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6 little known facts about The Sound of Music

The Sound of Music, released in 1965, continues to be one of the most beloved family films of all time. In honour of the iconic film, we look behind the scenes to reveal some little known facts about one of our favourite movies. 1. Julie Andrews kept falling over during the famous opening mountain scene While Julie Andrews may look graceful twirling atop the mountain in the opening scenes, in reality she kept being knocked over by the draft of the helicopter trying to capture the iconic aerial scene. Andrews said: “the down draft from those jets was so strong that every time… the helicopter circled around me and the down draft just flattened me into the grass. And I mean flattened. It was fine for a couple of takes, but after that you begin to get just a little bit angry… And I really tried. I mean, I braced myself, I thought, ‘It’s not going to get me this time.’ And every single time, I bit the dust.” 2. Christopher Plummer hates the movies Fans of Christopher Plummer’s Captain von Trapp will be disappointed to learn that he hated the film so much he called it “The Sound of Mucus”. “Because it was so awful and sentimental and gooey,” he said. “You had to work terribly hard to try and infuse some minuscule bit of humour into it.” To ease his pain, Plummer drank, even on set. He admitted on the DVD commentary that he was drunk when filming the Austrian music festival scene. 3. Charmian Carr injured herself during “Sixteen going on seventeen” Charmian Carr, who played Liesl Von Trapp, slipped while leaping from a bench in the gazebo scene. She fell through the glass and injured her ankle. In the scene, she is wearing a bandage on her leg, which is covered by make up. 4. Friedrich grew 15 centimetres during the six months of filming Nicholas Hammond, who played Friedrich Von Trapp, grew from 1.60 metres to 1.75 metres in the six months of filming. It caused many continuity problems in the movie as Friedrich had to be shorter than Liesl but taller than Louisa. As the beginning of the film, Hammond had lifts in his films but by the end, Carr who played Liesl had to stand on a box. 5. Mia Farrow auditioned for the role of Liesl. <a href="https://youtu.be/66v7gtwRGdM" target="_blank" rel="noopener">Watch her audition tape here.</a> 6. The film is historically inaccurate The movie is loosely based on the autobiography of Maria von Trapp, The Story of the Trapp Family Singers, but the film took many liberties. For instance, there were 10 von Trapp children, not seven. Maria left the convent to tutor one of the children, not to governess all them. Georg was a kind man, not the stern disciplinarian as depicted the film. Maria and him were married 11 years before the Nazis invaded Austria. And the Von Trapp family didn’t escape from the mountains by crossing over the mountains – that would have led straight to Hitler’s Germany. Image credits: Getty Images

Movies

How music is changing the way dementia patients think

New research has proven that music truly is the universal language, with experts discovering how the power of music is helping those suffering with dementia. Music therapists have shown that music brings dementia patients back to the present, with some even finding their voice thanks to the nostalgic memories of the past. According to Registered Music Therapist and Managing Director of music therapy company Music Beat, Dr Vicky Abad, the power of music is not to be overlooked when it comes to degenerative diseases. “Music is a window into people’s pasts,” she said. “It builds on strengths and abilities against a disease that can strip a person of their dignity, abilities and quality of life.” The team at <a href="https://www.tricare.com.au/">TriCare Aged Care and Retirement</a>, who see the devastating impact of dementia each and every day, also experience first-hand the impact music has on residents, with many noticing “unrecognisable” changes in personality when a nostalgic tune is played. Louis Rose, an 80-year-old dementia patient and TriCare resident, was diagnosed with dementia six years ago, and requires assistance with many aspects of day to day life. However, listening to music is one thing he can enjoy on his own. “I grew up in Mauritius and while we didn’t have a lot, we certainly had music. Listening to music has always been an escape for me and a way to relax,” Mr Rose said. “When your brain starts to slow down and you find yourself forgetting things, it can be quite frustrating and confusing. Listening to music has been a way to distract myself from what’s going on in my head, it has helped me so much.” Tamsin Sutherland is a regular live music performer at TriCare facilities across Queensland, and has been able to witness incredible moments with the residents as they come alive as soon as she starts to play. “Watching residents who are often non-verbal sing along to the words is incredible,” she said “It really is like they are coming back to life and reconnecting with who they once were. To be part of that is quite emotional for me.” According to Dr Abad, music can help prevent the restless behaviour that often leads to pacing and wandering, especially in the evenings, which are often difficult times for those battling the disease. “Sundowning usually occurs in the late afternoon as dusk approaches, a time that is also associated with what used to be a busy time period in people’s lives,” she noted. “Personalised music is a simple and effective tool to help residents feel validated in their emotions during this time and provides them an opportunity to experience a calmer state of mind”. Image credits: Getty Images

Mind

Country music star dies at age 62

Country music singer Toby Keith has died at the age of 62 after an 18-month battle with stomach cancer. A statement was posted to the musician's website confirming his passing, saying, "Toby Keith passed peacefully last night on February 5th, surrounded by his family." "He fought his fight with grace and courage. Please respect the privacy of his family at this time." Country music icon Dolly Parton led the tributes to the late star shortly after the news of his death broke. Taking to Instagram, she wrote, "It's always hard when we lose our brothers and sisters in country music." "Toby Keith was one of the greats in every way. He will be missed but his music and legacy will live on. Love Dolly." Musician Carrie Underwood also shared a post to her more than 13 million followers on Instagram, calling him a "a true blue cowboy". "Saddle up the horses, Jesus, 'cause a true blue COWBOY just made his ride up to heaven!!!" she wrote. "We're gonna miss you, Toby, but my heart has no doubt that you are standing in the presence of our King right now!!! See you again someday, friend." Image credits: Getty Images

Caring

Sinead O'Connor was once seen as a sacrilegious rebel, but her music and life were deeply infused with spiritual seeking

<a href="https://theconversation.com/profiles/brenna-moore-1457909">Brenna Moore</a>, <a href="https://theconversation.com/institutions/fordham-university-1299">Fordham University</a> When news broke July 26, 2023, that the gifted Irish singer <a href="https://www.bbc.com/news/entertainment-arts-66318626">Sinead O’Connor had died</a>, stories of her most famous performance circulated amid the grief and shock. Thirty-one years ago, after a haunting rendition of Bob Marley’s song “War,” O’Connor ripped up a photograph of Pope John Paul II on live television. “Fight the real enemy,” she said – a reference to <a href="https://theconversation.com/the-catholic-church-sex-abuse-crisis-4-essential-reads-169442">clerical sex abuse</a>. For months afterward, she was banned, <a href="https://www.rollingstone.com/music/music-news/sinead-o-connor-booed-pope-bob-dylan-concert-1176338/">booed and mocked</a>, dismissed as a crazy rebel beyond the pale. Commemorations following her death, however, cast the protest in a very different light. Her “Saturday Night Live” performance is now seen as “invigorating,” <a href="https://www.nytimes.com/2023/07/26/arts/music/sinead-oconnor-snl-pope.html">the New York Times’ pop critic wrote</a>, and “a call to arms for the dispossessed.” Attitudes toward Catholicism, sex and power are far different today than in 1992, whether in New York or O’Connor’s native Dublin. In many people’s eyes, the moral credibility of the Catholic Church around the world <a href="https://news.gallup.com/poll/245858/catholics-faith-clergy-shaken.aspx">has crumbled</a>, and trust in faith institutions of any sort is <a href="https://news.gallup.com/poll/1597/confidence-institutions.aspx">at an all-time low</a>. Sexual abuse, once discussed only in whispers, is now beginning to be talked about openly. I join the chorus of voices today who say O’Connor was decades ahead of her time. But leaving it just at that, we miss something profound about the complexity and depth of her religious imagination. Sinead O’Connor was arguably one of the most spiritually sensitive artists of our time. I am <a href="https://www.fordham.edu/academics/departments/theology/faculty/brenna-moore/">a scholar of Catholicism in the modern era</a> and have long been interested in those figures – the poets, artists, seekers – who wander <a href="https://press.uchicago.edu/ucp/books/book/chicago/K/bo90478851.html">the margins of their religious tradition</a>. These men and women are dissatisfied with the mainstream centers of religious power but nonetheless compelled by something indelibly religious that feeds the wellsprings of their artistic imagination. Throughout her life, O’Connor defied religious labels, exploring multiple faiths. The exquisite freedom in her music cannot be disentangled from <a href="https://www.americamagazine.org/arts-culture/2021/09/16/sinead-oconnor-rememberings-memoir-moore-241369">that something transcendent</a> that she was always after. <h2>‘Rescuing God from religion’</h2> Religion is often thought about as discreet traditions: institutions that someone is either inside or outside. But on the ground, it is rarely that simple. The Catholic Church had a strong hold on Irish society as O’Connor was growing up – a “theocracy,” she called it <a href="https://www.theguardian.com/world/2010/sep/10/sinead-oconnor-pope-visit">in interviews</a> and <a href="https://www.penguin.co.uk/authors/126006/sinead-oconnor">her memoir, “Rememberings</a>” – and for many years she <a href="https://www.reuters.com/article/us-oconnor/singer-sinead-oconnor-demands-pope-steps-down-idUSTRE5BA39Y20091211">called for more accountability</a> for the clerical abuse crisis. But she was also open in her love of other aspects of the faith, albeit often in unorthodox ways. She had a tattoo of Jesus on her chest and continued to critique the church while appearing on television with a priest’s collar. Ten years after her SNL performance, O'Connor took courses at a seminary in Dublin with a Catholic Dominican priest, Rev. Wilfred Harrington. Together, they read the prophets of the Hebrew Bible and the Psalms: sacred scriptures in which God’s voice comes through in darker, moodier, more human forms. Inspired by her teacher, she made the gorgeous album “<a href="https://www.youtube.com/watch?v=xncY5WP12BQ">Theology</a>,” dedicated to him. The album is a mix of some of her own songs inspired by the Hebrew Bible – like “<a href="https://www.youtube.com/wat,h?v=Kf24-rgyOeI">If You Had a Vineyard</a>,” inspired by the Book of Isaiah; and “<a href="https://www.youtube.com/watch?v=Jh7s5BKphw8">Watcher of Men</a>,” which draws from the biblical story of Job – and other tracks that essentially are sung versions of her favorite Psalms. In <a href="https://wfuv.org/content/sinead-oconnor-words-and-music-2007">a 2007 interview</a> with Fordham University’s WFUV radio station, O'Connor said that she was hoping the album could show God to people when religion itself had blocked their access to God. It was a kind of “rescuing God from religion,” to “lift God out of religion.” Rather than preaching or writing, “music is the little way that I do that,” she said, adding, “I say that as someone who has a lot of love for religion.” <h2>Reading the prophets</h2> In doing so, she stood in the long line of the prophetic tradition itself. The great Jewish thinker <a href="https://www.myjewishlearning.com/article/abraham-joshua-heschel-a-prophets-prophet/">Rabbi Abraham Joshua Heschel’s</a> book “<a href="https://www.harpercollins.com/products/the-prophets-abraham-j-heschel?variant=40970012721186">The Prophets</a>” begins with this sentence: “This book is about some of the most disturbing people who have ever lived.” Over and over, the Bible shows the prophets – the prophets who inspired “Theology” – mounting bracing assaults on hypocrisies and insincerities in their own religious communities, and not politely or calmly. To many horrified Catholics, O’Connor’s SNL appearance and her many other criticisms of the church were blasphemous – or, at best, just throwing stones from outside the church for attention. Other fans, however, saw it as prophetic condemnation. It was not just a critique of child abuse but of church officials’ professed compassion for children – sanctimonious pieties <a href="https://www.theguardian.com/world/2009/nov/26/catholic-church-ireland-child-abuse">as they covered up the abuse</a>. In calling this out and so much more, O’Connor was often seen as disturbing: not just the photo-of-the-pope incident, but her androgyny, her shaved head, her openness around her own struggles with mental illness. But for many admirers, as <a href="https://www.youtube.com/watch?v=-VLy1A4En4U">the documentary “Nothing Compares</a>” makes clear, all this showed that she was free, and like the prophets of old, unashamed and unafraid to provoke. <h2>Rasta to Islam</h2> At the same time, O’Connor’s religious imagination was so much more than a complex relationship with Catholicism. Religion around O’Connor was eclectic and intense. She was deeply influenced by <a href="https://theconversation.com/reggaes-sacred-roots-and-call-to-protest-injustice-99069">Rastafarian traditions</a> of Jamaica, <a href="https://wfuv.org/content/sinead-oconnor-words-and-music-2007">which she described</a> as “an anti-religious but massively pro-God spiritual movement.” She considered Sam Cooke’s early album with the Soul Stirrers the best gospel album ever made. She counted among her spiritual heroes Muhammad Ali – and <a href="https://www.bbc.com/news/entertainment-arts-45987127">converted to Islam in 2018</a>, changing her name to Shuhada’ Sadaqat. Yet O’Connor’s vision was not fragmented, as if she were constantly chasing after bits and pieces. The miracle of Sinead O’Connor is that it all coheres, somehow, in the words of an artist who refuses to lie, to hide or not say what she thinks. When asked about spirituality, O’Connor once said that she preferred to sing about it, not talk about it – as she does in so many songs, from <a href="https://www.youtube.com/watch?v=XkP-0rnr_Gw">her luminous singing of the antiphon</a>, a Marian hymn sung at Easter services, to her Rasta-inspired album, “<a href="https://pitchfork.com/reviews/albums/5945-throw-down-your-arms/">Throw Down Your Arms</a>.” In “<a href="https://www.youtube.com/watch?v=haYbyQIEgQk">Something Beautiful</a>,” a track from the “Theology” album, O’Connor speaks both to God and the listener: “I wanna make/ Something beautiful/ For you and from you/ To show you/ I adore you.” Indeed she did. To be moved by her art is to sense a transcendence, a peek into radiance.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/210540/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/brenna-moore-1457909">Brenna Moore</a>, Professor of Theology, <a href="https://theconversation.com/institutions/fordham-university-1299">Fordham University</a> Image credits: Getty Images This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/sinead-oconnor-was-once-seen-as-a-sacrilegious-rebel-but-her-music-and-life-were-deeply-infused-with-spiritual-seeking-210540">original article</a>.

