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Readers response: What's one song that never fails to make you cry?

<p>We asked our readers what song always fills them with emotion, whether because of the lyrics or being associated with a heartfelt memory. Here's what they said.</p> <p><strong>Kathryn Sands</strong> - Dance with my Father by Luther Vandross.</p> <p><strong>Carol Hanson</strong> - Amazing Grace. Was played on the bagpipes at my mum's funeral.</p> <p><strong>Matthew Walter</strong> - Probably "When You Kiss Me" by Shania Twain, as it's the song my wife walked down the aisle to on our wedding day. The other one would be "What I Never Knew I Always Wanted" by Carrie Underwood, which played after my son was born. Just sums up parenthood perfectly!</p> <p><strong>Patricia Sundin</strong> - “I was only 19”. Makes me think of all my friends who were conscripted to go to fight in Vietnam. Not a happy time.</p> <p><strong>Janette Willis</strong> - What a Wonderful World - Louis Armstrong. </p> <p><strong>Trish Watts </strong>- If Tomorrow Never Comes by Garth Brooks.</p> <p><strong>Jan Palmer</strong> - Imagine by John Lennon. </p> <p><strong>Adelle Ellmers</strong> - Sounds of Silence cover by Disturbed. Played at my husband's funeral. It was one of his favourites.</p> <p><strong>Gay Sharran Gold</strong> - At Last…. I have to turn it off when it plays. My daughter married her partner two days before she died and had that playing for their song.</p> <p><strong>Heather Widjaja</strong> - Monsters by James Blunt. Always reminds me of the last days of my Dad's life.</p> <p><strong>Jeanette Heaton</strong> - Forever Young by Bob Dylan. Reminds me of my beloved - lost too soon.</p> <p><strong>Laraine Hughes</strong> - Because by Mario Lanza. Walked down the aisle and played at my beloved husband's funeral. Started and ended our life together.</p> <p><strong>Rhonda Leaman</strong> - Somewhere Over The Rainbow from The Wizard of Oz. </p> <p><em>Image credits: Shutterstock </em></p>

Music

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Sir Bob Geldof reveals new version of iconic Christmas song

<p>Sir Bob Geldof has shared the details of the 2024 reprise of the iconic song <em>Do They Know It's Christmas?</em>, revealing why the new version of the song will be the last. </p> <p><em>Do They Know It's Christmas?</em> was first released in 1984, and was sparked by Bob Geldof being disturbed by a news report on the famine in Ethiopia. </p> <p>He enlisted big names such as Bono, Boy George, Sting and George Michael to join in on the song to raise awareness and money for the famine.</p> <p>"I was sickened by it. I mean, that is really it," Geldof told <em>A Current Affair</em>.</p> <p>"I sat down and turned on the TV, and here was this devastating thing that put, you know, my pathetic, puny personal problems in a horrifying perspective."</p> <p>Since then, three more versions of the charity song have been made, in 2004, 2014 and now, in 2024 to mark the 40th anniversary of the original track. </p> <p><iframe title="YouTube video player" src="https://www.youtube.com/embed/CDiYk07FG1Y?si=TwdiduKB5vPX56V7" width="560" height="315" frameborder="0" allowfullscreen="allowfullscreen"></iframe></p> <p>Instead of recruiting new artists, this time Bob Geldof has remixed famous renditions from previous versions to combine the greatest voices of our time.</p> <p>Despite each iteration of the song having its own unique charm and voice, Geldof says it will be the last hurrah for the iconic Christmas tune.</p> <p>"I personally think, it's the definitive one and there will be no more," Geldof said.</p> <p>"The world has never been more fragile in my life, and I'm old, and I don't think people can take on board any more horror. They cannot absorb any more, but it's happening."</p> <p><em>Image credits: A Current Affair </em></p>

Music

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Most popular wedding song revealed

