Tag Archives: Birthdays

Dolly Parton, semiotically speaking

 

dolly parton

Dolly Parton’s signifiers are at variance, allowing for her prismatic sign.

She is a highly visible culture icon who is a rhetorical text; she articulates as an artifact in popular culture, a semiotic sign of meaning. To study her is to perceive and understand a personal and particular imagery, leading to full understanding of her myth and ironic status.

Parton is part of a gendered industry that produces contradictions; furthermore, she is an example of romantic irony and pastiche. Her rags-to-riches narrative is complex, and her romantic signifiers yield to stylistic representation in a postmodern industry.

She is an entrepreneur, an actress, a songwriter, and a songstress, and she is accomplished at all of these roles. She is also very shrewd at presenting her myth; she uses much ironic play in revealing her pastiche. She is a self-parody and a matrix in which many elements are embedded, and all her talents contribute to her semiotic status. Semiotically, Parton exists in an ideological site of struggle where constant tensions exist; including her outrageous costuming versus her spirituality.

This according to Dolly Parton: A semiotic study of her life and lyrics by Maureen Cecile Modesitt, a dissertation accepted by Ohio University in 2001.

Today is Parton’s 70th birthday! Below, her signature hit Jolene in 1988.

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Filed under Performers, Popular music

Morton Feldman’s “The viola in my life”

 

Morton Feldman’s four compositions with the title The viola in my life comprise a series-like cycle.

Unlike his earlier Intermissions, this series is constituted less through compositional and representational procedures than through small pregnant melodic objects that are assembled montage-like in the solo viola part over a homogeneous sonic background; these formal strategies show parallels to the combine paintings of Robert Rauschenberg.

This according to Morton Feldman: The viola in my life (1970–71) by Oliver Wiener (Saarbrücken: Pfau-Verlag, 1996).

Today would have been Feldman’s 90th birthday! Above, the composer in 1976; below, a performance of The viola in my life 2.

Related post: Morton Feldman and Persian carpets

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Filed under 20th- and 21st-century music

Bobo Jenkins and “Democrat blues”

Bobo Jenkins

In an interview, Bobo Jenkins discussed the genesis of his first song and hit recording, Democrat blues.

He wrote the song on election day in 1952, while Eisenhower was being elected. He explained that it was really a song about the Great Depression and the especially hard economic times that plagued the poor during Republican administrations.

“I was workin’ out to Chrysler…and I sat down at the end of the line and wrote that song…The whirrin’ of the machines gives me the beat. It’s like listening to a band play all day. Every song I ever wrote that’s any good came to me on the assembly line.”

In 1954, with the help from John Lee Hooker, he went to Chess Records with his new song. “So I goes to Chicago with my guitar and a little amplifier, and the man says ‘What you got now? Usually everybody comes from Mississippi and brings a hit with them.’ I said, well, ‘I’m from Mississippi.’ See, I was lyin’ ‘cause I was livin’ in Detroit, but it sound good to hear it.”

This according to Bobo Jenkins: A bluesman’s journey by Fred Reif (Detroit: Detroit Music History, 2001).

Today would have been Jenkins’s 100th birthday! Below, the original Chess recording.

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Filed under Jazz and blues, Performers, Politics

Slim Gaillard on the road

 

In On the road (New York: Viking, 1957), Jack Kerouac described an encounter with the pianist, guitarist, and percussionist Slim Gaillard, “a tall, thin Negro with big sad eyes who’s always saying ‘Right-orooni’ and ‘How ‘bout a little bourbon-arooni.’”

“Slim sits down at the piano and hits two notes, two Cs, then two more, then one, then two, and suddenly the big burly bass-player wakes up from a reverie and realizes Slim is playing C-Jam blues and he slugs in his big forefinger on the string and the big booming beat begins and everybody starts rocking and Slim looks just as sad as ever, and they blow jazz for half an hour, and then Slim goes mad and grabs the bongos and plays tremendous rapid Cubana beats and yells crazy things in Spanish, in Arabic, in Peruvian dialect, in Egyptian, in every language he knows, and he knows innumerable languages.”

“Dean stands in the back, saying, ‘God! Yes!’ and clasping his hands in prayer and sweating. ‘Sal, Slim knows time, he knows time.’”

“Finally the set is over…Slim Gaillard goes and stands against a post, looking sadly over everybody’s head as people come to talk to him. A bourbon is slipped into his hand. ‘Bourbon-orooni—thank-you-ovauti.’”

Quoted in “Nobody knows where Slim Gaillard is” (Literary kicks, 1994).

Today would have been Gaillard’s 100th birthday! Below, some rare early footage, perhaps from 1962 (see the comment below).

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Filed under Jazz and blues, Literature, Performers

Édith Piaf’s persona

 

Édith Piaf’s is probably the best-known voice that France has produced, yet there has been little insightful analysis of her either in terms of her identity as a star or her gendered identity. This lack may be attributed to the scant amount of work done on French stars in France from a star studies perspective, and the tendency of French feminism to focus on a psychoanalytic rather than a cultural studies approach.

A gender-and-society–based analysis fruitfully focuses on the lyrics and background to her songs, as well as on the myths that have grown around her life and the role of nostalgia in her reception,  drawing in particular upon Flaubert’s Madame Bovary as a possible pre- or intertext for her star persona that is likewise rooted in an image of vulnerable womanhood.