Music

Tony Bennett: the timeless visionary who, with a nod to America’s musical heritage, embraced the future

<a href="https://theconversation.com/profiles/jose-valentino-ruiz-1293457">Jose Valentino Ruiz</a>, <a href="https://theconversation.com/institutions/university-of-florida-1392">University of Florida</a> In the history of American popular music, there have been few luminaries as enduring and innovative as Tony Bennett. With a career that spanned almost 80 years, Bennett’s smooth tones, unique phrasing and visionary musical collaborations left an indelible mark on vocal jazz and the recording industry as a whole. That his <a href="https://apnews.com/article/tony-bennett-dies-c3b3a7e2360449fb936a38794c7c3266">death at the age of 96</a> on July 21, 2023, was mourned by artists as varied as <a href="https://twitter.com/KeithUrban/status/1682395658395824133">Keith Urban</a>, <a href="https://twitter.com/OzzyOsbourne/status/1682411338340126720">Ozzy Osbourne</a> and <a href="https://twitter.com/HarryConnickJR?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1682411086656557056%7Ctwgr%5E04a78435a793b5246d7bc19e09529f2b2f0bcfab%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fvariety.com%2F2023%2Fmusic%2Fnews%2Ftony-bennett-elton-john-reaction-tribute-1235676405%2F">Harry Connick Jr.</a> should come as no surprise. Yes, Bennett was a jazz crooner. But if his voice was always a constant – even late into his 80s, way past an age when most other singers have seen their vocal abilities diminish – then his embrace of the contemporary was every bit a facet of Bennett’s appeal. <h2>Vocal innovator</h2> Bennett’s journey is a testament to the power of daring innovation. From the early days of his career in the 1950s to his final recordings in the early 2020s, he fearlessly explored new musical territories, revolutionizing vocal jazz and captivating audiences across generations. His vocal style and phrasing were distinctive and set him apart from other artists of his time. He utilized a delayed or “laid-back” approach to falling on the note, a technique known as “<a href="https://www.musictheoryacademy.com/how-to-read-sheet-music/rubato/">rubato</a>.” This created a sense of anticipation in his phrasing, adding an element of surprise to his performances. Through Bennett’s skilled use of rubato, he was able to play with the tempo and rhythm of a song, bending and stretching musical phrases to evoke a range of emotions. This subtle manipulation of timing gave his songs a natural and conversational quality, making listeners feel as though he was intimately sharing his stories with them. Armed with this silky, playful voice, Bennett found fame fairly early on in his career, delivering jazz standards alongside the likes of Mel Tormé and Nat King Cole. By the mid-1960s, he was being touted by Frank Sinatra as “the best singer in the business.” But his musical style fell out of fashion in the 1970s – a lean period during which Bennett <a href="https://www.washingtonpost.com/history/2023/07/21/tony-bennett-son-life-career-drugs/">almost succumbed to a drug overdose</a>. Then, in the 1990s, Bennett found a new audience and set off a series of collaborations with contemporary musical stars that would become the standard for his later career. No genre of artistry was deemed off-limits for Bennett. “<a href="https://www.tonybennett.com/music-detail.php?id=11">Duets: An American Classic</a>,” released to coincide with his 80th birthday in 2006, saw collaborations with country stars such as k.d. lang and the Dixie Chicks – now known as the Chicks – and soul legend Stevie Wonder, alongside kindred jazz spirits such as Diana Krall. “Duets II,” a 2011 follow-up, saw further explorations with the likes of Aretha Franklin, Queen Latifah, Willie Nelson and Amy Winehouse, in what would become the <a href="https://faroutmagazine.co.uk/amy-winehouse-final-recording-session/">British singer’s last recording</a>. But his cross-generational, cross-genre and cross-cultural appeal is perhaps best exemplified by his <a href="https://www.nytimes.com/2023/07/21/arts/music/tony-bennett-lady-gaga.html">collaborations with Lady Gaga</a>, first on the 2014 Grammy-winning album “Cheek to Cheek.” The recording brought together two artists from different generations, genres and backgrounds, uniting them in a harmonious celebration of jazz classics. The collaboration not only showcased each one’s vocal prowess, but also sent a powerful message about the unifying nature of music. Lady Gaga, a pop artist with avant-garde leanings, might have seemed an unlikely partner for Bennett, the quintessential jazz crooner. Yet their musical chemistry and mutual admiration resulted in an album that mesmerized audiences worldwide. “Cheek to Cheek” effortlessly transcended musical boundaries, while the duo’s magnetic stage presence and undeniable talent enchanted listeners. The successful fusion of jazz and pop encouraged artists to experiment beyond traditional boundaries, leading to more cross-genre projects across the industry – proving that such projects could go beyond one-off novelties, and be profitable at that. <h2>Timeless artistry</h2> Bennett’s embrace of contemporary artists did not mean that he abandoned his own musical self. By blending traditional jazz with contemporary elements, he managed to captivate audiences across generations, appealing to both longtime fans and new listeners. One key aspect of Bennett’s success was his ability to embody the sentiment of old America, reminiscent of artists like Sinatra, Billie Holiday and Louis Armstrong, while infusing contemporary nuances that resonated with the human condition of a more modern era. His approach to music captured both the essence and struggle of America, giving his songs a timeless and universal appeal. Moreover, his voice conveyed familiarity and comfort, akin to listening to a beloved uncle. Bennett’s albums stood out not only for his soulful voice and impeccable delivery but also for the way he drew others from varied musical backgrounds into his world of jazz sensibilities. As a producer, he recognized the importance of nurturing creativity and bringing out the best in artists. Meanwhile, Bennett’s approach to evolving his own sound while preserving its essence sets him apart as an artist. Fearless in his pursuit of innovation, he delved into contemporary musical elements and collaborated with producers to infuse new sonic dimensions into his later albums. The result drew listeners into an <a href="https://www.youtube.com/watch?v=6kNpdLZwetU">intimate and immersive, concert-like acoustic journey</a>. <h2>Depth of emotion</h2> The greats in music have an ability to speak to the human experience. And either in collaboration with others or on his own, Bennett was able to achieve this time and time again. His albums were successful not only due to their technical brilliance and musicality but also because Bennett’s voice conveyed a depth of emotion that transcended barriers of time and culture, touching the hearts of listeners from various backgrounds. There was a universality in his music that made him a beloved and revered artist across the globe. Bennett’s life spanned decades of societal upheavals in the United States. But in his music, listeners could always find beauty in challenging times. And as the 20th- and 21st-century American music industry went through its own revolutions, Bennett’s artistic evolution mirrored the changes, cementing his place as a music icon who defies the boundaries of time and trends.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/210244/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <iframe style="border-radius: 12px;" src="https://open.spotify.com/embed/playlist/2UxxnhUE5YLchYgutxKEbJ?utm_source=generator" width="100%" height="380" frameborder="0" allowfullscreen="allowfullscreen" loading="lazy"></iframe> <a href="https://theconversation.com/profiles/jose-valentino-ruiz-1293457">Jose Valentino Ruiz</a>, Program Director of Music Business & Entrepreneurship, <a href="https://theconversation.com/institutions/university-of-florida-1392">University of Florida</a> Image credits: Getty Images This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/tony-bennett-the-timeless-visionary-who-with-a-nod-to-americas-musical-heritage-embraced-the-future-210244">original article</a>.

Music

Country music star's "racist" song divides audience

A popular country music star has been forced to defend his new song and accompanying music video, after many condemned the track for being racist. Jason Aldean's song, titled Try That in a Small Town, soared to number one on the country music charts in the US, before been pulled by Country Music Television after claims it promoted gun violence, vigilantism and lynching: a form of execution frequently committed against African-Americans. The singer, who is known for his conservative views, defended the song, saying it was about, “the feeling of community that I had growing up in where we took care of our neighbours, regardless of difference of background or beliefs”. He also slammed the furore against the song, saying saying the accusations against the track that it is “pro lynching” are “not only meritless but dangerous”. Singer Sheryl Crow called out Aldean posting on Twitter, “There’s nothing small town or American about promoting violence,” and called the song “lame” for its controversial themes. <blockquote class="twitter-tweet"> .<a href="https://twitter.com/Jason_Aldean?ref_src=twsrc%5Etfw">@Jason_Aldean</a> I’m from a small town. Even people in small towns are sick of violence.There’s nothing small-town or American about promoting violence. You should know that better than anyone having survived a mass shooting. This is not American or small town-like. It’s just lame <a href="https://t.co/cuOtUO9xjr">https://t.co/cuOtUO9xjr</a> — Sheryl Crow (@SherylCrow) <a href="https://twitter.com/SherylCrow/status/1681485292425867264?ref_src=twsrc%5Etfw">July 19, 2023</a></blockquote> The music video for the song prompted a new wave of backlash, as it was filmed outside the Maury County Courthouse in Columbia, Tennessee, which is a site that African American man was lynched. A writer for entertainment industry magazine <a title="variety.com" href="https://variety.com/2023/music/opinion/jason-aldean-try-that-in-a-small-town-worst-country-song-video-column-1235673177/">Variety</a> said it was “the most contemptible country song of the decade” which traded on the “implicit moral superiority of having a limited number of neighbours”. “For Aldean, it’s about how tiny burgs are under the imminent threat of attack from lawless urban marauders who will have to be kept at bay by any means necessary – meaning, pretty explicitly, vigilantism,” wrote its music critic Chris William. He went on to say the video was “dangerous” because it “conflates the act of protesting with violent crime”. In the wake of the criticism, Aldean hit back on his social media accounts, saying people had gone "too far" with their interpretation of the song. He wrote on Twitter, “There is not a single lyric in the song that references race or points to it – and there isn’t a single clip that isn’t real news footage – and while I can try and respect others to have their own interpretation of a song with music – this one goes too far.” “My political views have never been something I’ve hidden from. And I know that a lot of us in this country don’t agree on how we get back to a sense of normalcy, where we go at least a day without a headline that keeps us up at night, but the desire for it to – that’s what the song is about.” Image credits: Getty Images

