The Japanese rap pioneer and activist ECD (Ishida Yoshinori, 石田義則) was neither the earliest nor most commercially successful rapper, and he would have eschewed calling himself a leader of any protest group; nonetheless, he was what Gramsci would have called an organic intellectual of the working class.
The frankness of his music, writing, and performances touched his audiences at an affective level, connecting them to the movements in which he participated. His life embodied the worlds of hip-hop, contentious politics, and the working class, and his songs convey a vivid account of his life, reflecting his personal and political concerns as well as the ambience of street protests.
ECD was a key figure in the development of the underground hip-hop scene, organizing events that allowed it to take root and to be lifted into commercial viability. He was on the front lines of several Japanese social movements—anti-Iraq War, anti-nuclear power, anti-racist, pro-democracy, and anti-militarization. He wrote protest anthems, inspired Sprechchor, performed at protests, and helped to establish a new mode of participatory performance that engaged protesters more fully. His sheer presence at demonstrations, constant and reliable, energized and reassured protesters.
This according to “‘It’s our turn to be heard’: The life and legacy of rapper-activist ECD (1960–2018)” by Noriko Manabe (The Asia-Pacific journal: Japan focus XVI/6 [March 2018]).
Today would have been ECD’s 60th birthday! Below, one of his music videos.
Stephen Sondheim’s Company is considered to be one of the first concept musicals, moving in a different direction from the book musicals of creative teams such as Rodgers and Hammerstein.
The construction of Company combines aspects of a concept musical with a psychological narrative. An investigation of the musical’s dramatic layers furthers a metadramatic understanding of Sondheim’s unique and innovative version of the concept musical—a version that refuses to subjugate character development and emotional accessibility for conceptual didacticism.
This according to “Concept meets narrative in Sondheim’s Company: Metadrama as a method of analysis” by Natalie Draper (Studies in musical theatre IV/2  pp. 171–83).
Today is Sondheim’s 90th birthday! Above, a photo from around the time Company was produced; below, the show’s climactic song, Being alive, from a 2011 concert production.
In an interview, Bobby McFerrin responded to being termed a “science guy”:
“I’m not really much of a science guy, but I’ve been privileged to work with Daniel Levitan and Elaina Mannes, scientists who are interested in how music affects people. Well, every time I give a concert I spend my whole time observing how music affects the people! So it’s very interesting to me.”
“The piece I did at the World Science Festival is called the Pentatonic romp. I’ve performed it all over the world, and people everywhere can sing that scale by ear. Doesn’t matter what language they speak or what kind of music they listen to. It’s like it’s built in. I’ve done it for decades now and I still think it’s amazing!”
Quoted in “Science, faith and improv: An interview with Bobby McFerrin” (Bandwagon 17 February 2015).
Today is McFerrin’s 70th birthday! Above, performing at !Sing: Day of Song in 2010 (photo by Michael Koschinski); below, the 2009 World Science Festival performance.
In an interview, Ornette Coleman discussed the musical philosophy and compositional/improvisational method that he called harmolodics.
“Harmolodics is a base of expanding the melody, the harmonic structure, the rhythm, and above all the free improvised structure of a composition beyond what they would be if they were just played as a regular 2-5-1 structure, or if they were played with the concept of a melody having a certain arrangement to know when to start and stop.”
“If a word means something else in another language, and it’s spelled and sounds the same, that’s very harmolodic. So, when you’re able to play like that, it expresses what sounds could be if they weren’t programmed to represent a certain territory. It has to do with what you base a concept of unity on. Unity in Europe comes from shared territories, not like America where unity is created out of shared conditions.”
“Harmolodics doesn’t change something from its original state. It expresses the information a melody has within its structure without taking it apart to find out why its sounds that way.”
Quoted in “Dialing up Ornette” by Bill Shoemaker (JazzTimes XXV/10 [December 1995] pp. 42–44).
Today would have been Coleman’s 90th birthday! Above, performing in 2008 (photo by Frank Schindelbeck; below, a performance from Coleman’s harmolodic funk period.
James Reese Europe was a composer, conductor, and organizer of the black community. A pioneer in jazz, he led the Clef Club Orchestra and other organizations in New York, and during World War I his 369th Infantry Regiment “Hellfighters” band was among the first exporters of jazz to Europe.
Working with Noble Sissle and Eubie Blake, Europe was a prominent figure in black musical theater. He also worked with Harry T. Burleigh and Will Marion Cook, as well as the dancers Vernon and Irene Castle. His career was cut short in 1919, when he was murdered by a member of his own orchestra.
This according to A life in ragtime: A biography of James Reese Europe by Reid Badger (New York: Oxford, 1995).
Today would have been Europe’s 140th birthday! Below, one of his signature hits—W.C. Handy’s Memphis blues.
BONUS: A brief documentary focusing on Europe’s military career.
Peter Gabriel is one of contemporary music’s great experimenters. From his work in the progressive group Genesis, through his pioneering solo albums, to his enthusiastic embrace of world music and new technologies, Gabriel has remained steadfastly consistent in his redefinition of music’s boundaries and influence: geographical, virtual, and thematic.
