In its 1 May 1925 issue The musical times included the following notice in “The amateurs’ exchange”, a regular column that printed free announcements by amateur musicians wishing to collaborate with others:
“A very young man wishes to meet another very young man who has violently ultra-modern tendencies in all four creative arts. M.J. Howe, 185 Marlbro’ Avenue, Hull”
The anonymous editor of the column (perhaps Harvey Grace, who was then the Editor of The musical times) appended a note:
“The above announcement is somewhat beyond the scope of this column. We feel, however, that if this extremely young man has a prototype anywhere, the two should meet, in order that they may go through their artistic scarlet fever together.”
This issue of The musical times, along with many others, is covered in our new RILM Abstracts of Music Literature with Full Text collection.
Above, the English modernist Roger Fry’s portrait of the English modernist poet Edith Sitwell. Below, Gustav Holst’s Mars, the bringer of war from The planets, an early English modernist work.
Indie pop has had a complicated relationship with mass culture—it simultaneously depends upon and deconstructs notions of authenticity and truth, and it is especially adept at generating personal authenticity.
It is useful to turn to the concept of kitsch, understood as an aesthetic and not a synonym for bad. Kitsch functions to cultivate personal attachment in the face of impersonal mass culture; it is this aesthetic that indie pop has cultivated through its lo-fi and often nostalgic sound world and through its dissemination, which has relied upon dedicated collectors.
The honesty of indie pop does not arise from an illusion of unmediated communication, but instead from the emphasis on the process of mediation, which stresses the materiality of the music and the actual experience of listening.
This according to “‘…This little ukulele tells the truth’: Indie pop and kitsch authenticity” by Emily I. Dolan (Popular music XXIX/3 [October 2010] pp. 457-469).
Above and below, Stephin Merritt, whose music and career serve as a case study in the article.
The one-minute opening of The Simpsons, a luscious symphonic overture complete with sound effects, introduces the five family characters plus the small-town suburban culture that surrounds them.
Inscribed within Hollywood’s cinematographic language, the music is a powerful generic marker often projecting absurdity and irony. Notwithstanding the pantomimic effect, these comedic contradictions address the dysfunctional life of the Simpsons, defining the American Dream in ways distinct from other television shows from the 1950s, 1960s, and 1970s.
This according to “Trope and irony in The Simpsons’ overture” by Martin Kutnowski (Popular music and society XXXI/5 [December 2008] pp. 599–616). Below, the sequence in question.
In his classic Subculture: The meaning of style (London: Methuen, 1979) Dick Hebdige addressed the first wave of 1970s punk rock aesthetics in Britain, discussing the contours of a movement that was somewhere between a pop fad and a larger political crisis. By violating a set of social codes in their distinctive ways, said Hebdige, punks had the effect of “presenting themselves…as villainous clowns…treated at different times as threats to public order (or) as harmless buffoons.”
Other contemporaneous observers expressed their perceptions in somewhat similar language. In one of her early dispatches on punk, the British rock journalist Caroline Coon described Captain Sensible of The Damned as having “a front as benevolently mad as a village idiot’s” and the Sex Pistols’ Johnny Rotten as “a disgraced Angel Gabriel”. Elsewhere, Tom Carson suggested that we view The Ramones in light of “the attractiveness of the comic loser” who is “the closest thing we have to the idea of the holy fool.”
These ideas are certainly undeveloped, but they are not haphazard. They indicate brief, intuitive flashes by the authors that their subjects of concern bear a resemblance to what one could call the sacred clown—an umbrella term for a cast of cultural archetypes marked by marginalia, shame, and destitution, paradoxically expressing sanctification and profanity, stupidity and sagacity, and menace and mirth.
This according to “Reading early punk as secularized sacred clowning” by Lane Van Ham (Journal of popular culture XLII/2 [April 2009] pp. 318–338).
Above and below, Captain Sensible in action.
Although the 1997 release Backdoor man is attributed to Simon Hunt’s cabaret alter-ego Pauline Pantsdown (above), the vocals on the record (backed by looped disco grooves) are made up of snippets of speeches by the right-wing Australian politician Pauline Hanson that were cut up and re-edited.
In the song she declares, among many other things, “I’m homosexual” and “I’m a happy person because I’m a backdoor man”.
The song was a huge hit on the youth radio network Triple J, and was played almost hourly due to a massive number of requests, making it number 5 on the 1997 Hottest 100 list. However, less than a week after its release Hanson obtained a court injunction against the song, claiming that it was defamatory.
This according to “Two Paulines to choose from: An interview with Simon Hunt/Pauline Pantsdown” by Jon Stratton Perfect beat IV/4  pp. 34–44).
The song can be heard here.