Music

How listening to music could help you beat insomnia

<a href="https://theconversation.com/profiles/victoria-williamson-277929">Victoria Williamson</a>, <a href="https://theconversation.com/institutions/university-of-sheffield-1147">University of Sheffield</a> In our hectic world, a good night’s sleep is worth its weight in gold when it comes to improving <a href="http://www.apa.org/topics/sleep/why.aspx">physical and mental well-being</a>. Much more than a basic method of energy conservation, sleep is a state during which muscle and bone are generated and repaired, and memories and learning systems are updated. Sleep also allows the body and brain to clear out the toxic byproducts of the day’s waking activity that might otherwise build up and cause harm. <a href="http://healthysleep.med.harvard.edu/healthy/matters/benefits-of-sleep/why-do-we-sleep">In short, good sleep is a cornerstone of human health</a>. Sadly, not all of us are blessed with the bounty of a good night’s slumber after a long and often tiring day. <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1978319/">Around 30% of adults</a> experience chronic insomnia at some point in their life – where sleep is disrupted for more than a month. Estimates are even higher in older populations and those who experience regular stress. <a href="http://www.webmd.com/sleep-disorders/features/10-results-sleep-loss#1">Insomnia can be devastating</a>, and has been linked to cognitive deficiencies – such as memory lapses, psychological problems including mood and anxiety disorders, and long-term health concerns including obesity and dementia. The most severe cases of chronic insomnia can even increase <a href="http://www.medicalnewstoday.com/articles/290065.php">the risk of mortality</a>. <figure><iframe src="https://www.youtube.com/embed/TTDDK6goHVg?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> The cost of insomnia goes well beyond just health. According to the National Sleep Foundation, insomniacs are two to four times more likely to have an accident – with over <a href="https://www.cdc.gov/features/dsdrowsydriving/">72,000 traffic accidents a year</a> in the US alone linked to sleep deprivation. Insomnia also costs US companies an <a href="http://www.nbcnews.com/id/12152327/ns/health-sleep/t/chronic-sleep-problems-costing-us-billions/">estimated $150 billion</a> in absenteeism and reduced productivity, every year. Given our need for regular and deep sleep, it is no surprise then that people with insomnia often reach for the medicine cabinet. Pharmacies in the UK regularly dispense more than <a href="https://www.theguardian.com/society/2012/may/11/nhs-spending-sleeping-pills-50m">15.3m prescriptions for sleep aids</a>. But this is not the safest route to a good night’s slumber, as the use of over the counter and prescription sleep aids can lead to harmful side effects, dependency and withdrawal. <h2>Music for sleep?</h2> Research has shown that listening to “self-selected” music – music of your choice – can actually shorten stage two sleep cycles. This means people reach restful <a href="https://theconversation.com/can-listening-to-music-help-you-fall-asleep-49864">REM sleep – the restorative part of our sleep – more quickly</a>. In the study, students who listened to 45 minutes of <a href="http://lib.semmelweis.hu/sepub/pdf/2008/a18426457">music before bedtime</a> for three weeks saw a cumulative positive effect on multiple measures of sleep efficiency with similar effects reported in older citizens in Singapore. Following all this evidence, the NHS now recommends “<a href="http://www.nhs.uk/Conditions/Insomnia/Pages/Prevention.aspx">listening to soft music</a>” before bedtime as a method to prevent insomnia. With all this in mind, <a href="http://musicwellbeing.group.shef.ac.uk/">our research unit</a>, along with colleagues from the Sleep and Cognition Laboratory at the University of Lincoln and Goldsmiths, University of London, has embarked on a new music sleep project, to find out what people listen to when they are nodding off – and why people believe music helps their sleep. <a href="https://dl.dropboxusercontent.com/u/16722236/Final%20sleep%20infographic.pdf">The first phase of our music sleep survey </a> has been completed by 651 people, who have told us a great deal about the music that helps them to sleep. We discovered the top rated composer of sleep music in our sample is Johann Sebastian Bach. He was followed by Ed Sheeran, Wolfgang Amadeus Mozart, Brian Eno, and Coldplay. Aside from those few top rated artists, there was an enormous variety of individual choices – with 14 different genres and 545 different artists named. And it is this data which will give us the basis to examine the features of effective sleep music. Using computer programs we will be able to pin down the consistent musical features that support sleep among these many diverse musical sounds. <h2>Face the music</h2> We also found out a lot about the reasons why people are turning to music in the first place. And they are varied. In our <a href="https://dl.dropboxusercontent.com/u/16722236/Final%20sleep%20infographic.pdf">research</a>, people highlighted the importance of music for blocking disruptive external (such as traffic) and internal (like tinnitus) sounds, for filling uncomfortable silences, and providing a sense of companionship and security. This suggests that a one size fits all approach to music for sleep is unlikely to suit all insomniacs, because people are tuning into so many different types of music for so many different reasons. <a href="https://www.youtube.com/watch?v=TTDDK6goHVg&feature=youtu.be">The next step for our research</a> will be to expand <a href="http://musicpsychology.co.uk/sleep/">our survey</a> to cover as many populations and cultures as possible. We will then test the music that people report to be consistently effective at different stages of sleep using advanced sleep recording techniques. Our aim is to develop personalised music selection technology, combined with advice on music sleep strategies, as a complete package for people who need to restore their sleep to normal for the sake of their health, quality of life and well-being. Until then, the best advice we can offer when choosing music to put you to sleep is to trust your own musical choices over generic “sleep” playlists. You know best what you are looking for in a bedtime track – based on what you like and what you need from the music at the time. And in the near future we will be armed with the necessary evidence that will allow us to move from this “instinctive approach” to a more informed and optimised application of music as an effective aid in the battle against insomnia.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/61622/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/victoria-williamson-277929">Victoria Williamson</a>, Lecturer in Music , <a href="https://theconversation.com/institutions/university-of-sheffield-1147">University of Sheffield</a> Image credits: Getty Images This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/how-listening-to-music-could-help-you-beat-insomnia-61622">original article</a>.

Music

Tina Turner: an immense talent with a voice and back catalogue that unites disparate music lovers

<a href="https://theconversation.com/profiles/freya-jarman-535397">Freya Jarman</a>, <a href="https://theconversation.com/institutions/university-of-liverpool-1198">University of Liverpool</a> On a few rare occasions (often at the end of a night), I’ve confided to my friends that Tina Turner was one of my biggest celebrity crushes. The revelation has usually been met with some surprise, and not unreasonably. Born in 1939, Tina was older than my mother and nearly 40 years older than me. But to me, she was a complete goddess from the moment I first encountered her. I vividly recall a white button-down shirt and figure-hugging blue jeans (probably the Foreign Affair tour of 1990) and an awakening of teenage desire. Turner has died aged 83. Reflecting now on her 50-year-long career, I can see the threads that made her the perfect icon for the young queer feminist I was in the early 90s. She was a strong and resilient woman who escaped the control of abusive men and went on to forge a stronger solo career afterwards. But her music also pushed boundaries of genre in ways that start to defy categories of gender, race and age, thereby changing the way female performers could be thought of. In 1967, Turner was both the first Black artist and woman to appear on the cover of <a href="https://www.rollingstone.com/music/music-pictures/tina-turner-rolling-stone-covers-916255/">Rolling Stone</a>. She remains the only Black woman to have been inducted twice into the Rock and Roll Hall of Fame. In 2013, she became the oldest person (at 73) to appear on the <a href="https://www.thecut.com/2013/03/tina-turner-oldest-vogue-cover-model.html">cover of Vogue</a>. Vocally, Turner was raised in the church, Spring Hill Baptist Church in Nutbush, specifically. However, her voice was different from the others she came up alongside. Unlike Dionne Warwick, Aretha Franklin or Diana Ross, Turner’s voice had a grit and a rasp, qualities that always added an unexpected edge to her early work. It was also a sound that enabled her to move beyond soul and blues in her solo career. <h2>A genre-fluid singer</h2> Turner’s first solo album (in 1974) was country, replete with steel guitars and talk of the bayou. The very next year, she performed the role of the <a href="https://www.youtube.com/watch?v=2rJGX8uqoL8&ab_channel=StevenPrestidge">Acid Queen</a> in film of The Who’s psychedelic operetta fantasy, Tommy. The role gave its name to an album featuring several notable rock covers by Turner, such as Led Zeppelin’s Whole Lotta Love. Famously, she escaped from an abusive relationship with her singing partner Ike Turner, securing the rights to her stage name to her comparative financial detriment in their divorce settlement in 1978. Ike exerted his dominance in plain sight, slipping verbal threats of violence into <a href="https://youtu.be/FqdhfwUd2lk?t=88">a live performance of I’ve Been Loving You Too Long</a> at a concert in Ghana (1971). From the early 1980s, Turner made what has repeatedly been described as one of the most remarkable career comebacks of the century. The chart success of her cover of Al Green’s <a href="https://www.youtube.com/watch?v=4rFB4nj_GRc&ab_channel=TinaTurner">Let’s Stay Together</a> (1983) came from left of field and the ensuing album, Private Dancer (1984) went platinum five times. <figure><iframe src="https://www.youtube.com/embed/d4QnalIHlVc?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> Private Dancer represented another musical turn, this time towards the electro-synth pop world inhabited by Heaven 17, whose Rupert Hine and Martyn Ware produced several of the songs. The title song of the album exemplifies the narrative of Tina as a feminist powerhouse. Even 40 years on, the idea of a woman in her mid-40s singing a pop song about sex work is somewhat surprising. It’s not just an allusion to sex work (like, for instance, Blondie’s Call Me). And it’s far from the many songs about female sex workers written and performed by men (take Roxanne by The Police or Killer Queen by Queen for instance). Private Dancer is an explicit and unambiguous declaration of female desire and power in the first person. If anyone were in any doubt that Beyoncé owes a great deal to Turner’s trailblazing, her video for <a href="https://www.youtube.com/watch?v=pZ12_E5R3qc&ab_channel=Beyonc%C3%A9VEVO">Partition</a> is surely evidence, being a direct descendant of Private Dancer with its cage-dancing sex show. Over her 14 solo albums, Turner developed a remarkable capacity to push through boundaries and exist between categories. Along the way, she also changed how a woman in popular music was positioned for consumption. This magic made her fans in all sorts of music listeners. <h2>A musical uniter</h2> Turner’s musical agility allowed her to inhabit contradictory musical spaces simultaneously. For instance, there is the Tina Turner who makes regular appearances on the setlists of DJs at retro club nights, inspiring inebriated patrons to shake their tail feathers in unison. There is an exuberance here that crosses times and identities to bring a crowd together in the ritual of “rolling on the river”. It’s a song that also invites all shades of <a href="https://www.youtube.com/watch?v=GLUJz5xrdds&ab_channel=ThatRPDRChannel">drag performance to honour it</a>. <figure><iframe src="https://www.youtube.com/embed/GC5E8ie2pdM?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> Then there is the Tina Turner who appears – frequently as the only woman, and perhaps uniquely as a Black woman – on compilations targeted at a predominantly male audience. The world of “dad rock” and “driving anthems” is a stronghold of largely white, male baby boomers. Think Robert Palmer, ZZ Top, The Jam and Whitesnake. There alongside them is Turner with songs like The Best, We Don’t Need Another Hero and Nutbush City Limits. Tina Turner’s capacity to transcend these borders of genre, and with them, borders of race, age, and gender, is what made her the absolute legend that she was. To me, it will also always represent a hybridity that calls to my identity as a queer feminist.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/206526/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/freya-jarman-535397">Freya Jarman</a>, Reader in the Department of Music, <a href="https://theconversation.com/institutions/university-of-liverpool-1198">University of Liverpool</a> Image credits: Getty Images This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/tina-turner-an-immense-talent-with-a-voice-and-back-catalogue-that-unites-disparate-music-lovers-206526">original article</a>.

