalachian trail and Coat of many colors, while also embracing a distinctly female perspective, showcased in songs such as Jolene.

Parton performs I will always love you.

In 1974, Dolly Parton made the bold decision to separate professionally from Porter Wagoner, taking full control of her solo career. This decision proved successful, as she soon achieved a string of number one hits, including her most famous composition, I will always love you (later covered by the pop singer Whitney Houston). By 1977, Parton began embracing a crossover pop sound with songs like Here you come again. A new manager played a key role in facilitating her transition to the larger pop market. Parton also ventured into Hollywood, playing a leading role in the 1980 film 9 to 5, followed by other films like Steel magnolias (1989). Her commercial success continued into the early 1990s, including the acclaimed Trio album with Emmylou Harris and Linda Ronstadt, and Honky tonk angels with Loretta Lynn and Tammy Wynette. In the mid-1990s, Parton shifted her musical style again, returning to more acoustic, bluegrass-inspired sounds reminiscent of her early work. Since the early 2000s, she has continued to release new albums, some of which were produced through her own record label.

Parton has been inducted into both the Country Music Hall of Fame and the Songwriters Hall of Fame. She has also received a National Medal of Arts in 2005 and a Grammy Lifetime Achievement Award in 2011 and is the recipient of over two dozen major country music industry awards.

Read the full free article on Dolly Parton in MGG Online.

Related Bibliolore posts:

https://bibliolore.org/2016/01/19/dolly-parton-semiotically-speaking/

https://bibliolore.org/2014/05/10/my-homeland-tennessee/

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Filed under featured, Performers, Popular music, Uncategorized, Voice

Trinidad’s steel drum tradition

The steel drum, or steelpan, developed in Trinidad in the late 1930s, is not a drum but a tuned idiophone, akin to a tuned gong. Unlike membranophones, the steel pan does not have a vibrating membrane. Its creation process involves hammering the lid of an oil drum into a concave shape and denting different sections to produce various pitches. While tuned gongs have a long history, this innovative technique of converting an oil drum into a musical instrument is a relatively recent development.

During British colonial rule, the steel drum was banned throughout Trinidad because the colonial government believed that Africans living on the island would communicate secretly using the drums and create an uprising. This led musicians to seek alternative instruments. They created tamboo-bamboo bands by beating bamboo tubes with mallets and supplemented their ensembles with bottles, tin pots, garbage can lids, and car brake drums. The steel drum’s development can’t be attributed to a single individual, but Trinidadian drummers such as Ellie Manette, Winston Spree, and Neville Jules made significant contributions to its musical development in the 1940s.

Building a steel drum involves several precise steps: cutting a barrel to a specific length, hammering the lid into a concave shape, marking the positions for each note, hardening the metal, and then carefully tuning and shaping each section. Steel drums are played using rubber-headed mallets of various thicknesses and lengths. While the arrangement of the individual notes is not standardized, tuning typically involves intervals of thirds, fourths, fifths, and sixths, with major or minor seconds being less common. Performers of the steel drum are known as panmen, though by the 1990s, women comprised about 15 percent of steel drum musicians.

Steel bands first gained popularity in the 1930s and 1940s in the slums of Port of Spain, the capital of Trinidad and Tobago. During this time, rival gangs often clashed in the streets, which negatively affected the reputation of steel bands. The calypso musician Mighty Sparrow famously captured this sentiment in a song, highlighting the stigma associated with steel band musicians:

“If your sister talk to a steel-band man
The family want to break she hand
Throw she out, lick out every tooth in she mouth,
Pass! You outcast!”

Despite these early challenges with the image of steel bands, they were eventually embraced during carnival celebrations and came to symbolize national identity, especially during the independence movement of the 1950s.

Celebrate World Steelpan (Steel drum) Day on August 11 by reading the entry on steel drums in MGG Online.

Watch an energetic live performance by the captivating BP Renegades Steel Orchestra from Trinidad below.

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Filed under featured, Instruments, Performers, Politics, West Indies

Cultural politics of the Warlpiri purlapa

Performances of Aboriginal musical traditions have become widespread in various national and international contexts and are significant to the ways in which Aboriginal people from distinct regions project their specific identities to a broader world. In recent decades, Warlpiri people, from the remote settlement of Yuendumu in the Tanami desert of Australia, have increasingly attracted interest in the performances of their ceremonial songs and dances in intercultural spaces, often for audiences with little understanding of their religious significance.

Against a historical backdrop of settlement history and the shifts that have occurred to public ceremonial forms during this period, performances of purlapa at the Aboriginal tent embassy in Canberra have foregrounded issues of Aboriginal politics, systematized racism, contemporary social movements, and the basic difficulties of running a tent embassy on meager donations, especially during the Canberra winter when firewood supplies were low.  Purlapa is a genre of Warlpiri public ceremony involving a high-stepped dance style performed in circular movement with participants shifting their dancing sticks from side to side in rhythm with sung verses. Once held frequently for community entertainment, the performance of purlapa has declined drastically in recent years. Shifts in these performance opportunities show how Warlpiri people engage with a broader world in specific aspects of their identities while maintaining important links to a specific cultural heritage.

Read more in “Performing purlapa: Projecting Warlpiri identity in a globalized world” by Georgia Curran and Otto Jungarrayi Sims (The Asia Pacific journal of anthropology. XXII/2–3 [2021]).

Below is a 1978 performance of a purlapa ceremony recorded on 8 mm film.

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Filed under Australia and Pacific islands, Dance, featured, Politics, Religious music, World music

Angklung and modernity

The musical style associated with the bamboo frame rattle called angklung embodies the egalitarian cooperation so essential for the agriculture that sustained Sundanese people in West Java for centuries. In the early twentieth century, Indonesian nationalists reimagined the sound of the angklung to index a connection to a distinctly Sundanese modern identity rooted in rural values.

The kind of angklung ensemble now popular in Indonesian schools and universities, which was designated an item of intangible heritage by UNESCO in 2010, is an elaboration of the innovations of the Sundanese music educator Daeng Soetigna. Current incarnations of angklung ensembles feature large numbers of performers, often playing arrangements of classical and popular hit songs as well as well-known Indonesian songs.

Angklung’s persistent appeal to Sundanese citizens has much to tell us about the relationship of humans to the places in which they live, the social structures that sustain them, and the strategies they concoct to remain grounded in a changing world.

This according to “From the rice harvest to Bohemian rhapsody: Diachronic modernity in angklung performance” by Henry Spiller, an essay included in Making waves: Traveling musics in Hawaiʻi, Asia, and the Pacific (Honolulu: University of Hawaiʻi Press, 2018, pp. 19–38; RILM Abstracts of Music Literature 2018-51723).

Above, a children’s angklung ensemble; below, Queen’s Bohemian rhapsody.

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Filed under Asia, Curiosities, featured, Instruments