<p dir="ltr">A classic 1980s hit has been crowned the most popular wedding song according to a recent study. </p> <p dir="ltr">According to the new research by Breezit, an online wedding vendor search tool that collates data, Whitney Houston’s pop ballad <em>I Wanna Dance With Somebody</em> is the most popular song for couples tying the knot. </p> <p dir="ltr">The 1987 hit, which was on Houston’s second studio album, ‘<em>Whitney</em>’, appeared 484 times across the 2,000 wedding-themed Spotify playlists the company poured through, which contained a total of 49,091 songs.</p> <p dir="ltr">Among thousands of playlists, <em>I Wanna Dance With Somebody</em> featured on more than 24 per cent of those nuptial-centric compilations.</p> <p dir="ltr">Coming in second on the list of most popular wedding songs was ABBA’s 1976 worldwide hit <em>Dancing Queen</em>.</p> <p dir="ltr">“Music plays an incredibly important role in wedding celebrations, and it’s fascinating to see which songs are still hailed as wedding classics, even years after their initial release,” Arturas Asakavicius, co-founder and CEO of Breezit, told <em><a href="https://www.brides.com/all-time-most-popular-wedding-song-new-study-8733497">Brides</a></em>.</p> <p dir="ltr">“Wedding playlists can help create lasting memories” he added, “capturing both the joy of the dance floor and the romance of walking down the aisle. Certain songs have become intertwined with the celebration of a wedding, which is why some have become timeless classics for many couples’ big day.”</p> <p dir="ltr"><em>Image credits: Shutterstock </em></p>

Music

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Music and dementia: researchers are still making discoveries about how songs can help sufferers