Music

Baby names inspired by music icons

Parents these days are finding baby name inspiration everywhere: from the characters in Disney film Frozen to their favourite chart-topping musicians. Take a look at these popular baby names inspired by leading music icons. Alanis Singer Alanis Morissette made this unique twist on the name Alannah famous. She was named after her father Alan, who is said to have found the name Alanis in a Greek newspaper. Bowie English singer David Bowie could never have guessing he’d inspire a generation of parents to use his iconic surname for their babies. Dylan Bob Dylan is another singer whose last name has been turned on its heard for naming inspiration. Elton Sir Elton John captured a generation with award-winning songs like Tiny Dancer and Candle in the Wind, so it’s little surprise his name is catching on as a unique option. Taylor Once a common American boy’s name, Taylor has become popular as a girl’s name thanks to country pop star Taylor Swift. Enya Irish singer and instrumentalist Enya, whose real name is actually Eithne Ni Bhraonain, is known for chart-topping solo songs such as Sail Away. Fergie Reminiscent of Fergie the Duchess of York and singer Fergie, born Stacy Ann Ferguson, this is a name with attitude. Hendrix Revered American rock guitarist Jimmy Hendix may have only had a career spanning four years, but his name lives on as a modern first name. Joss Musician Joscelyn Eve Stoker, also known by her stage name Joss Stone, made this nickname a household name. Kelis The RnB singer Kelis Rogers is said to have gotten her one-of-a-kind name when her parents combined their names Kenneth and Eveliss. Lennox While Lennox is an aristocratic Scottish surname by tradition, songstress Annie Lennox brought it in vogue as a potential first name. Mya Popularised by RnB singer Mya Harrison, this became a twist on the classically spelt Mia. Ray Jazz musician Ray Charles brought this name back into popularity. It’s also a choice for girls, with spelling switched to ‘Rae.’ Images: Getty

Music

The soundtrack to selling: why advertising with popular music needs to be pitch perfect

<a href="https://theconversation.com/profiles/morteza-abolhasani-1346513">Morteza Abolhasani</a>, <a href="https://theconversation.com/institutions/the-open-university-748">The Open University</a> At some point today, it’s likely that you’ll listen to music. It may be during a commute or school run, while you do some exercise or take some time to relax. Music is all around us – an accessible and popular art form which <a href="https://online.ucpress.edu/mp/article-abstract/22/1/41/62190/Uses-of-Music-in-Everyday-Life?redirectedFrom=fulltext">accompanies our daily lives</a>. Advertisers have long understood the popularity and emotional power of music and used it to sell us things. Much time – and money – is spent on securing the right soundtrack to adverts in a bid to boost sales, such as when Microsoft <a href="https://www.bloomberg.com/news/articles/1999-05-23/sing-a-song-of-selling?leadSource=uverify%20wall">spent a reported US$3 million</a> (£2.4 million) to use The Rolling Stones’ song Start Me Up as part of their advertising campaign for Windows 95. So how do companies choose the right music for their product? And why is it such a valuable ingredient in the mission to make us consume? Research suggests that the specific qualities of music as an art form enhances the science of selling. As one researcher <a href="https://onlinelibrary.wiley.com/doi/10.1002/mar.4220010303">puts it</a>: “Music […] is the catalyst of advertising. It augments pictures and colours words, and often adds a form of energy available through no other source.” Other <a href="https://link.springer.com/chapter/10.1007/978-3-531-18916-1_19">studies have shown</a> how music transports, underlines or amplifies the persuasive message of adverts. Used well, it creates memorable commercials which influence our attitudes to a product or service. Take the visually simple but <a href="https://www.youtube.com/watch?v=J6bGnSEwdKY">compelling advert</a> for Air France, with the soundtrack of Mozart’s Piano Concerto No. 23. It projects grandeur and elegance, in the hope that viewers will associate those qualities with the airline. <figure><iframe src="https://www.youtube.com/embed/J6bGnSEwdKY?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <a href="https://journals.sagepub.com/doi/pdf/10.1177/1470593117692021">My research</a>, which looked at hundreds of viewer comments about the music used in advertising, suggests it was successful. Air France’s use of a sophisticated piece of classical music created a direct perception of a sophisticated and premium airline. This is supported by other <a href="https://academic.oup.com/edited-volume/38632/chapter-abstract/335307151?redirectedFrom=fulltext">research</a> which suggests that music which matches the main message of an advert has a positive effect on consumer engagement. This alignment, known as “musical congruity”, can result in enhanced attention, a positive emotional response, and improved brand recall, ultimately enhancing the effectiveness of an advert. <h2>Down memory lane</h2> Music is also effective at triggering <a href="https://journals.sagepub.com/doi/abs/10.1177/1470593114521451?journalCode=mtqa">feelings of nostalgia</a>. The extent to which music arouses emotional memories – “musical indexicality” – in adverts creates associations with consumers’ past experiences. The music for <a href="https://www.youtube.com/watch?v=_NwBcCUh24I">an advert</a> for Old Navy inspired <a href="https://journals.sagepub.com/doi/pdf/10.1177/1470593117692021">positive comments</a> based on viewers’ memories. A good choice of music allows businesses to tap into this nostalgia for commercial benefit, and my <a href="https://journals.sagepub.com/doi/pdf/10.1177/1470593117692021">research suggests</a> that music with autobiographical resonance can be particularly effective. Another example of this is when <a href="https://www.youtube.com/results?search_query=pink+moon+vw">Volkswagen used</a> Nick Drake’s Pink Moon. <figure><iframe src="https://www.youtube.com/embed/_-kqUkZnDcM?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> As one viewer commented: “Rarely do I get sentimental with commercials, but this one takes me back to the time when I was dating my wife and when we were first married. We used to take drives like this in the mountains and I remember looking at her beautiful face in the moonlight. The music is perfect. The sentiment is perfect.” (In this case, the 1999 advert also had a big impact on Nick Drake’s popularity, with album sales <a href="https://www.rollingstone.com/music/music-news/nick-drake-pink-moon-song-volkwagen-commercial-182739/">dramatically increasing</a> after the advert’s release. Drake, who died at the age of 26, never saw commercial success in his lifetime.) <h2>Commercial clash</h2> But using music to advertise products doesn’t always work. For one thing, music can infiltrate the mind, repeat itself continuously and become extremely difficult to dislodge. This is why we can’t get some jingles out of our heads for ages. Involuntary and repetitive exposure to a piece of music can quickly reach the point of annoyance. The use of popular music in advertising can also provoke arguments around <a href="https://journals.library.columbia.edu/index.php/currentmusicology/article/view/5206">the tensions</a> between artistic endeavour and commercialism. Some people believe a work of art should not be used for the pursuit of profit. In fact, the findings of my study on viewer comments showed that consumers sometimes passionately oppose the use of music by revered musicians being used in adverts, as they believe that doing this undermines its aesthetic integrity. For example, Nike’s use of the The Beatles’ song Revolution was seen by some as exploiting John Lennon’s lyrics to sell shoes. It made some Nike wearers so angry that they boycotted the brand. One wrote: “This is disgusting. Shame on Nike for exploiting priceless art. I will never buy another Nike shoe again.” Another said: “John didn’t mean change the brand of your trainers!” So advertisers need to be careful. For while the right choice of music can attract customers, boost sales, and inspire brand loyalty, the wrong choice can create something of a backlash. For many people, music is precious, and using it as a marketing tool does not always have harmonious results.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/203856/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/morteza-abolhasani-1346513">Morteza Abolhasani</a>, Lecturer in Marketing, <a href="https://theconversation.com/institutions/the-open-university-748">The Open University</a> Image credits: Getty Images This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/the-soundtrack-to-selling-why-advertising-with-popular-music-needs-to-be-pitch-perfect-203856">original article</a>.

Music

How one brave mum is shedding light on postnatal depression through the healing power of music

Warning: This article contains sensitive content which some readers may find distressing. It’s no secret that having a baby changes your life in every way. From sleepless nights and feeding routines, to nappy changes and seemingly endless crying, starting a family is, put simply, a life-altering experience. And while the early days of having a newborn can bring love and chaos in equal parts, for some, the days, weeks and months after giving birth can welcome a whole new set of challenges. While most parents are privy to the “baby blues” and a rough day here and there, those struggling with postnatal depression can often be overlooked. Postnatal depression is common, with one in five mums, and one in 10 dads, experiencing postnatal depression symptoms after their baby is born. For Lija (pronounced Le-ah), postnatal depression completely changed her life. Lija, a music teacher from the Central Coast of New South Wales, welcomed her first child, a beautiful daughter named Harper, into the world at the end of 2017. When Lija discovered she was going to become a mum, she was overcome with fear. Lija spoke exclusively with OverSixty about her journey with postnatal depression, and how her feelings of anxiety began as soon as she fell pregnant. “There was this lie in my head that I could not give birth… That I would die. You feel like you can’t make a way through it and you’re predicting all these complications. [Lija’s friends’ traumatic birth experience] confirmed all these feelings and i just thought ‘Maybe you die from this’.” As soon as Lija and her husband began to celebrate the news of their growing family, she quickly began to “spiral” into self-doubt and depressive episodes. “When I found out I was pregnant, it was a spiral. I didn’t think I was good enough, I was crying so much… I didn’t feel like I could tell anyone because I was so gripped in fear.” “It took me about seven months to accept that I was having a kid.” Over the course of her pregnancy, Lija’s mental health continued to plummet with her feelings of fear and self-doubt, which led her down an even darker path. “The worst part was I was suicidal. There were moments where I wanted to end my life because I just felt like my time was up.” These feelings of helplessness led Lija to reach out to a counsellor, who helped manage her mental health symptoms for the rest of her pregnancy and introduced her to hypnobirthing. Her sessions with a hypnobirthing specialist gave Lija the boost she needed to be in tune with her body, and get her through to Harper’s birth with a sense of confidence. “If I’ve grown a baby, I can give birth to a baby. It was all just focus.” When Harper was born, Lija remembers healthcare professionals warning her husband that her mental health could decline, but she was never spoken to directly. “Apparently nurses were talking to my husband after the birth saying ‘She’s going to be prone to postnatal depression, you need to watch her’, but no one told me I was going to be so lonely.” “I was so focused on the birth going well that I hadn’t thought about what happens after, and I didn’t know what postnatal depression was.” When Lija and her husband brought baby Harper home, as they encountered perfectly common issues around sleep and breastfeeding, Lija thought she had failed as a first-time mum. “I felt like I failed as a mum because I couldn't give Harper everything she needed. And that started all these terrible thoughts and I just started to mentally spiral down again. But I didn’t know for about six months that I had postnatal depression.” During the first few months of Harper’s life, Lija began to find simple day-to-day tasks very difficult. “My poor husband… I was a psycho. It began when I said no one was allowed to come over because I was constantly in my pyjamas and I felt ashamed that my house wasn’t clean.” Lija shared that as she began to settle into the reality of being a mum, Harper’s needs always came first. “I was just in such a routine. I needed to have my baby follow a good structure, which meant my mental health took a backseat. So I just kept spiralling and spiralling.” As Lija tried to better herself, she quickly found out that comparing yourself to other new parents is a slippery slope that welcomes thoughts of self-doubt. “I tried to go to a mum’s club and they all seemed so perfect. I feel like they weren’t real. It was like Instagram mums. So to try and look good, I was spending all this money to try and keep up appearances.” As Lija’s mental health continued to suffer, she said it wasn’t until a difficult conversation with her husband that she realised she needed professional help. “I wasn’t being the normal me. There was no joy, there was no laughter, and I felt like I failed as a mother and as a wife. So my husband said ‘I’ve booked you in for a therapy session’, and that was the start of it.” “I wanted to be better for Harper. I wanted to be a good mum for her. So I had to start working on myself.” Now, five years on, Lija is reflecting on her experience with postnatal depression in the best way she knows how: through her music. Lija’s debut single Save Me details her journey of becoming a mum and bettering herself, while painting an honest portrait of the first months of motherhood. <iframe title="YouTube video player" src="https://www.youtube.com/embed/tmHTlybb-rM" width="560" height="315" frameborder="0" allowfullscreen="allowfullscreen"></iframe> After being a musician for most of her life, Lija’s passion took a backseat when she became a mother. “I started to miss my music, because I've done music my whole life. It was so hard to walk past my studio and see the guitar going to waste. I started to miss the other half of me as a musician.” After working on Save Me for several years, Lija believes it is the right time to put her story out there in order to help and inspire other parents struggling with postnatal depression. “It’s okay to be vulnerable. Be real, because you can help others with your honesty.” “It’s also important to remember that babies aren’t going to remember the best outfits they were in, or if they had the best pram. They're going to remember if they were loved or not.” Lija has long been a champion of music and its healing power, which became a saviour in her darkest times through her postnatal depression journey. “I went back to teaching music three months after having Harper. I worked one day a week and these kids and teenagers that were singing to me were actually healing me with their music and their talent.” “Music is something I have always turned to. It has always spoken to me, and I thought if I write a song about my journey, that could heal me too. I thought ‘It’s time to kick fear in the butt and write about life’.” Musical talent is something that runs in the family, with Harper’s singing talents already at “the next level”. “I swear she came out singing! Her ability to hear pitch is insane. In lockdown, she would be singing scales while I was teaching music classes over Zoom. She is just so joyous, and she is like my healing.” Lija’s debut single Save Me is out on now. Don't go it alone. Please reach out for help. Lifeline: 13 11 14 or <a href="http://lifeline.org.au/">lifeline.org.au</a> Beyond Blue: 1300 22 4636 or <a href="http://beyondblue.org.au/">beyondblue.org.au</a> Headspace: 1800 650 890 or <a href="http://headspace.org.au/">headspace.org.au</a> PANDA (Perinatal Anxiety & Depression Australia): 1300 726 306 or <a href="https://panda.org.au/">panda.org.au</a> Image credits: Instagram

