A close reading of Beyoncé’s Video phone illuminates the strategic interplay of subjectivities in a video that essentially disrupts and complicates heteronormative notions of viewing.
In this analysis, the workings of female power versus the male gaze lead to a theoretical conception of gender that contextualizes masculinity and hegemonic femininity. Ultimately, it is in the aestheticized landscape of Video phone that a counter-argument to mainstream heterosexual male imaginary emerges, one where the posthuman figure, in all its hyperreality, is musicalized in a way that defies all conventions.
This according to “Gender, sexuality and the politics of looking in Beyoncé’s Video phone (featuring Lady Gaga)” by Lori Burns and Marc Lafrance, an essay included in The Routledge research companion to popular music and gender (Abingdon: Routledge, 2017, pp. 102–16).
Today is Beyoncé’s 40th birthday! Above and below, the video in question.
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“I almost didn’t put it on the album. I thought it was a little too ambiguous of a song, that maybe people wouldn’t quite know what I’m talking about.”
“The chorus came first. Actually, I wanted to write a chorus that had a lifting melody, that kind of went up.”
“I was in a relationship that was the kind of relationship you have in your early 30s. You think you’re all in it, but it’s all complicated. I had just hung up from a conversation where we didn’t say anything. And I just hung up and said, ‘Why did I do this?’ Oh, well, ‘I would dial the numbers, just to listen to your breath.’ I just want to connect with you so badly.”
“It certainly wasn’t what I thought a hit song was. And then, man, it came out and it just kept going and going and going. What do I know, you know?”
This according to “Melissa Etheridge: The Rolling stone interview” by Brian Hiatt (Rolling stone 16 September 2020; RILM Abstracts 2020-57467).
Today is Etheridge’s 60th birthday! Above, a photo from 2011 by Angela George (licensed under CC BY-SA 3.0); below, a live performance.
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The personification of Enya as a modern archetype of female Ireland has become irrevocably intertwined into the grand narratives of popular culture that make up the last decades of the 20th century.
Her music has many cultural significations; Celticism, romance, fantasy, spirituality, and femininity. The common denominator in Enya’s translucent embodiment of this myth is her seemingly unconscious femininity and her self-distancing from the media and her followers. The unwillingness of Eithne Ní Bhraonáin and her co-creators to discuss their work in turn assists the reading of Enya as a text rather than as an object of ethnographic inquiry.
The significations in the music of Enya’s How can I keep from singing? interrelate with the significations in the lyrics, and a semiotic analysis of the visual imagery in the song’s music video further illuminates how her work perpetuates and reinvigorates the myth of Ireland and Irish womanhood for popular culture.
This according to “How can I keep from singing?” Enya and the female myth of Ireland by Anna Maria Dore, an M.A. thesis accepted by the University of Limerick/Ollscoil Luimnigh in 2003 (RILM Abstracts 2003-21780).
Today is Enya’s 60th birthday! Above and below, the video in question.
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The harp in its winged-maiden form was the standard symbol of Ireland in the eighteenth century, and with the rise of Romantic nationalism the harp was increasingly personified as a female symbol of Ireland and her struggle for political independence.
The iconography of the harp in the context of the United Irishmen of the 1790s formed the basis for the Romanticization of the harp symbol and the female personification of Erin (Ireland) in the poetry of Thomas Moore. While more realistic forms of the Irish harp emerge in nationalist iconography of the nineteenth century, Moore’s imagery inspired paintings and other illustrations of the harp as a woman by artists including Robert Fagan and Daniel Maclise.
This according to “The female harp: The Irish harp in 18th- and early–19th-century Romantic nationalism” By Barra Boydell (RIdIM/RCMI newsletterXX/1 [spring 1995] 10–17; RILM Abstracts 1995-5656).
Happy St. Patrick’s Day! Above, Maclise’s The origin of the harp (1842), inspired by Moore’s poem of the same name. Below, Michelle Mulcahy plays The mountains of Pomeroy, Martin Hardiman’s jig, and The lark on the strand on the Irish harp.
The Iberian double-skinned square frame drum known as the adufe, the pandeiro quadrado (Portuguese), or the pandera cuadrado (Spanish) is played almost exclusively by women, and is a legacy from the medieval period.
While Spanish and Portuguese women play various round-frame drums, the square drum has particular roles in several aspects of secular, religious, and ritual life. The songs women sing while playing the drum reflect their thoughts, concerns, and circumstances.
This according to “‘This drum I play’: Women and square frame drums in Portugal and Spain” by Judith R. Cohen (Ethnomusicology forum XVII/1 [June 2008] 95–124; RILM Abstracts 2008-2708).
The Acehnese dance form ratoh jaroe has empowered young women, especially high school students who are shaping their own youth culture, by taking center stage in Jakarta, one of the largest metropolitan cities in the world.
Young Jakartan women take advantage of the positive reputation of ratoh jaroe there, leveraging perceptions of the genre to channel self-expression and confidence, maintain their physical and mental health, and enrich their social lives, religious identity, education, and future. The genre is a medium for what young female Jakartan students consider success. Furthermore, Jakarta’s cosmopolitan engagement with consumerism and industry, along with the goal-oriented mindset of Jakartan youth, has created a fertile social space for ratoh jaroe’s popularization.
A network of practitioners and the culture of competition drives the circulation and economics of a ratoh jaroe industry, and Jakartan understandings of the dance’s historical roots in Islam promotes its acceptance, allowing young, mainly female, Muslim dancers to maintain their religious identities while performing on a public stage.