<p><em><a href="https://theconversation.com/profiles/rebecca-atkinson-1288605">Rebecca Atkinson</a>, <a href="https://theconversation.com/institutions/anglia-ruskin-university-1887">Anglia Ruskin University</a> and <a href="https://theconversation.com/profiles/ming-hung-hsu-2215063">Ming-Hung Hsu</a>, <a href="https://theconversation.com/institutions/anglia-ruskin-university-1887">Anglia Ruskin University</a></em></p> <p>Music is woven into the fabric of our everyday lives. Whether it’s lifting our spirits, pushing us to run faster or soothing us to sleep, we can all <a href="https://www.frontiersin.org/journals/psychology/articles/10.3389/fpsyg.2021.713818/full">recognise its power</a>. So it’s no wonder it is increasingly being used in medical treatment.</p> <p>As well as proving very useful in <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3863265/">cancer treatment</a>, managing <a href="https://www.sciencedirect.com/science/article/pii/S1526590022000153">chronic pain</a> and even helping the brain <a href="https://www.frontiersin.org/articles/10.3389/fnhum.2014.00245/full">recover after a stroke</a>, researchers have also been making great strides in using music to help patients with dementia.</p> <p>It reduces patients’ <a href="https://www.cochranelibrary.com/cdsr/doi/10.1002/14651858.CD003477/full">anxiety and depression</a>, and <a href="https://www.thelancet.com/journals/eclinm/article/PIIS2589-5370(23)00401-7/fulltext">improves wellbeing</a> both for them and their carers <a href="https://www.cambridge.org/core/journals/the-british-journal-of-psychiatry/article/individual-music-therapy-for-depression-randomised-controlled-trial/A1CD72904929CECCB956F4F3B09605AF">by enhancing</a> everyone’s ability to adapt and cope with adversity or stress.</p> <p><a href="https://www.bamt.org">Music therapy</a> in the form of playing, singing or listening to music can also have a <a href="https://journals.sagepub.com/doi/abs/10.1177/1362361309105660">positive effect</a> on cognitive function – particularly for <a href="https://link.springer.com/article/10.1186/1472-6882-10-39">older adults</a> either with dementia or memory issues.</p> <p>So why does music appear to have such a powerful effect for people with dementia?</p> <h2>Music and the brain</h2> <p>About a decade ago, <a href="https://www.sciencedirect.com/science/article/abs/pii/S1053811911013000">researchers discovered that</a> when people listened to music, multiple areas of the brain were involved in processing it. These included the limbic (which processes emotions and memory), cognitive (involved with perception, learning and reaction) and motor areas (responsible for voluntary movement). This challenged preconceptions that music was processed more narrowly in the brain – and helped explain why it has such a unique neurological impact.</p> <p>Not only that, research has shown that music might help <a href="https://www.sciencedirect.com/science/article/abs/pii/S0306987708002880">regenerate the brain</a> and its connections. Many <a href="https://www.nhs.uk/conditions/dementia/about-dementia/causes/">causes of dementia</a> centre around cell death in the brain, raising the possibility that music could help people with dementia by mending or strengthening damaged neural connections and cells.</p> <p>It’s not just any music that has a regenerative effect on the brain, though. <a href="https://www.frontiersin.org/articles/10.3389/fnhum.2016.00103/full">Familiar and favourite music</a> has been shown to have the biggest impact on the way we feel, and is closely linked with memory and emotions. This is because listening to our favourite songs <a href="https://www.nature.com/articles/nn.2726">releases feel-good hormones</a> that give us a sense of pleasure. Curated music playlists of favourite music could be the key in helping us deal with the <a href="https://journals.sagepub.com/doi/full/10.1177/10298649211030318">stress of everyday life</a>.</p> <p>This is relevant to Alzheimer’s and other forms of dementia because researchers have discovered that parts of the brain linked with <a href="https://academic.oup.com/brain/article/138/8/2438/330016">musical memories</a> are less affected by these conditions than other areas of the brain. This explains why memories and experiences that are linked to <a href="https://link.springer.com/article/10.14283/jpad.2018.19">favourite music</a> are often preserved for people with such conditions.</p> <p>Listening to music can also <a href="https://pubmed.ncbi.nlm.nih.gov/34346261/">help manage</a> their experiences of distress, agitation and “<a href="https://www.alzheimers.org.uk/about-dementia/symptoms-and-diagnosis/symptoms/sundowning">sundowning</a>” – where a person is more confused in the afternoon and evening.</p> <p>In a <a href="https://www.sciencedirect.com/science/article/pii/S0197457224002209?utm_campaign=STMJ_219742_AUTH_SERV_PA&amp;utm_medium=email&amp;utm_acid=224973760&amp;SIS_ID=&amp;dgcid=STMJ_219742_AUTH_SERV_PA&amp;CMX_ID=&amp;utm_in=DM500444&amp;utm_source=AC_">small study</a> conducted by us and our colleagues at the Cambridge Institute for Music Therapy Research, we showed just how great of an effect listening to music can have for people with dementia. We found that when people with dementia repeatedly listened to their favourite music, their heart rate and movements changed in direct response.</p> <p>This showed that people’s physical responses were affected by musical features like rhythm and arrangement. Their heart rate also changed when they sang along to music, or when they began reminiscing about old memories or stories while listening to a song or thinking about the music. These changes are important because they show how music affects movement, emotions and memory recall.</p> <p>Studies have also shown that during and after listening to music, people with dementia <a href="https://www.mdpi.com/2076-3425/13/7/1103">experienced less agitation</a>, aggression and anxiety, and their general mood was improved. They even needed less medication when they had regular music sessions.</p> <p>Other researchers have even begun testing the effects of <a href="https://onlinelibrary.wiley.com/doi/abs/10.1002/gps.4721?casa_token=VufeKQP7aNsAAAAA%3AMSOgiwUQYKqmmrLsUFv9glmSnc5BMxoqeMmmt3HX4BJX2Fs2UKeXjnN2850o1Umz0j1NvmrpQ3W3Pw">music training programmes</a> to support cognition for people with dementia. Results have been promising so far – with adults in the study showing improved executive functioning (problem solving, emotion regulation and attention) compared to those who took part in just physical exercise.</p> <p>So, music is likely to continue to be a useful medical treatment for people with dementia. But based on what we know so far, it’s important that it comes from the patient’s own music collection – and is used alongside other management techniques such as using drugs that can slow the progression of dementia or help manage symptoms to support self-care and wellbeing.<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/239446/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /></p> <p><em><a href="https://theconversation.com/profiles/rebecca-atkinson-1288605">Rebecca Atkinson</a>, Researcher in Music Therapy, <a href="https://theconversation.com/institutions/anglia-ruskin-university-1887">Anglia Ruskin University</a> and <a href="https://theconversation.com/profiles/ming-hung-hsu-2215063">Ming-Hung Hsu</a>, Senior Research Fellow, Music Therapy, <a href="https://theconversation.com/institutions/anglia-ruskin-university-1887">Anglia Ruskin University</a></em></p> <p><em>Image credits: Shutterstock</em></p> <p><em>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/music-and-dementia-researchers-are-still-making-discoveries-about-how-songs-can-help-sufferers-239446">original article</a>.</em></p>