Music

Inspiration, influence and theft: what the Ed Sheeran case can tell us about 70 years of pop music

a US court <a href="https://www.theguardian.com/music/2023/may/04/ed-sheeran-verdict-not-liable-copyright-lawsuit-marvin-gaye">ruled in favour of singer-songwriter Ed Sheeran</a>, agreeing his song Thinking Out Loud did not breach musical copyright. The high-profile court case, brought by the estate of soul singer Marvin Gaye, claimed Sheeran’s song was too similar to Gaye’s song Let’s Get It On. On the stand, Sheeran <a href="https://www.theguardian.com/music/2023/apr/28/ed-sheeran-sings-in-court-as-part-of-marvin-gaye-copyright-case">defended his songwriting process</a>, stating: “I draw inspiration from a lot from things in my life and family.” Sheeran’s case brought up some difficult questions around what we understand as inspiration and influence, and what we may hear as theft. Musical copyright cases are part of songwriting history. Radiohead’s Creep was found to be <a href="https://entertainment.time.com/2013/08/22/11-suspiciously-sound-alike-songs/slide/the-hollies-the-air-that-i-breathe-1974-vs-radiohead-creep-1992/">too similar</a> to the Hollies’ The Air That I Breathe, and in 2018, Lana Del Rey’s Get Free <a href="https://variety.com/2018/biz/news/lana-del-rey-claims-lawsuit-with-radiohead-is-over-watch-1202736177/">was found to plagiarise Creep</a>. Mark Ronson and Bruno Mars altered the credits to Uptown Funk to <a href="https://www.rollingstone.com/music/music-news/lawsuit-bmg-uptown-funk-royalties-gap-band-heirs-1234660379/">acknowledge the similarity</a> to The Gap Band’s Oops Upside Your Head. Here in Australia, the flute solo in Men at Work’s Down Under, which quoted the melody of folk song Kookaburra Sits in the Old Gum Tree, was <a href="https://www.theguardian.com/music/2010/jul/06/men-at-work-down-under">ruled as plagiarism</a>. In this case against Sheeran, the song’s chord progression was at the heart of the claim. The prosecution argued Sheeran’s chord progression was too similar to the chord progression of Gaye’s. But can we copyright a chord progression if it is used extensively in other pop songs? Gaye’s song uses four chords that gradually move upward (I-iii-IV-V). These same chords can be heard in the Beach Boys’ I Can Hear Music, the Seekers’ Georgy Girl, the Beatles’ I Feel Fine, in the Motown tune This Old Heart of Mine by the Isley Brothers, Elvis Presley’s Suspicious Minds, Cher’s Believe and ABBA’s Knowing Me Knowing You, among many others. This chord progression and many others are part of the songwriting toolkit of rock and pop and have been heard continuously over the past 70 years. <h2>The 12 bar blues</h2> A chord progression is the main instrumental part you hear in most pop music, usually played by a guitar, piano or synth. One of the oldest chord progressions in pop is the 12-bar blues – a looping pattern of three chords that is very identifiable. As the name suggests, this set of chords stems from early blues and was a way for musicians to easily play together and improvise. A version of this progression can be heard in Muddy Waters’ I’m Your Hoochie Coochie Man or John Lee Hooker’s Boom Boom. You can also hear this progression in a number of other pop songs – listen to verses of Queen’s I Want to Break Free and Kiss by Prince – both use the same chord progression, but sound very different to each other. More recently, Lizzo’s Better in Colour uses the 12-bar blues in a way that makes an old formula fresh. <h2>The ‘doo-wop’ progression</h2> The “doo-wop” progression has appeared in pop music for close to 80 years, and is named because most doo-wop songs feature this chord progression – it was an essential part of its sound. You can hear it in 1950s hits such as the Penguins’ Earth Angel and Frankie Lymon and the Teenagers’ Why Do Fools Fall in Love?. The strength of these chords means they are used in pop music of all kinds, including ELO’s Telephone Line, Don’t Dream it’s Over by Crowded House, Destiny’s Child’s Say My Name, Blank Space by Taylor Swift, and Flowers by Miley Cyrus. Despite its consistent use, these chords still cross genres and eras, and still catch our ears. Comedy act Axis of Awesome use a similar progression in their video for 4 Chords, where they cleverly play almost 50 different songs with a variation on these four simple chords. <iframe title="YouTube video player" src="https://www.youtube.com/embed/oOlDewpCfZQ" width="560" height="315" frameborder="0" allowfullscreen="allowfullscreen"></iframe> <h2>The I-IV-V (the ‘one, four, five’)</h2> Perhaps the most common chord progressions in rock and pop are those that use the I, IV and V chords in various combinations. They’re usually the first three chords you learn on an instrument and open up thousands of songs to play – from the rock and roll of Summertime Blues by Eddie Cochran, the garage rock of Wild Thing by the Troggs, the bubblegum of Hanson’s Mmmbop and the indie rock of Coldplay’s Yellow, to the modern pop of bad guy by Billie Eilish and good 4 u by Olivia Rodrigo. <h2>Going forward</h2> Rock, pop, blues, doo wop and other musical genres can often be defined by their use of repeated chord progressions. These chord progressions are part of a songwriter’s toolkit in a similar way to how an artist may use different paint brushes. As Sheeran’s lawyer Ilene Farkas <a href="https://www.theguardian.com/music/2023/may/04/ed-sheeran-verdict-not-liable-copyright-lawsuit-marvin-gaye">noted</a>, chord progressions are, "the letters of the alphabet of music […] these are basic musical building blocks that songwriters now and forever must be free to use." It is how these “building blocks” are used, and in what combinations, that gives us a great variety of pop songs over many decades. The true craft of great pop music is to take these formulas and turn them into something unique (while simultaneously making it sound easy). The ruling in Sheeran’s case supports the rights of musical artists to continue to use these progressions as part of a songwriter’s toolkit, and to build from the artists who came before them. It also acknowledges that influence and inspiration from previous works are part of the construction of the pop music we love. Image credits: Getty Images This article originally appeared on <a href="https://theconversation.com/inspiration-influence-and-theft-what-the-ed-sheeran-case-can-tell-us-about-70-years-of-pop-music-204747" target="_blank" rel="noopener">The Conversation</a>.

Music

Madonna releases “controversial” 20 year old music video

Pop veteran Madonna has finally released the music video for her hit song American Life, 20 years after it was filmed. The video, which is arguably her most controversial yet, was originally set to come out in 2003, but was scrapped at the last minute due to overwhelming negative press. While the song itself was a wry look at Madonna’s own experiences of fame and success, the original video was instead a graphic commentary on the then-imminent American invasion of Iraq. Shot just weeks before the war began, the video shows Madonna and her posse of backup dancers all wearing army garb, preparing for a fashion show that sees soldiers walk the catwalk alongside victims of war. The “fashion” show is observed by disinterested fashion experts, who watch on with impassive faces as violence breaks out on the catwalk, with blood and guts spilling everywhere. Had it have been released at the time of growing tensions between the US and Iraq, the video would’ve been heavily censored, or even banned, due to the numerous graphic depictions of violence, with dismembered and disembowelled victims laying on the runway. In response to the outrage, Madonna said the video would never see the light of day. “I have decided not to release my new video. It was filmed before the war started and I do not believe it is appropriate to air it at this time. Due to the volatile state of the world and out of sensitivity and respect to the armed forces, who I support and pray for, I do not want to risk offending anyone who might misinterpret the meaning of this video,” she said in 2003. Now, two decades later, Madonna’s finally officially released the original music video on her official YouTube channel to mark the album’s 20th anniversary. You can watch the video <a href="https://www.youtube.com/watch?v=bZAMiK6ROZA">here</a>, but be warned that viewer discretion is advised. Despite the backlash that occurred when the video was first filmed, many fans are glad the unseen footage has finally been released. The video has racked up hundreds of thousands of views in less than a week, and multiple comments praising the pop veteran for her bold statement. One commenter wrote, “This video is not only iconic but also a powerful and still relevant message to this day. I'm glad it finally got an official release after all these years!” Image credits: Getty Images

Music

"I'm done": Why Ed Sheeran is threatening to quit music

Ed Sheehan has made a bold statement about the future of his career, while fighting an "insulting" court case. The British singer-songwriter is currently embroiled in a copyright case which has seen him take the stand in a New York City courtroom to defend his music. Sheeran, 32, is being sued over his 2014 single Thinking Out Loud by Structured Asset Sales, who claim that Sheeran's hit took elements directly from Marvin Gaye's Let's Get It On. On Monday morning local time, Sheeran took to the stand for a second time, expressing his exasperation over the case, and saying he will quit music if he loses the case. "If that happens, I'm done, I'm stopping," Sheeran said, per <a title="People" href="https://people.com/music/ed-sheeran-done-if-he-loses-lets-get-it-on-copyright-lawsuit/" target="_blank" rel="nofollow noopener">People</a>, on the stand when his lawyer, Ilene Farkas, asked him what he would do if the court found Thinking Out Loud to be too similar to Gaye's Let's Get It On. "I find it to be really insulting," Sheeran added. "I work really hard to be where I'm at." Sheeran didn't clarify his comments once court has adjourned, leaving many fans concerned over the future of his career. Structured Asset Sales launched the lawsuit against Sheeran in 2018 after purchasing a third of the shares of Let's Get It On from the family of the song's co-writer, Ed Townsend. During the courtroom proceedings, Sheeran was also cross-examined in court by the plaintiff's lawyer, Robert Frank – which prompted the award-winning singer to complain. "You're trying to diminish my success," Sheeran told Frank on the stand in response to his line of questioning. "Thinking Out Loud was my first Grammy." "It was pretty devastating and pretty frightening because it's something we did not do," Thinking Out Loud co-writer Amy Wage said on the stand about the copyright allegations. Sheeran also referenced the plaintiff's musicologist Alexander Stewart's testimony from last week, which saw Stewart argue Thinking Out Loud and Let's Get It On were "very, very similar". "I think what he's doing is criminal here," Sheeran said of Stewart's testimony. "I don't know why he's allowed to be an expert." Image credits: Getty Images

Music

What’s behind the magic of live music?

