Category Archives: Popular music

Announcing RILM’s Zine Initiative!

Joey Ramone Punk Magazine

Working with a top collector and specialist in the field, RILM has created a new document type abbreviated JZ, standing for Journal Zine—zine being the recognized short version of fanzine, which refers to the self-published fan magazines that proliferated in the 1980s, 1990s, and early 2000s (when the Internet made them largely obsolete).

Much like the thriving music-journal culture that developed in 19th-century Europe, these low-circulation publications were produced and consumed by key players in the music cultures they took as their subject; today they serve as primary sources that provide valuable insights into the subcultures that shaped the sound of the late 20th century (in the case of punk rock, it was the New York-based zine Punk that provided the name for the nascent musical movement).

We are in the first stage of entering JZ records that give bibliographic information and detailed summaries of key zines in popular music history. A growing number of universities have begun acquiring collections of these important documents.

Above, Joey Ramone, drawn by John Holstrom for Punk #3 (April 1976; click to enlarge). Below, the Ramones at Max’s Kansas City the same year.

More posts about punk rock are here.

Comments Off on Announcing RILM’s Zine Initiative!

Filed under Popular music, Publication types, RILM, RILM news

Pink Martini, seriously anti-serious

 

Mixing eras, cultures, and attitudes with trademark panache, Pink Martini offers joyous music in trying times.

Onstage, Pink Martini puts across a camp, seriously anti-serious aesthetic with over-the-top lush arrangements, sing-alongs, and conga lines.

The group’s 2013 album Get happy comprises 16 songs in 9 languages, and most of the tracks run deeper than they first let on.

This according to “Reimagining the past” by Zach Hindin (JazzTimes XLIII/10 [December 2013] pp. 11–12). Below, ¿Donde estas, Yolanda? featuring China Forbes, live in 2006.

BONUS: You want the whole concert? Sure! Don’t miss the dancers at the end!

Comments Off on Pink Martini, seriously anti-serious

Filed under Humor, Popular music

American vernacular music manuscripts, ca. 1730–1910

Stewart MS

American vernacular music manuscripts, ca. 1730–1910 is a free online resource supported by a major grant from the National Endowment for the Humanities.

The site presents digitized images of holdings of the American Antiquarian Society and the Center for Popular Music. It is searchable by keyword or title; advanced search options are also available.

Above, Sorrowing hearts at home weeping sad and lonely, or, When this cruel war is over, one of the most popular songs of the U.S. Civil War (click to enlarge). This manuscript, attributed to Charles Stewart of Fayette County, Pennsylvania, contains shape-note music and lyrics on ruled stationary and is inscribed “August 24th 1867, Saturday half past” and “June 9th 1868”.

Below, a concertina rendition of the song by Gary Coover.

Comments Off on American vernacular music manuscripts, ca. 1730–1910

Filed under Popular music, Resources

Narcissism and digital erotics

madonna vogue

In new video media there is a possibility for a profound change in the representation of sex, eroticism, gender, and sexuality. Freud’s concept of primary narcissism provides important insights into digital imagery, not least in the construction of female spectatorship.

For example, David Fincher’s video for Madonna’s Vogue enacts a sense of femininity as masquerade; the act of masquerade allows women to merely play a role rather than actually becoming it, thus simultaneously fulfilling and parodying expectations.

This according to “Rolling and tumbling: Digital erotics and the culture of narcissism” by Sean Cubitt, an essay included in Sexing the groove: Popular music and gender (London: Routledge, 1997, pp. 295–316).

Above and below, the video in question.

2 Comments

Filed under Popular music

BOSS

boss

 

Launched in 2014, BOSS: The biannual online-journal of Springsteen studies publishes scholarly peer-reviewed essays pertaining to Bruce Springsteen.

This open-access journal seeks to encourage consideration of Springsteen’s body of work primarily through the political, economic, and sociocultural factors that have influenced his music and shaped its reception.

BOSS welcomes broad interdisciplinary and cross-disciplinary approaches to Springsteen’s songwriting and performance. The journal aims to secure a place for Springsteen Studies in the contemporary academy.

Below, Born in the USA, the subject of the first article in the first issue.

Comments Off on BOSS

Filed under New periodicals, Popular music

Alpert and altruism

alpert-obama

The Herb Alpert Foundation has made major grants to the UCLA School of Music and California Institute of the Arts.