Mind

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Young musician dies weeks after writing final song

<p>Cat Janice has died aged 31 with her family by her side.</p> <p>The young musician, who had a large following on TikTok, had been battling cancer since January 2022 when doctors diagnosed her with sarcoma, a rare malignant tumour. </p> <p>She was declared cancer-free on July 22 that same year, following extensive surgery, chemo and radiation therapy. </p> <p>The mum-of-one was sadly re-diagnosed with cancer in June last year and despite fighting hard in the second round of her treatments, Janice told fans in January that her cancer "won" and that she "fought hard but sarcomas are too tough".</p> <p>Janice's family have announced her passing in a statement shared to her Instagram. </p> <p>"From her childhood home and surrounded by her loving family, Catherine peacefully entered the light and love of her heavenly creator," they said. </p> <p>"We are eternally thankful for the outpouring of love that Catherine and our family have received over the past few months."</p> <p>Before she died, Janice publicly announced that all her music would be signed over to her 7-year-old son, Loren, to support him in the future. </p> <p>Just weeks before her death, she released her final song <em>Dance You Outta My Head </em> in the hope it would spread "joy and fun". </p> <p>"My last joy would be if you pre saved my song 'Dance You Outta My Head' and streamed it because all proceeds go straight to my 7-year-old boy I'm leaving behind," she said, before the song was released. </p> <p>The song went viral, and took he number one spot in several countries and the number five spot on the Apple Itunes globally.</p> <p>Her family have said that the love she received for her final song, was unbelievable parting gift she could have ever received.</p> <p>"Cat saw her music go places she never expected and rests in the peace of knowing that she will continue to provide for her son through her music. This would not have been possible without all of you."</p> <p><em>Images: Instagram</em></p>

Caring

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Top 80s songs to get you moving