For months, fans were relegated to watching their favorite singers and musicians over Zoom or via webcasts. Now, live shows – from <a href="https://abc7chicago.com/lollapalooza-2021-vaccine-requirement-saturday/10922695/">festivals like Lollapalooza</a> to <a href="https://www.nytimes.com/live/2021/09/14/theater/broadway-reopening-shows-nyc">Broadway musicals</a> – are officially back. The songs that beamed into living rooms during the depths of the COVID-19 pandemic may have featured an artist’s hits. But there’s just <a href="https://www.belfasttelegraph.co.uk/news/republic-of-ireland/emotional-and-surreal-fans-return-to-live-music-in-ireland-40525205.html">something magical</a> about seeing music surrounded by other people. Some fans reported being so moved by their first live shows in nearly two years that <a href="https://twitter.com/CaitlinSchiffer/status/1437988855676817411?s=20">they wept with joy</a>. <a href="https://music.columbia.edu/bios/mariusz-kozak">As a music theorist</a>, I’ve spent my career trying to figure out just what that “magic” is. And part of understanding this requires thinking about music as more than simply sounds washing over a listener. <h2>Music as more than communication</h2> Music is often thought of as a <a href="https://doi.org/10.3389/fpsyg.2012.00052">twin sister to language</a>. Whereas words tend to convey ideas and knowledge, music transmits emotions. According to this view, performers broadcast their messages – the music – to their audience. Listeners decode the messages on the basis of their own listening habits, and that’s how they interpret the emotions the performers hope to communicate. But if all music did was communicate emotions, watching an online concert should’ve been no different than going to a live show. After all, in both cases, listeners heard the same melodies, the same harmonies and the same rhythms. So what couldn’t be experienced through a computer screen? The short answer is that music does far more than communicate. When witnessed in person, with other people, it can create powerful <a href="https://www.cambridge.org/core/journals/behavioral-and-brain-sciences/article/music-as-a-coevolved-system-for-social-bonding/F1ACB3586FD3DD5965E56021F506BC4F/share/467b545a472056b57236dd84e46e9495712b2a6e">physical and emotional bonds</a>. <h2>A ‘mutual tuning-in’</h2> Without physical interactions, our well-being suffers. We fail to achieve what the philosopher Alfred Schütz called a “<a href="https://www.jstor.org/stable/40969255">mutual tuning-in</a>,” or what the pianist and Harvard professor Vijay Iyer more recently described as “<a href="https://www.ojaifestival.org/2017-ojai-music-festival-program-notes/">being together in time</a>.” In my book “<a href="https://global.oup.com/academic/product/enacting-musical-time-9780190080204?cc=us&lang=en&">Enacting Musical Time</a>,” I note that time has a certain feel and texture that goes beyond the mere fact of its passage. It can move faster or slower, of course. But it can also thrum with emotion: There are times that are somber, joyous, melancholy, exuberant and so on. When the passage of time is experienced in the presence of others, it can give rise to a form of intimacy in which people revel or grieve together. That may be why physical distancing and social isolation imposed by the pandemic were so difficult for so many people – and why many people whose lives and routines were upended reported an <a href="https://doi.org/10.3389/fpsyg.2020.581036">unsettling change in their sense of time</a>. When we’re in physical proximity, our mutual tuning-in toward one another actually <a href="https://doi.org/10.1371/journal.pone.0094446">generates bodily rhythms that make us feel good</a> and <a href="https://doi.org/10.3389/fpsyg.2016.00782">gives us a greater sense of belonging</a>. One study found that babies who are bounced to music in sync with an adult <a href="https://doi.org/10.1111/infa.12140">display increased altruism</a> toward that person, while another found that people who are close friends tend to <a href="https://www.sciencedaily.com/releases/2012/12/121213104230.htm">synchronize their movements</a> when talking or walking together. Music isn’t necessary for this synchronization to emerge, but rhythms and beats facilitate the synchronization by giving it a shape. On the one hand, music encourages people to make specific movements and gestures while they dance or clap or just bob their heads to the beat. On the other, music gives audiences a temporal scaffold: <a href="https://www.youtube.com/watch?v=4hYYgz-AJKU">where to place these movements and gestures</a>so that they’re synchronized with others. <h2>The great synchronizer</h2> Because of the pleasurable effect of being synchronized with people around you, the emotional satisfaction you get from listening or watching online is fundamentally different from going to a live performance. At a concert, you can see and feel other bodies around you. Even when explicit movement is restricted, like at a typical Western classical concert, you sense the presence of others, a mass of bodies that punctures your personal bubble. The music shapes this mass of humanity, giving it structure, suggesting moments of tension and relaxation, of breath, of fluctuations in energy – moments that might translate into movement and gesture as soon as people become tuned into one another. <div data-react-class="Tweet" data-react-props="{"> <div> </div> </div> This structure is usually conveyed with sound, but different musical practices around the world suggest that the experience is not limited to hearing. In fact, it can include the synchronization of visuals and human touch. For example, in the deaf musical community, sound is only one small part of the expression. In Christine Sun Kim’s “<a href="http://christinesunkim.com/work/face-opera-ii/">face opera ii</a>” – a piece for <a href="https://pubmed.ncbi.nlm.nih.gov/31750130/">prelingually deaf</a> performers – participants “sing” without using their hands, and instead use facial gestures and movements to convey emotions. Like the line “fa-la-la-la-la” in the famous Christmas carol “<a href="https://youtu.be/WgEVI8DEkF8">Deck the Halls</a>,” words can be deprived of their meaning until all that’s left is their emotional tone. In some cultures, music is, conceptually, <a href="https://doi.org/10.1098/rstb.2014.0096">no different</a> from dance, ritual or play. For example, the <a href="https://doi-org.ezproxy.cul.columbia.edu/10.2307/850267">Blackfeet in North America</a> use the same word to refer to a combination of music, dance and ceremony. And the <a href="https://doi.org/10.7551/mitpress/9780262018104.003.0002">Bayaka Pygmies of Central Africa </a>have the same term for different forms of music, cooperation and play. Many other groups around the world categorize communal pursuits under the same umbrella. They all use markers of time like a regular beat – whether it’s the sound of a <a href="http://www.kumeyaay.info/music/gourdrattles.html">gourd rattle</a> during a <a href="http://eviada.webhost.iu.edu/scripts/collection.cfm?mc=7&ctID=33">Suyá Kahran Ngere ceremony</a> or <a href="https://nyupress.org/9780814731208/the-games-black-girls-play/">groups of girls chanting</a> “Mary Mack dressed in black” in a hand-clapping game – to allow participants to synchronize their movements. Not all of these practices necessarily evoke the word “music.” But we can think of them as musical in their own way. They all teach people how to act in relation to one another by teasing, guiding and even urging them to move together. In time. As one. Image credits: Getty Images This article originally appeared on <a href="https://theconversation.com/whats-behind-the-magic-of-live-music-169343" target="_blank" rel="noopener">The Conversation</a>.

Music

As the global musical phenomenon turns 50, a hip-hop professor explains what the word ‘dope’ means to him