Filed under Humor, Politics
Humor provides a means of navigating the race and gender politics of hip hop culture in several ways.
The Beastie Boys (above), a trio of white Jewish rappers, have relied heavily on humor to mark their outsider status while mitigating claims of racial inauthenticity.
The triumphant career of Missy “Misdemeanor” Elliott shows how her humor—especially when aimed at the rapper herself—has functioned as an artistic expression of old-school legitimacy and as a means of empowerment for a businesswoman in the male-dominated music industry.
While the proliferation of hip hop parody relies on racial and gender stereotypes for much of its humor, it also offers outsiders the possibility to negotiate otherwise prohibitive social differences from within hip hop culture.
This according to “Pranksta rap: Humor as difference in hip hop” by Charles Hiroshi Garrett, an essay included in Rethinking difference in music scholarship (New York: Cambridge University Press, 2014, pp. 315–337).
Below, Missy Elliott performs Work it, her classic send-up of sexual stereotypes.
Apparently Hindemith seized every opportunity to draw, from early childhood until his last December, when he completed that year’s entry in a series of Christmas cards that spanned more than 20 years.
He used any medium that came to hand—including menus, advertisements, and paper napkins—and clearly never considered his drawings to be very important; they were carelessly preserved, and almost never dated or titled.
Most of Hindemith’s drawings are whimsical, often to the point of grotesquerie. He characteristically filled all the available space, often with impossible conglomerations of people, animals, and machines. The richness of his ideas and the skill of their expression bear witness to a truly original talent.
This according to Paul Hindemith: Der Komponist als Zeichner/Paul Hindemith: The composer as graphic artist (Zürich: Atlantis, 1995).
Below, part of Hindemith’s tribute to a great visual artist—the Renaissance painter Matthias Grünewald. Herbert Blomstedt conducts the Gustav Mahler Jugendorchester in Grablegung, the second movement of Symphony: Mathis Der Maler.
BONUS: Hindemith must have rotated the above drawing several times as he worked on it; it can therefore be viewed with any edge on top. Copy it into a picture editor and rotate it yourself to see the four different angles!
SMUG is a system for generating lyrics and melodies from real-world data, in particular from academic papers.
The developers of SMUG wanted to create a playful experience and establish a novel way of generating textual and musical content that could be applied to other domains, in particular to games.
This according to “SMUG: Scientific Music Generator” by Marco Scirea, Gabriella A. B. Barros, Noor Shaker, and Julian Togelius, a paper included in Proceedings of the Sixth International Conference on Computational Creativity (Provo: Brigham Young University, 2015, pp. 204–211).
Many thanks to Improbable Research for bringing this to our attention! Above, an excerpt from the score generated from Charles Darwin’s On the origin of species by means of natural selection. Below, an app that generates music from barcodes.
Few rock musicians have been as politically and stylistically radical as The Fugs were in their first incarnation, which ran from about 1964 to mid-1969.
They were the first group to shatter taboos against profane and obscene language and explicit lyrics about sex and illicit substances in rock music, predating even The Velvet Underground. They were also among the forerunners of the hybrid known as folk-rock.
They claim to have played more benefits for left-wing political causes than any other band of the era did. They suffered draining battles against censorship and harassment from politicians, law enforcement, and right-wingers.
They drew upon the poetry of William Blake, Allen Ginsberg, and others for some of their more literary lyrics. They were among the first rock artists to smash the barrier against songs running more than five minutes and, along with The Mothers of Invention and The Bonzo Dog Band, they were the funniest band of the time, couching their political and social satire in wit that could be both ferocious and gentle.
This according to “The Fugs” by Ritchie Unterberger, an essay included in Urban spacemen and wayfaring strangers: Overlooked innovators and eccentric visionaries of ’60s rock (San Francisco: Miller Freeman, 2000, pp. 94–108).
Below, The Fugs at the Fillmore East in 1968 (audio only).
Steve Martin’s love of the banjo dawned when he first heard Earl Scruggs on a record in 1962, when he was was 17 years old and living in the no-bluegrass-zone of Orange County, California.
Though the actor and comedian was drawn to the instrument’s high lonesome sound, it served as a prop in his early comedy routines. His influences included John McEuen (later a founding member of the Nitty Gritty Dirt Band), Doug Dillard of the Dillards, and David Lindley (banjo player for the Mad Mountain Ramblers, an acoustic ensemble that Martin heard during a stint at Disneyland).
This according to “Banjo: Obsession is a great substitute for talent” by Mr. Martin, an article included in The Oxford American book of great music writing (Fayetteville: University of Arkansas, 2008, pp. 402–406).
Today is Martin’s 70th birthday! Above, with some friends in 1977; below, live in 2014.