<p class="Default">While the fashion from the 1980s might only come out of the closet for dress up parties these days, the music is still considered some of the best of our time. Especially for music to get you moving.</p> <p class="Default">From dance and pop hits to a little rap and rock, it’s got to be one of the most diverse, eclectic and extravagant decades in recent cultural history.</p> <p class="Default">Here, we have been busy rifling through the tracks to whittle down a decade of music into 40 of the best tracks to move to. From dancing to exercise, if you want to get up off that couch, these are the songs to hit play on.</p> <p>1. “Girls Just Want to Have Fun” by Cyndi Lauper (1983)<br />2. “Hit Me with Your Best Shot” by Pat Benatar (1980)<br />3. “Eye of the Tiger” by Survivor (1982)<br />4. “Love Shack” by The B-52's (1989)<br />5. “Beat It” by Michael Jackson (1982)<br />6. “Manic Monday” by The Bangles (1986)<br />7. “Let's Dance” by David Bowie (1983)<br />8. “Livin' on a Prayer” by Bon Jovi (1986)<br />9. “I Love Rock N' Roll” by Joan Jett &amp; The Blackhearts (1982)<br />10. “Thriller” by Michael Jackson (1982)<br />11. “Faith” by George Michael (1987)<br />12. “Jump” by Van Halen (1984)<br />13. “Don't Stop Believin’" by Journey (1982)<br />14. “Walking on Sunshine” by Katrina &amp; The Waves (1983)<br />15. “Kiss” by Prince (1986)<br />16. “Holiday” by Madonna (1983)<br />17. “Celebration” by Kool and the Gang (1980)<br />18. “Billie Jean” by Michael Jackson (1982)<br />19. “Love is a Battlefield” by Pat Benatar (1983)<br />20. “Sweet Dreams (Are Made of This)” by Eurythmics (1983)<br />21. “White Wedding” by Billy Idol (1982)<br />22. “Take on Me” by a-ha (1985)<br />23. “Video Killed the Radio Star” by The Buggles (1981)<br />24. “Karma Chameleon” by Culture Club (1983)<br />25. “The Tide is High” by Blondie (1980)<br />26. “Wake Me Up Before You Go-Go” by Wham (1984)<br />27. “Let's Hear It for the Boy” by Deniece Williams (1984)<br />28. “A Little Respect” by Erasure (1988)<br />29. “Sweet Child O' Mine” by Guns N' Roses (1987)<br />30. “Footloose” by Kenny Loggins (1984)<br />31. “Wild Thing” by Tone-Loc (1989)<br />32. “Tainted Love” by Soft Cell (1981)<br />33. “Borderline” by Madonna (1983)<br />34. “I Wanna Dance With Somebody” by Whitney Houston (1987)<br />35. “Just Can't Get Enough” by Depeche Mode (1981)<br />36. “Never Gonna Give You Up” by Rick Astley (1987)<br />37. “Always Something There to Remind Me” by Naked Eyes (1983)<br />38. “You Got It (The Right Stuff)” by New Kids on the Block (1988)<br />39. “It Takes Two” by Rob Base (1988)<br />40. “Down Under” by Men at Work (1981)</p> <p><em>Image: Getty</em></p>

Music

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Mariah Carey slapped with multi-million dollar lawsuit over hit festive song

<p dir="ltr">Mariah Carey is facing a multi-million dollar lawsuit over her hit festive song, as another musician has come forward claiming she plagiarised an original work.</p> <p dir="ltr">Carey’s song <em>All I Want For Christmas Is You</em> has long been a staple of December, and has sold over 10 million copies since its 1994 release. </p> <p dir="ltr">However, Andy Stone, lead vocalist of Vince Vance and the Valiants, claims Carey infringed on his copyright. </p> <p dir="ltr">Stone co-wrote a song, which has the same title as Carey’s smash hit, in 1989 to which he claims Carey and her team of copying his song’s “compositional structure,” according to the complaint obtained by <a href="https://www.foxnews.com/entertainment/mariah-carey-facing-20-million-lawsuit-over-all-i-want-for-christmas-is-you" target="_blank" rel="noopener">Fox News Digital</a>.</p> <p><iframe title="YouTube video player" src="https://www.youtube.com/embed/w8HWHd0EYJA?si=IdW0GIKXEQBJqaO_" width="560" height="315" frameborder="0" allowfullscreen="allowfullscreen"></iframe></p> <p dir="ltr">The court documents state that Carey “directly” copied lyrics from Stone’s 1989 hit and “approximately 50 per cent” of the song is copyright infringement.</p> <p dir="ltr">Stone went on to claim that Carey and her team “undoubtedly” had access to his version of <em>All I Want For Christmas is You</em> due to its “wide commercial and cultural success.”</p> <p dir="ltr">Stone’s track charted on Billboard for years, with the band even performing the track at the White House in 1994 - the same year Carey’s festive song was released. </p> <p dir="ltr">“Carey has capitalised on the success of her infringing work,” Stone’s complaint alleged. </p> <p><iframe title="YouTube video player" src="https://www.youtube.com/embed/yXQViqx6GMY?si=Exrq9M0AA2u5XRpB" width="560" height="315" frameborder="0" allowfullscreen="allowfullscreen"></iframe></p> <p dir="ltr">“<em>All I Want For Christmas is You</em> has become a ubiquitous part of popular culture, and Carey’s name has become synonymous with the season.”</p> <p dir="ltr">Stone first sued Carey over the copyright issue in June 2022 in a Louisiana court before dropping the claim five months later. </p> <p dir="ltr"><em>Image credits: Getty Images</em></p>

Legal

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Censorship or sensible: is it bad to listen to Fat Bottomed Girls with your kids?