After I finished my Ph.D. in 2017, several newspaper reporters wrote about the job I’d accepted at the University of Virginia as an assistant professor of hip-hop. “A.D. Carson just scored, arguably, the dopest job ever,” one <a href="https://www.usatoday.com/story/news/2017/07/03/virginia-ad-carson-hip-hop-professor/435032001/">journalist wrote</a>. The writer may not have meant it the way I read it, but the terminology was significant to me. Hip-hop’s early luminaries transformed the word’s original meanings, using it as a synonym for cool. In the 50 years since, it endures as an expression of respect and praise – and illegal substances. In that context, dope has everything to do with my work. In the year I graduated from college, one of my best friends was sent to federal prison for possession of crack cocaine with intent to distribute. He served nearly a decade and has been back in prison several times since. But before he went to prison, he helped me finish school by paying off my tuition. In a very real way, dope has as much to do with me finishing my studies and becoming a professor as it does with him serving time in a federal prison. <h2>Academic dope</h2> For my Ph.D. dissertation in Rhetorics, Communications, and Information Design, I wrote a <a href="http://phd.aydeethegreat.com/">rap album</a> titled “Owning My Masters: The Rhetorics of Rhymes & Revolutions.” A peer-reviewed, mastered version of the album is due out this summer from University of Michigan Press. Part of my reasoning for writing it that way involved my ideas about dope. I want to question who gets to determine who and what are dope and whether any university can produce expertise on the people who created hip-hop. While I was initially met with <a href="https://www.theatlantic.com/national/archive/2016/04/clemson-university-arrests/478455/">considerable resistance</a> for my work at Clemson, the university eventually became supportive and touted “<a href="https://news.clemson.edu/clemson-doctoral-student-produces-rap-album-for-dissertation-it-goes-viral/">a dissertation with a beat</a>.” <blockquote class="twitter-tweet"> A Dissertation with a Beat. 🔊🎤 🔊<a href="https://twitter.com/hashtag/Clemson?src=hash&ref_src=twsrc%5Etfw">#Clemson</a> doctoral student produces rap album for dissertation; it goes viral ➡️ <a href="https://t.co/wgiM9LS6k5">https://t.co/wgiM9LS6k5</a> <a href="https://t.co/r1lmBYXV2S">pic.twitter.com/r1lmBYXV2S</a> — Clemson University (@ClemsonUniv) <a href="https://twitter.com/ClemsonUniv/status/845990987440652289?ref_src=twsrc%5Etfw">March 26, 2017</a></blockquote> Clemson is not the only school to recognize hip-hop as dope. In the 50 years since its start at <a href="https://theconversation.com/hip-hop-holiday-signals-a-turning-point-in-education-for-a-music-form-that-began-at-a-back-to-school-party-in-the-bronx-165525">a back-to-school party</a> in the South Bronx, hip-hop, the culture and its art forms have come a long way to a place of relative prominence in educational institutions. Since 2013, Harvard University has housed the <a href="https://hutchinscenter.fas.harvard.edu/institutes/hiphop-archive-research-institute">Hiphop Archive & Research Institute</a> and the <a href="https://hutchinscenter.fas.harvard.edu/faq/nasir-jones-hiphop-fellowship">Nasir Jones Hiphop Fellowship</a> that funds scholars and artists who demonstrate “exceptional scholarship and creativity in the arts in connection with Hiphop.” UCLA announced an <a href="https://www.latimes.com/entertainment-arts/music/story/2022-03-28/ucla-hip-hop-initiative-chuck-d">ambitious Hip Hop Initiative</a> to kick off the golden anniversary. The initiative includes artist residencies, community engagement programs, a book series and a digital archive project. Perhaps my receiving tenure and promotion at the University of Virginia is part of the school’s attempt to help codify the existence of hip-hop scholarship. When I write about “dope,” I’m thinking of Black people like drugs to which the U.S. is addicted. Dope is a frame to help clarify the attempts, throughout American history, at outlawing and <a href="https://www.ilsos.gov/departments/archives/online_exhibits/100_documents/1853-black-law.html">legalizing</a> the presence of Black people and Black culture. As dope, Black people are America’s constant ailment and cure. To me, dope is an aspiration and a methodology to acknowledge and resist America’s steady surveillance, scrutiny and criminalization of Blackness. By this definition, dope is not only what we are, it’s also who we want to be and how we demonstrate our being. Dope is about what we can make with what we are given. Dope is a product of conditions created by America. It is also a product that helped create America. Whenever Blackness has been seen as lucrative, businesses like record companies and institutions like colleges and universities have sought to capitalize. To remove the negative stigmas associated with dope, these institutions cast themselves in roles similar to a pharmacy. Even though I don’t believe academia has the power or authority to bestow hip-hop credibility, a question remains – does having a Ph.D and producing rap music as <a href="https://theconversation.com/hip-hop-professor-looks-to-open-doors-with-worlds-first-peer-reviewed-rap-album-153761">peer-reviewed publications</a>change my dopeness in some way? <h2>Legalizing dope</h2> Though I earned a Ph.D by rapping, my own relationship to hip-hop in academic institutions remains fraught. Part of the problem was noted in 2014 by Michelle Alexander, a legal scholar and author of “<a href="http://newjimcrow.com/">The New Jim Crow</a>,” when she talked about <a href="http://www.drugpolicy.org/resource/new-jim-crow-whats-next-talk-michelle-alexander-and-dpas-asha-bandele">her concerns about</a> the legalization of marijuana in different U.S. states. “In many ways the imagery doesn’t sit right,” she said. “Here are white men poised to run big marijuana businesses … after 40 years of impoverished black kids getting prison time for selling weed, and their families and futures destroyed. Now, white men are planning to get rich doing precisely the same thing?” I feel the same way about dopeness in academia. Since hip-hop has emerged as a global phenomenon largely embraced by many of the “academically trained” music scholars who initially rejected it, how will those scholars and their schools now make way for the people they have historically excluded? This is why that quote about me “scoring, arguably, the dopest job ever” has stuck with me. I wonder if it’s fair to call what I do a form of legalized dope. <h2>America’s dope-dealing history</h2> In the late 1990s, I saw how fast hip-hop had become inescapable across the U.S., even in the small Midwestern town of Decatur, Illinois, where I grew up with my friend who is now serving federal prison time. He and I have remained in contact. Among the things we discuss is how unlikely it is that I would be able to do what I do without his doing what he did. Given the economic realities faced by people after leaving prison, we both know there are limitations to his opportunities if we choose to see our successes as shared accomplishments. Depending on how dope is interpreted, prisons and universities serve as probable destinations for people who make their living with it. It has kept him in prison roughly the same amount of time as it has kept me in graduate school and in my profession. This present reality has historical significance for how I think of dope, and what it means for people to have their existence authorized or legalized, and America’s relationship to Black people. Many of the buildings at Clemson were built in the late 1880s using “<a href="http://glimpse.clemson.edu/convict-labor/">laborers convicted of mostly petty crimes</a>” that the state of South Carolina leased to the university. Similarly, the University of Virginia was built by <a href="https://dei.virginia.edu/resources">renting enslaved laborers</a>. The University also is required by state law to purchase office furniture from a state-owned company that <a href="https://www.insidehighered.com/news/2020/02/14/public-universities-several-states-are-required-buy-prison-industries">depends on imprisoned people for labor</a>. The people who make the furniture are paid very little to do so. The people in the federal prison where my friend who helped me pay for college is now housed work for paltry wages making towels and shirts for the U.S. Army. Even with all of the time and distance between our pasts and present, our paths are still inextricably intertwined – along with all those others on or near the seemingly transient line that divides “legal” and “illegal” dope. Image credits: Getty Images This article originally appeared on <a href="https://theconversation.com/as-the-global-musical-phenomenon-turns-50-a-hip-hop-professor-explains-what-the-word-dope-means-to-him-200872" target="_blank" rel="noopener">The Conversation</a>.

Music

Happy songs: these are the musical elements that make us feel good

Music has a unique power <a href="https://www.researchgate.net/profile/Daniel-Vaestfjaell/publication/258173113_Emotion_Induction_through_Music_A_Review_of_the_Musical_Mood_Induction_Procedure/links/02e7e527c81174366e000000/Emotion-Induction-through-Music-A-Review-of-the-Musical-Mood-Induction-Procedure.pdf">to affect the way people feel</a> and many people use music to enhance or change their mood, channel emotions and for psychological support. The strong emotional impact of music is derived from its profound physical and psychological effects. For example, listening to relaxing music often has a positive impact on the <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1959222/">autonomic nervous system</a> (which regulates many key bodily functions), by slowing breathing, regulating heart rate, lowering blood pressure and reducing muscle tension. Listening to music also affects us at a deep physiological level, as it has a strong impact on the <a href="http://www.downloads.imune.net/medicalbooks/Neurochemistry%20of%20music.pdf">endocrine system</a>, which is responsible for hormone production. Music can stimulate the release of the neurotransmitters which affect experiences of pleasure by increasing the production of dopamine (the reward hormone), reducing levels of cortisol (the stress hormone) and increasing salivary immunoglobulin A – an antibody responsible for strengthening the immune system. Of course, these benefits are only experienced if we listen to music that we enjoy. <a href="http://www.brainvitge.org/papers/Science-2013-Salimpoor-216-9.pdf">Familiarity</a> also affects enjoyment, but even new music can stimulate positive physical and psychological responses if it is similar to other music that we like. Music we don’t like can have a strong adverse effect upon mood and wellbeing. Individual differences mean emotional <a href="https://journals.sagepub.com/doi/abs/10.1177/0305735618754688?journalCode=poma">reactions to songs differ</a> depending on the participant’s preferences and associations they might have with the music. If we don’t like the song (or it brings back negative memories), it won’t make us happy, regardless of the quality. <h2>Creating a personal soundscape</h2> Portable listening devices and music streaming platforms have made it possible to choose from an unprecedented selection of musical styles. People can now listen to their favourite music any time, anywhere. This means music can be used to create a personal soundscape. This is common when using public transport, for example, as many passengers use headphones to create an individualised sonic environment as a distraction from the less pleasant aspects of travelling on crowded and noisy transport systems. In a <a href="https://www.prnewsblog.com/news/health-wellbeing/15034/music-psychologist-reveals-the-formula-for-the-happiest-song-ever/">recent survey</a>, 71% of 2,000 participants reported that music was the strongest influence on their mood and almost 75% regularly listened to music to cheer themselves up. In response to these findings, I conducted a review of published research, to find out which musical features tend to be present in “happy” songs. It should be remembered that musical preferences and expectations are culture dependent. For example, some Asian cultures have different associations between positive/negative emotions and major/minor chords, so <a href="https://royalsocietypublishing.org/doi/10.1098/rsos.170952">western “happy songs” may not be globally interpreted as such.</a> Within western cultures, there are certain components of popular music which are commonly linked with positive emotions. Music that is perceived as “happy” is usually written in a major key with a bright tone, featuring instruments with a bright timbre, such as trumpets or electric guitars. “Happy” music usually adds <a href="https://royalsocietypublishing.org/doi/10.1098/rsos.170952">the seventh note of the scale</a> to the main three notes in the chord. This creates a brief feeling of tension – or pleasurable expectation – followed by relief or resolution when the harmonic progression proceeds as our previous listening experience predicts. For many people, listening to music becomes an immersive <a href="https://www.frontiersin.org/articles/10.3389/fpsyg.2015.00906/full">flow experience</a> which can distract from everyday concerns. Active musical participation through dancing or singing along brings additional enjoyment. A simple, consistent rhythm based on two or four beats in a bar increases a song’s “<a href="https://mashable.com/ad/feature/science-of-pop-music">danceability</a>”, while a binary structure – verse-chorus-verse-chorus – helps to establish familiarity so the song quickly becomes “<a href="https://www.york.ac.uk/news-and-events/features/pop-science/">sing-alongable</a>”. People generally <a href="https://mashable.com/ad/feature/science-of-pop-music">prefer familiar music</a>, or music which quickly becomes memorable. The most enjoyable songs are likely to be those which strike a satisfying <a href="https://www.sciencedirect.com/science/article/pii/S0960982219312588">balance between predictability and surprise</a>, providing an experience familiar enough to be pleasurable while avoiding being too simplistic or formulaic. Unexpected changes can intensify emotional responses. Listeners often derive the most pleasure from music when they are fairly sure about what will happen next but then an unexpected chord progression or key change provides a surprise. Based on previous experiences, listeners develop expectations about a piece of music. While familiar music tends to give the most pleasure, it also needs to contain enough “surprise” elements to retain enough interest to create a state of flow. This explains the use of a bridge or the middle eight (a section which is different from the verse and chorus) in many songs. Although “happy songs” are usually written in a <a href="https://www.researchgate.net/publication/301724912_Beyond_Happiness_and_Sadness_Affective_Associations_of_Lyrics_with_Modality_and_Dynamics">major key</a>, they sometimes include a section in a minor key to add interest. Good Vibrations by the Beach Boys begins with a verse in a minor key and then creates a strong emotional uplift as it switches into a bright major key for the chorus. <h2>The speed of happiness</h2> Faster music tends to induce more positive emotions than slower music. Research suggests that music that is perceived as happy is usually performed at a tempo between <a href="https://mymodernmet.com/10-happy-songs/">140 and 150 beats per minute (BPM)</a>. Songs people have said they use to <a href="https://open.spotify.com/playlist/7k00dawKjXgBBuq2nZyHmO">improve their mood</a> include Queen’s Don’t Stop Me Now at 156 BPM. Tempo is a confounding variable because <a href="https://journals.sagepub.com/doi/abs/10.1177/0305735618754688?journalCode=poma">faster music increases arousal/excitement</a>, but this may not always be associated with happiness. There may also be <a href="https://www.anderson.ucla.edu/documents/areas/fac/marketing/mogilner/Mogilner_Shifting_Meaning_of_Happiness_SPPS_2011.pdf">age-related differences</a> in interpretation. What is certain is that music can have a profound effect on our sense of wellbeing. Just stick on <a href="https://www.youtube.com/watch?v=pTdihu-mp90">James Brown’s I Got You</a> (or whatever might tempt you to do a happy dance) and start to feel good. Image credits: Getty Images This article originally appeared on <a href="https://theconversation.com/happy-songs-these-are-the-musical-elements-that-make-us-feel-good-201342" target="_blank" rel="noopener">The Conversation</a>.