Central to his aesthetic is the idea of locatedness: what it means to be in a specific place at a given time, and to reflect on that time and the changes that inevitably occur. Gabriel’s work can be understood as a series of reflections on the “where” of being—including politics, psychology, philosophy, psychogeography, and inward reflection. His constant traveling—through identities, influences, and media—defines him as one of modern culture’s truly global citizens.
This according to Peter Gabriel: Global citizen by Paul Hegarty (London: Reaktion, 2018).
Today is Gabriel’s 70th birthday! Above, performing in 2011; below, In your eyes from Secret world live.
While he was perhaps the most famous and adept practitioner of American jazz in Europe during the 1930s and 1940s, the Manouche guitarist Django Reinhardt was an outsider—both culturally and geographically—to the U.S. jazz scene. For this reason, scholars have had difficulty placing him securely in American jazz history.
Reinhardt only visited the U.S. once, in 1946, as a guest of the Duke Ellington Orchestra. A recording made during that tour, A blues riff, presents a complex musical negotiation of contrasting musical and cultural values. What is heard in this performance is not just a debate over what notes to play when, but over what the philosopher Henri Lefebvre called representational spaces. The task of locating Reinhardt in jazz history requires a new theoretical appreciation for the material importance of space and place in the shaping of musical performance.
This according to “Negotiating A blues riff: Listening for Django Reinhardt’s place in American jazz” by Andrew Berish (Jazz perspectives III/3 [December 2009] pp. 233–64).
Today is Reinhardt’s 110th birthday!
Above, Reinhardt in 1946, the year of the recording; below, the recording itself.
Related article: Grappelli, South, and Reinhardt play Bach
In his statements on the origin of Pulcinella, Igor Stravinsky leads the reader astray; none of the models used by him are, as he alleges, fragments, incomplete, or sketches, and none were unknown.
Stravinsky’s ballet is a parody based on 21 pieces transmitted under Giovanni Battista Pergolesi’s name and taken from various contexts. Four are from Pergolesi’s Frate ’nnamorato, three from Flaminio, one from the cantata Luce degli occhi miei, and one from the violoncello sonata. The rest of the pieces have been incorrectly attributed to Pergolesi; one is a modern forgery.
The texts of the arias are distorted to the point of unrecognizability in Stravinsky’s ballet; the curious double text in the trio results from a misunderstanding of the manuscript source. Apparently Stravinsky became acquainted with the music from both of Pergolesi’s comedies in 1917 in Naples. The material that he took from these was later supplemented by primarily unauthentic pieces from printed sources in the British Museum.
This according to “Die musikalischen Vorlagen zu Igor Strawinskys Pulcinella” by Helmut Hucke, an essay included in Frankfurter musikhistorische Studien: Helmuth Osthoff zu seinem siebzigsten Geburtstag uberreicht von Kollegen, Mitarbeitern und Schülern (Tutzing: Schneider, 1969, pp. 241–50).
Today is Pergolesi’s 310th birthday! Below, Stravinsky’s suite from Pulcinella.
The legacy of Roy DeCarava, particularly his collection The sound I saw: Improvisation on a jazz theme (London: Phaidon, 2001), illuminates how his photographic method, both in individual photographs and in the way they are sequenced, absorbed jazz technique and mimicked jazz performance.
DeCarava’s aesthetic can be seen as both a distinctively black aesthetic and a profoundly inclusive one. His unflinching but caring eye is cast over the debris of the ghetto as well as the ecstasy of the jazz solo, and it observes the cramped but welcoming dark of the metonymic Harlem hallway.
This according to “‘And you slip into the breaks and look around’: Jazz and everyday life in the photographs of Roy DeCarava” by Richard Ings, an essay included in The hearing eye: Jazz & blues influences in African American visual art (New York: Oxford University Press, 2009, pp. 303–31).
Today is DeCarava’s 100th birthday!
Above, Dancers (Dancers at the Savoy Ballroom, 1956) by Roy DeCarava is licensed under CC BY-NC-ND 2.0.
Below, a brief documentary.
In 1958 Anna Mae Bullock, a backing vocalist in the Kings of Rhythm, married the group’s leader, Ike Turner; in 1960, ahead of the group’s first release with her as lead singer, Ike changed her name to Tina. The recording, A fool in love, became the group’s first million-copy hit.
Rebranded as the Ike & Tina Turner Revue, the group became a world-famous soul band; but the Turners’ relationship was deteriorating drastically due to Ike’s abusive behavior, and in 1976 Tina finally left him and the band, sneaking out of a motel room with only the clothes she was wearing and the 36 cents in her pocket. She subsequently relinquished all legal rights to the songs she had recorded with them.
After appearing with major artists including Rod Stewart and The Rolling Stones, Tina began to reestablish her career, and in 1984 she signed with Capitol Records. Three Top 40 hits and three Grammy Awards soon followed, and to promote her 1986 album Break every rule she toured for 14 months, performing 230 concerts. The effort paid off: the album went platinum, and its lead track, Typical male, was another Top 40 hit. By the 1990s she was firmly established as a major pop star and film actress, with an enormous and devoted international fan base.
This according to “Tina Turner” by Steve Valdez (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 Tina Turner’s 80th birthday! Above, her 50th Anniversary Tour, 2008–09; below, Proud Mary in 2000.