This according to “Ratoeh jaroe: Islam, youth, and popular dance in Jakarta, Indonesia” by Maho A. Ishiguro (Yearbook for traditional music LI  73–101; RILM Abstracts 2019-20798).
Below, a Jakartan group performs in 2012.
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Schubert’s early female characterizations stem from the tradition of the poets whose works he set.
Matthisson’s Die Betende and An Laura evoke Petrarch’s Laura, an idealized, unattainable woman who combines chaste purity with erotic beauty, like some of Raphael’s religious figures; Schubert’s settings mix hymnlike elements with irregular phrasing and expressive chromatic features, intertwining spiritual and sensuous emotions.
Another archetype–the lament of a suffering woman whose only salvation lies in transforming sorrow into beautiful song–underlies Schiller’s Des Mädchens Klage, which Schubert dramatizes with an agitated D-minor section that pivots through the relative major into a final epiphany in C major.
While Goethe’s Gretchen is a more profound character than either of these two archetypes, she is related to both in some ways. In Gretchen am Spinnrade she alternates between sorrowful lament and ecstatic reverie, and Schubert’s setting again juxtaposes D minor and C major, but this time the minor key expresses stability and the major key intrudes as a disruptive force. The song’s climaxes convey erotic power in both text and music, underscoring the link between love and death.
This according to “Feminine voices in Schubert’s early laments” by David P. Schroeder (The music review LV/3 [August 1994] 183–201; RILM Abstracts 1996-16685).
While Kitty Wells’s publicity depicted her as sweet and subservient, her performances told a different story; her steel-blade voice conveyed a maturity and temerity that was impossible to misread.
Confident but not flashy, plaintive but not abject, Wells tapped into a rich vein of deeply loyal fans who heard the grit and forbearance of her experience as she sang to and about them. A role model for women who felt both fidelity and frustration toward family values, she was a transitional figure who represented changing times: a fierce traditionalist with her band, the career wife in an otherwise traditional marriage, and the voice of women who predated the feminist movement but still embraced women’s universal desire to be heard.
Projecting a toughness and stamina honed by 16 years as a professional musician, Wells forged feminine stereotypes into tools of power and strength. She built her reputation on this contradiction: She would not make waves and she would open doors.
This according to “Kitty Wells, queen of denial” by Georgia Christgau, an essay included in Country boys and redneck women: New essays in gender and country music (Jackson: University Press of Mississippi, 2016, pp. 211–30).
Black women’s cultural activism in Lima, Perú, enacts a vibrant geohistory of respatializations of raced and gendered embodiment, advancing deprovincialized manifestations of the historical continuities, transnational ties, and internationalist impulses that connect otherwise localized and specific stories of diasporic cultural formation in the Black Americas.
The analytics and vocabularies of sound studies, critical race and gender studies, and feminist geography illuminate convergences within the cross‐generational work of Peruvian black women performers from the mid-20th century to the present. Despite differences in content and form—and at times in approach or aspiration—their collective work as political activists and cultural producers can be understood as both formed by and formative of performance geographies of feminist diasporicity.
This according to “Afroperuvian feminisms and performance geographies of diasporicity, 1953–2013” by Kirstie A. Dorr (Journal of popular music studies XXIX/4 [December 2017] 21 p.).
Above and below, Susana Baca, one of the musicians discussed in the article (yes, that’s David Byrne on rhythm guitar).
Notoriously difficult to categorize as both a genre of music and as a social movement, riot grrrl has come to be acknowledged as one of the most significant crossovers between politics and sound: feminism as music, music as feminism.
Riot grrrl embraced and propagated feminism through its music, lyrics, performances, zines, and everyday activities. It complicated the notion of gender-based aesthetics in both music and in fashion, demanding attention and pointing out the hypocrisies present in our social norms. In addition, the music and movement worked to expose the social and personal concerns of girls that were habitually excluded from the mainstream, including sexual abuse, anorexia, and body image.
Through its incorporation of feminism, riot grrrl attempted to give a voice to girls, allowing for a self-representation that had never been accessible before. Yet their efforts at reappropriation also led to some alarming contradictions in their feminism. Riot grrrl’s use of irony and reworking of traditional gender roles and mores in some cases actually acted to reinforce those culturally sexist ideas of women. These complications deepened the political and social implications of a group of women trying to re-size control over how gender played out in our cultural landscape.
This according to “I predict a riot: Riot grrrls and the contradictions of feminism” by Shayna Maskell, an essay included in The Routledge history of social protest in popular music (New York: Routledge, 2013, pp. 184–97).
Above and below, the pioneering riot grrrl band Bikini Kill in the early 1990s.
For it [the Walkman] permits the possibility…of imposing your soundscape on the surrounding aural environment and thereby domesticating the external world: for a moment, it can all be brought under the STOP/START, FAST FOWARD, PAUSE and REWIND buttons. –Iain Chambers, “The … Continue reading →
In 1947 Ella Fitzgerald, already an acclaimed singer of jazz standards, toured with Dizzy Gillespie, immersing herself in the new style known as bebop. Like Dizzy, Ella responded to bebop’s complex harmonies with an infallible ear, and easily translated its … Continue reading →
Gertrude “Ma” Rainey’s Prove it on me blues affirms her independence from orthodox norms by boldly celebrating her lesbianism. Rainey’s sexual involvement with women was no secret with both colleagues and audiences. The advertisement for the song (above, click to … Continue reading →
The American traditional song Go tell Aunt Rhody originated as a gavotte composed by Jean-Jacques Rousseau for his opera Le devin du village (1752). An English version of the opera was produced in London in 1766; subsequently the melody attracted … Continue reading →