<p><em><a href="https://theconversation.com/profiles/liz-giuffre-105499">Liz Giuffre</a>, <a href="https://theconversation.com/institutions/university-of-technology-sydney-936">University of Technology Sydney</a></em></p> <p>International music press has reported this week that Queen’s song Fat Bottomed Girls <a href="https://www.billboard.com/music/music-news/queen-fat-bottomed-girls-greatest-hits-1235396348/">has not been included</a> in a greatest hits compilation aimed at children.</p> <p>While there was no formal justification given, presumably lyrics “fat bottomed” and “big fat fatty” were the problem, and even the very singable hook, “Oh, won’t you take me home tonight”.</p> <p>Predictably, The Daily Mail and similar outlets used it as an excuse to bemoan cancel culture, political correctness and the like, with the headline “<a href="https://www.dailymail.co.uk/tvshowbiz/article-12424449/We-woke-Classic-Queen-song-Fat-Bottomed-Girls-mysteriously-dropped-groups-new-Greatest-Hits-collection.html">We Will Woke You</a>” quickly out of the gate.</p> <p>Joke headlines aside, should children be exposed to music with questionable themes or lyrics?</p> <p>The answer is not a hard yes or no. My colleague Shelley Brunt and I studied a range of factors and practices relating to <a href="https://www.routledge.com/Popular-Music-and-Parenting/Brunt-Giuffre/p/book/9780367367138">Popular Music and Parenting</a>, and we found that more important than individual songs or concerts is the support children are given when they’re listening or participating.</p> <p>A parent or caregiver should always be part of a conversation and some sort of relationship when engaging with music. This can involve practical things like making sure developing ears aren’t exposed to too harsh a volume or that they know how to find a trusted adult at a concert. But this also extends to the basics of media and cultural literacy, like what images and stories are being presented in popular music, and how we want to consider those in our own lives.</p> <p>In the same way you’d hope someone would talk to a child to remind them that superheroes can’t actually fly (and subsequently if you’re dressed as a superhero for book week don’t go leaping off tall buildings!), popular music of all types needs to be contextualised.</p> <figure><iframe src="https://www.youtube.com/embed/VMnjF1O4eH0?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <h2>Should we censor, or change, the way popular music is presented for kids?</h2> <p>There is certainly a long tradition of amending popular songs to make them child or family friendly. On television, this has happened as long as the medium has been around, with some lyrics and dance moves toned down to appease concerned parents and tastemakers about the potential evils of pop.</p> <p>Famously, <a href="https://www.youtube.com/watch?v=oim51kUg748">Elvis Presley serenaded a literal Hound Dog</a> rather than the metaphorical villain of his 1950s hit.</p> <p>In Australia, the local TV version of <a href="https://nostalgiacentral.com/music/music-on-film-and-tv/bandstand-australia/">Bandstand</a> from the 1970s featured local artists singing clean versions of international pop songs while <a href="https://www.youtube.com/watch?v=guembJBOOyI">wearing modest hems and neck lines</a>.</p> <p>This continued with actual children also re-performing pop music, from the Mickey Mouse Club versions of songs from the US to our own wonderful star factory that was <a href="https://theconversation.com/all-my-loving-young-talent-time-still-glows-50-years-since-first-airing-on-australian-tv-159533">Young Talent Time</a>. The tradition continues today with family-friendly, popular music-based programming like The Voice and The Masked Singer.</p> <figure><iframe src="https://www.youtube.com/embed/oim51kUg748?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>In America, there is a huge industry for children’s versions of pop music via the Kidz Bop franchise. Its formula of child performers covering current hits has been wildly successful for over 20 years. Some perhaps obvious substitutions are made – the <a href="https://www.youtube.com/watch?v=zkctByJbtNY">cover of Lizzo’s About Damn Time</a> is now “About That Time”, with the opening lyric changed to “Kidz Bop O’Clock” rather than “Bad Bitch O’Clock”.