This according to “Flaubert’s sparrow, or the Bovary of Belleville: Édith Piaf as cultural icon” by Keith Reader, an essay included in Popular music in France from chanson to techno: Culture, identity and society (Aldershot: Ashgate, 2003, pp. 205–223).

Today would have been Piaf’s 100th birthday! Below, performing La foule, one of the songs discussed in the essay.

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Filed under Performers, Popular music

Dancing to Sinatra

 

The notion of “dancing to Sinatra” immediately calls to mind images of World War II-era GIs and their sweethearts dancing cheek-to-cheek to the crooner’s ballads or couples jitterbugging to Five minutes more.

A provocative presence among social dance musicians of the swing era, Sinatra’s songs have also inspired the dancing of professional choreographers in ballet and modern dance. Perhaps the most important choreography created for the concert stage to Sinatra’s music is Twyla Tharp’s Sinatra suite, which was choreographed in 1983 for American Ballet Theatre’s Mihail Baryšnikov and Elaine Kudo.

This according to “Dancing to Sinatra: The partnership of music and movement in Twyla Tharp’s Sinatra suite” by Lisa Jo Sagolla, an essay included in Frank Sinatra: The man, the music, the legend (Rochester: University of Rochester, 2007, pp. 117–23).

Today is Sinatra’s 100th birthday! Above, recording dance music for the kids; below, an excerpt from Tharp’s work.

BONUS: Sit back and enjoy the entire suite.

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Filed under Dance, Popular music

Elisabeth Schwarzkopf in recital

schwarzkopf-moore

While Elisabeth Schwarzkopf is still world-renowned for her operatic brilliance, it has proved all too easy for her admirers to forget her passion for recital performance.

It was as a recitalist that Schwarzkopf made her U.S. debut in 1935, and she was a beloved figure on American recital stages until her New York farewell recital in 1975. Her final stage appearance was a Zurich lieder recital in 1979.

This according to “Elisabeth Schwarzkopf (December 9, 1915–August 3, 2006)” by Janet A. Choi and Oussama Zahr (Opera news LXXI/4 [October 2006] pp. 80–81).

Today would have been Schwarzkopf’s 100th birthday! Above, performing with Gerald Moore, one of her favorite accompanists; below, also with Moore, Richard Strauss’s Wiegenlied.

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Filed under Performers, Romantic era

Bette Midler’s persona

 

The 1988 California court decision favoring Bette Midler over Ford Motor Company’s advertising agency left legal commentators wondering less about performance rights than what might be called persona rights.

After a number of performers, including Nancy Sinatra in Sinatra v. Goodyear Tire and Rubber Co. (1970), had been unsuccessful in their attempts to make a proprietal claim on an identifiable vocal style, Midler v. Ford Motor Co. reversed the trend.

The Ninth Circuit Court, overruling the trial court, concluded that Midler’s brassy belting of the 1972 hit Do you want to dance? was hers alone. In hiring a singer to imitate the Midler style in a Mercury Sable television commercial, the judge said that Ford’s agency was “pirating an identity”.

This according to “Bette Midler and the piracy of identity” by Jane M. Gaines, an essay included in Music and copyright (Edinburgh: Edinburgh University Press, 1993, pp. 86–98).

Today is Midler’s 70th birthday! Below, singing Do you want to dance? in 1993.

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Tommy Dorsey hits the screen

Tommy Dorsey's Band in Las Vegas Nights

Unlike his older brother Jimmy, who got his start in films with uncredited background music, Tommy Dorsey shrewdly bided his time until his band was famous enough to command a significant fee.

Unfortunately, his first film, Las Vegas nights, was a disaster. “A picture like that can come back and haunt you” admitted the film’s star, Bert Wheeler. Still, its place in history is assured as the first film appearance by Dorsey, Buddy Rich, and—as an uncredited chorus member—Frank Sinatra.

This according to “The Dorsey brothers: Filmdom’s favorites” by Robert L. Stockdale (The IAJRC journal XLI/2 [May 2008] pp. 46–57).

Today is Tommy Dorsey’s 110th birthday! Above, a still from Las Vegas nights showing Sinatra, far right in the back row (click to enlarge); below, an instrumental piece from the film.

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Filed under Jazz and blues, Performers, Popular music

Fanny Mendelssohn Hensel’s biography

Fanny Mendelssohn Hensel

The idea that Felix Mendelssohn-Bartholdy prevented his sister, Fanny Mendelssohn Hensel, from publishing her compositions is not a feminist reinterpretation of her life; it can be traced to 19th-century publications by the Mendelssohn family that portray both siblings within socially acceptable gender roles. Centering Hensel’s biography on her brother’s influence oversimplifies the historical situation for women composers, replacing issues surrounding gender and class with a single male villain.

Current treatments of Hensel rely on Romantic stereotypes of the neglected genius; her life reveals a need for a feminist biography that balances larger cultural constraints with recognition of individual female agency.

This according to “The ‘suppression’ of Fanny Mendelssohn: Rethinking feminist biography” by Marian Wilson Kimber (19th-century music XXVI/2 [fall 2002] pp. 113–129).

Todays is Hensel’s 210th birthday! Below, Claudie Verhaeghe sings her Nachtwanderer.

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Filed under Romantic era