In a 2010 interview, Alpert discussed his philanthropic goals, especially that of supporting educational programs that move beyond a focused concentration on the technical aspects of the musical art.

“There’s two ways to approach jazz,” he said, “you can approach it from the outside point of view where you have chords that are a little remote from the actual melody, or you can stay within the context of the song and play it from that angle. I don’t try to force any notes or rely on techniques that I’ve learned through the years. I try to just let it happen as it happens—which is the only way to approach jazz.”

This according to  “In the name of imagination” by Don Heckman (Jazz education guide 2009–2010, pp. 20–26).

Today is Herb Alpert’s 80th birthday! Above, receiving the National Medal of Arts from President Obama in 2013; below, back in the day.

Comments Off on Alpert and altruism

Filed under Jazz and blues, Popular music

Musical camp

 

mein herr

There are specific musical gestures with which listeners can identify in camp ways, or use to explain the presence of camp. Even if these are not inherently camp, they may invite a camp interpretation of the text by a performer or a camp reading by a listener.

Useful examples of musical camp include Liberace’s performance of Čajkovskij’s Piano Concerto No. 1 and Liza Minnelli’s performance of “Auf wiedersehen mein Herr” in the film Cabaret.

This according to “Notes on musical camp” by Freya Jarman-Ivens, an essay included in The Ashgate research companion to popular musicology (Farnham: Ashgate, 2009) pp. 189–203.

Thanks to Improbable Research for bringing this article to our attention! Above, Ms. Minnelli in action; below, Liberace in 1969.

Comments Off on Musical camp

Filed under Curiosities, Humor, Popular music, Romantic era

Rock music studies

 

In 2014 Taylor & Francis launched Rock music studies, which publishes articles, book and audio reviews, and opinion pieces on rock music and its numerous subgenres three times a year.

To best focus this international journal, which evolved from Popular music and society, the editors limit the often all-inclusive definition of rock to exclude other genres such as doo-wop, country, jazz, soul, and hip hop, but include roll and roll, rockabilly, blues rock, country rock, jazz rock, folk rock, hard rock, psychedelic rock, prog rock, metal, punk, alternative, and other subgenres of rock.

The editors welcome articles on rock’s interaction with other styles and are receptive to all disciplinary, methodological, and theoretical approaches.

All research articles undergo a rigorous peer review process by at least two anonymous referees, based on an initial screening by the editors. The journal is also open to special issues focusing on an artist, a subgenre, or a topic.

Below, Bob Dylan in the 1960s, the subject of an article in the inaugural issue.

Comments Off on Rock music studies

Filed under New periodicals, Popular music

Accidental hooks

prado cherry pink

Popular records often include accidents, indicating something about the flexibility of musical practices and the limits of theories. Musical hooks provide useful test-cases because they are normally considered the least accidental part of a song.

One imagines the hook emerging fully formed in a moment of inspiration—the catchy phrase that comes into a songwriter’s head—or at least of calculation: But hooks sometimes incorporate accidents or happen accidentally. If hooks are less than completely determinate, then every aspect of a popular record must be subject to contingency.

This according to “Accidents, hooks, and theory” by Charles Kronengold (Popular music XXIV/3 [October 2005] pp. 381–397).

Above and below, Pérez Prado’s Cherry pink and apple blossom white, one of the examples cited in the article. The intended hook was the prominent trumpet lip slurs; the accidental hook, which made the record a number one U.S. hit in 1955, was Prado’s occasional interpolated vocalizations.

Related post: Pérez Prado and mambo

1 Comment

Filed under Curiosities, Popular music, Reception

k.d. lang’s “So in love”

k d lang so in love

On this Valentine’s Day let’s look at how two ways of performing Cole Porter’s So in love illustrate how musical language can be used strategically to represent and signify constructs of gender and power.

The customary torch-song presentation, as used in the 1953 Hollywood film version of Kiss me Kate directed by George Sidney, is a traditional patriarchal narrative; k.d. lang’s 1991 video cover, by contrast, clearly defies traditional societal gender values.

This according to “Genre, gender, and convention revisited: k.d. lang’s cover of Cole Porter’s So in love” by Lori Burns (repercussions VII–VIII [spring–fall 1999–2000] pp. 299–325).

Above, a still from lang’s video; below, Kathryn Grayson and Howard Keel in the 1953 film; further below, lang’s version.

Comments Off on k.d. lang’s “So in love”

Filed under Curiosities, Popular music