Music

“Make up your own mind”: Ed Sheeran slams music critics

Ed Sheeran has made a bold declaration that professional music critics are not needed in this day and age. The British singer-songwriter was speaking with <a href="https://www.rollingstone.com/music/music-features/ed-sheeran-interview-jay-z-sword-hot-sauce-bruno-mars-1234704439/">Rolling Stone</a> about the shift to streaming and music in the digital age, when he suggested that critics are obsolete given how accessible music is these days. “Why do you need to read a review?” he questioned. “Listen to it. It’s freely available! Make up your own mind. I would never read an album review and go, ‘I’m not gonna listen to that now.’” Sheeran’s controversial comments were met with mixed reactions, with some fans pointing out that critics have a much more varied role. One music fan said, “Ok, except music critics aren’t just there for ppl to decide what to listen to?? Taking a deeper look at music thru a deeper critical lense [sic], both positive and negative, is a celebration of music as a whole if anything.” Another added, “I don’t even think that critics are meant to sway the general public these days. It’s just a way for journalists to create discourse about music.” Elsewhere in the interview, Sheeran also shared his opinion on dividing music into genres, “I think it’s not being bogged down by what you started off as.” “I think there’s two genres. It’s good and bad. And I don’t think kids believe in genres anymore, either. Now it’s just playlists and kids are like, well, I like this song by this artist, and I like this song by that artist. And it might be a Skrillex song next to a Doja Cat song next to a Kendrick Lamar song.” Image credits: Getty Images

Music

Why do musicians like Elton John find retirement so tough? A music psychology expert explains

With his <a href="https://www.eltonjohn.com/stories/farewell-yellow-brick-road">Farewell Yellow Brick Road tour</a>, Elton John confirmed his latest plans for retirement. The final show of the tour in July 2023 will be his last. However, deja vu suggests this might not be the last we see of Elton. The singer has announced plans to retire <a href="https://www.musictimes.com/articles/8902/20140817/elton-john-career-false-retirements-brief-chronological-look.htm">at least five times</a> since 1984 but is still going strong. By the end of his current tour, Elton John will have performed in over 300 concerts in the UK, the US and Europe and he shows no sign of slowing down. He’ll perform a <a href="https://www.billboard.com/music/pop/elton-john-final-uk-show-glastonbury-festival-1235180982/">headline slot at Glastonbury</a> in 2023. Elton is not the only performer with a history of retiring and unretiring. He is in good company with <a href="https://abcnews.go.com/Entertainment/story?id=113477&page=1">Barbra Streisand</a>, <a href="https://twitter.com/justinbieber/status/415683404462436352?lang=en">Justin Bieber</a>, <a href="https://www.revolt.tv/article/2022-07-14/180311/jay-z-explains-2003-retirement-i-thought-i-was-burned-out/">Jay-Z</a>, <a href="https://www.nme.com/news/music/lily-allen-hints-she-may-not-retire-just-yet-after-olivia-rodrigo-glastonbury-performance-3258600">Lily Allen</a> and <a href="https://ultimateclassicrock.com/phil-collins-retired/">Phil Collins</a>. Hip-hop star <a href="https://www.upi.com/Entertainment_News/2022/02/04/Nicki-Minaj-returns-music-new-single-Do-We-Have-Problem/9811643982091/">Nicki Minaj’s</a> retirement lasted for only 22 days, while heavy metal singer <a href="https://ultimateclassicrock.com/ozzy-osbourne-retirement-1992/">Ozzy Osbourne’s</a> valedictory No More Tours tour in 1992 preceded a further 30 years of performance. In contrast with handsomely rewarded performances on the global stage, retirement can be an intermittent pipe dream for many musicians. Long, unsociable hours in the music industry often offer modest remuneration and few of the perks available in other sectors. There is <a href="https://www.gov.uk/working-retirement-pension-age">no compulsory retirement age</a> in the UK, which can be a godsend for lower paid professional performers who find that saving for an adequate pension is beyond their means. In these cases, working <a href="https://theconversation.com/ageing-activism-why-we-need-to-give-voice-to-the-new-third-age-50305">beyond the third age</a> is a necessity. For Elton and his internationally acclaimed peers, however, the incentive to return to performing is less likely to be financial. So why do some successful musicians find it so hard to stick to retirement? <h2>The motivation of the stage</h2> The key to understanding this lies in motivation. For many musicians, the motivation to perform is intrinsic rather than extrinsic. Extrinsically motivated performers are interested in tangible rewards such as money. <a href="https://journals.sagepub.com/doi/full/10.1177/0305735617721637">Intrinsic motivation</a> meanwhile, is present when a musician performs mainly because of a strong inner desire to make music. For intrinsically motivated performers, making music is inherently pleasurable and a means unto itself. This partly explains why the music profession remains attractive even if it does not always bring the financial security of other careers. It also explains why some celebrated performers find it difficult to stay out of the public arena. Among those with a passion for music, the rewards of performance often exceed the financial benefits. The status and accolades derived from a celebrated performance career provide a source of affirmation which can become difficult to obtain elsewhere. Once human beings have fulfilled their basic needs of food, water, shelter and relationships, <a href="http://eznow7jgmenpjz.pic3.eznetonline.com/upload/MASLOW_YQfG.pdf">self-actualisation</a> becomes a significant driving force. For dedicated performers, achievement in the musical sphere can become an irreplaceable vehicle for attaining self esteem, personal growth and the satisfaction of fulfilling their potential. <h2>You’re only as good as your last performance</h2> Identity is also a central component in the motivation to perform. Continuing to perform professionally <a href="https://westminsterresearch.westminster.ac.uk/download/fbc3b0a7fd80bcb648344f9d298414ece784f56ff9018d267fd77a7fce70a980/519636/Gross%20%26%20Musgrave%20%282017%29%20Can%20Muic%20Make%20You%20Sick%20Pt2.pdf">can provide validation</a> for musicians, regardless of the level of income and recognition. For many, being a musician is inextricably linked with their sense of self. Their self worth is then strongly affected by their capacity to perform. This is especially true for singers, as voice is an integral part of <a href="https://www.researchgate.net/profile/Jane-Oakland/publication/258173213_Re-defining_'Me'_Exploring_career_transition_and_the_experience_of_loss_in_the_context_of_redundancy_for_professional_opera_choristers/links/00b7d52d6675946763000000/Re-defining-Me-Exploring-career-transition-and-the-experience-of-loss-in-the-context-of-redundancy-for-professional-opera-choristers.pdf">identity formation and expression</a>. There is some truth in the old saying; “You’re only as good as your last performance.” If you’re not performing at all, how good can you be? For retired musicians, <a href="https://www.researchgate.net/profile/Jane-Oakland/publication/280067238_AGEING_AND_RETIREMENT_TOWARDS_AN_UNDERSTANDING_OF_THE_EXPERIENCES_OF_SYMPHONY_MUSICIANS_AS_THEY_APPROACH_RETIREMENT/links/55a640e008aee8aaa765644b/AGEING-AND-RETIREMENT-TOWARDS-AN-UNDERSTANDING-OF-THE-EXPERIENCES-OF-SYMPHONY-MUSICIANS-AS-THEY-APPROACH-RETIREMENT.pdf">it can be challenging</a> to find a comparable way to channel the energy they once dedicated to performance. Musicians, like other professional groups, are diverse in many ways, but there are some personality traits different types of musicians tend to share. For example, classical musicians typically score highly on introversion, which partly accounts for <a href="https://journals.sagepub.com/doi/pdf/10.1177/03057356810090010201">their ability to focus</a> on the solitary practice necessary for developing technique before engaging in ensemble playing. In contrast, rock and pop musicians tend to <a href="https://journals.sagepub.com/doi/epdf/10.1177/0305735694222006">score highly</a> on extroversion, often learning and rehearsing more informally in collaboration with their peers. Extroverted performers often derive their energy from audience interaction so it can be difficult to achieve that “buzz” once the music stops. <h2>Don’t stop me now</h2> Performing music is <a href="https://www.frontiersin.org/articles/10.3389/fpsyg.2015.00906/full">widely recognised</a> as a way of achieving the highly desired state of “flow”, otherwise known as “peak performance” or being “in the zone”. Providing that the challenge of performing closely matches the skill level of the performer, <a href="https://nuovoeutile.it/wp-content/uploads/2015/12/2002-Flow.pdf">music can become an all-absorbing activity</a>, which is so immersive that it distorts our sense of time and distracts us from our everyday concerns. During live concerts, the audience and performers can experience a sense of <a href="https://sociologicalscience.com/download/vol-6/january/SocSci_v6_27to42.pdf">“collective effervescence”</a> rarely achieved elsewhere. Add in the emotional high derived from the adrenaline released in public performance and we can begin to understand why the rewards of performance can be difficult to replace in retirement. Rihanna’s <a href="https://www.youtube.com/watch?v=yd8jh9QYfEs">Don’t Stop the Music</a>, Queen’s <a href="https://www.youtube.com/watch?v=HgzGwKwLmgM">Don’t Stop Me Now</a> and Elton’s <a href="https://www.youtube.com/watch?v=ZHwVBirqD2s">I’m Still Standing</a> are these musicians ways of telling us that they want to be in the limelight, just as much as their audiences want them to stay there. Image credits: Getty Images This article originally appeared on <a href="https://theconversation.com/why-do-musicians-like-elton-john-find-retirement-so-tough-a-music-psychology-expert-explains-197362" target="_blank" rel="noopener">The Conversation</a>.

Music

4 musical duos who couldn’t stand one another

Working closely with a partner can create tension, especially when you’re working on a creative endeavour. Not all successful partnerships are built on mutual respect and admiration, and to prove it, here are four musical duos who couldn’t stand one another. 1. The Everly Brothers Their music may still resonate through the years, but Don and Phil Everly couldn’t stand each other. “We only ever had one argument,” Phil famously said in 1970. “It’s been lasting for 25 years.” At a 1973 California concert, Don arrived drunk and messed up the lyrics to a song, causing an on-stage argument between the brothers. Those close to the Everlys suspect that Don resented Phil for his sweeter, higher voice, while others suggest that the pair’s father was a source of at least some of the tension. 2. Paul McCartney and John Lennon According to various reports, McCartney and Lennon would go through periods of ice cold tension, only communicating through lawyers at some stages. But at other times, they were as close as brothers. Lennon <a href="https://www.quora.com/What-was-John-Lennons-relationship-with-Paul-McCartney-like" target="_blank" rel="noopener">revealed</a> that he felt McCartney was subconsciously trying to “destroy my great songs”, saying that Paul would encourage an experimental sound during the recording and producing, while putting in hours of fine tuning on his own tracks. The two were reportedly on good terms before Lennon died, however. 3. Sam and Dave This 1960s duo (made up of Sam Moore and Dave Prater) behind some of R&B’s most iconic hits, like “Soul Man” and “Hold On! I’m Comin’” could hardly stand one another. Though they did their best to hide the animosity on stage, their behind-the-scenes relationship was one of animosity, and they split in 1970. A good deal of the tension <a href="http://www.purpleclover.com/entertainment/4628-10-famous-duos-who-couldnt-stand-each-other/item/sam-dave-2/" target="_blank" rel="noopener">reportedly</a> stemmed from the fact that Prater shot and wounded his own wife in 1968, while Moore himself suffered from drug addictions. <a href="http://www.purpleclover.com/entertainment/4628-10-famous-duos-who-couldnt-stand-each-other/item/sam-dave-2/)"> </a> 4. Simon and Garfunkel One of music’s most iconic duos, Simon and Garfunkel met at junior school in New York, and began trying to secure a record deal in the early 1960s. Unfortunately, the tensions that simmered between the pair have lasted for decades, eventually breaking up over the release of their seminal album, “Bridge Over Troubled Water” in 1970. The pair staged a reunion tour in 2004, and were due to repeat the act in 2010 until Garfunkel suffered vocal chord damage. Garfunkel reported that Simon “wasn’t particularly” supportive during that time. But time seems to have cooled the quarrel. In a <a href="http://www.dailymail.co.uk/news/article-3094957/I-created-monster-Art-Garfunkel-45-year-battle-Paul-Simon-remains-one-showbiz-s-bitterest-feuds.html" target="_blank" rel="noopener">2014 interview</a>, Garfunkel stated that, “I’m used to the fact that we’re just different characters.” Images: Getty

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6 little known facts about The Sound of Music