</p> <p>In some other Kidz Bop songs, though, <a href="https://pudding.cool/2020/04/kidz-bop/">references to violence and drugs have been left in</a>.</p> <p>Other longer-standing children’s franchises have also made amendments to pop lyrics, but arguably with a bit more creativity and fun. The Muppets’ cover of Bohemian Rhapsody, replacing the original murder with a rant from Animal, is divine.</p> <figure><iframe src="https://www.youtube.com/embed/tgbNymZ7vqY?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <h2>Should music ever just be for kids?</h2> <p>Context is key when deciding what is for children or for adults. And hopefully we’re always listening (in some way) together.</p> <p>Caregivers should be able to make an informed decision about whether a particular song is appropriate for their child, however they consider that in terms of context. By the same token, the resurgence of <a href="https://www.theguardian.com/music/2022/apr/05/how-the-wiggles-took-over-the-world-and-got-the-cool-kids-on-side-too">millennial love</a> for The Wiggles has shown us no one should be considered “too old” for Hot Potato or Fruit Salad.</p> <figure><iframe src="https://www.youtube.com/embed/quHus3DwN4Q?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>When considering potential harm for younger listeners, factors like <a href="https://kidsafeqld.com.au/risks-noise-exposure-baby/">volume and tone</a> can be more dangerous than whether or not there’s a questionable lyric. Let’s remember, too, lots of “nursery rhymes” aimed at children are also quite violent if you listen to their words closely.</p> <p>French writer Jacques José Attali <a href="https://www.google.com.au/books/edition/Noise/OHe7AAAAIAAJ?hl=en">famously argued</a> the relationship between music, noise and harm is politics and power – even your most beloved song can become just noise if played too loudly or somewhere where you shouldn’t be hearing it.</p> <p>As an academic, parent and fat-bottomed girl myself, my advice is to keep having conversations with the children in your life about what you and they are listening to. Just like reminding your little superhero to only pretend to fly rather than to actually jump – when we sing along to Queen, we remember that using a word like “fat” and even “girl” isn’t how everyone likes to be treated these days.<!-- Below is The Conversation's page counter tag. Please DO NOT REMOVE. --><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/212093/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /><!-- End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: https://theconversation.com/republishing-guidelines --></p> <p><em><a href="https://theconversation.com/profiles/liz-giuffre-105499">Liz Giuffre</a>, Senior Lecturer in Communication, <a href="https://theconversation.com/institutions/university-of-technology-sydney-936">University of Technology Sydney</a></em></p> <p><em>Image credits: Getty Images</em></p> <p><em>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/censorship-or-sensible-is-it-bad-to-listen-to-fat-bottomed-girls-with-your-kids-212093">original article</a>.</em></p>

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Country music star's "racist" song divides audience

<p>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. </p> <p>Jason Aldean's song, titled <em>Try That in a Small Town</em>, 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.</p> <p>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”.</p> <p>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”.</p> <p>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. </p> <blockquote class="twitter-tweet"> <p dir="ltr" lang="en">.<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.</p> <p>This is not American or small town-like. It’s just lame <a href="https://t.co/cuOtUO9xjr">https://t.co/cuOtUO9xjr</a></p> <p>— Sheryl Crow (@SherylCrow) <a href="https://twitter.com/SherylCrow/status/1681485292425867264?ref_src=twsrc%5Etfw">July 19, 2023</a></p></blockquote> <p>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. </p> <p>A writer for entertainment industry magazine <em><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></em> 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”.</p> <p>“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.</p> <p>He went on to say the video was “dangerous” because it “conflates the act of protesting with violent crime”.</p> <p>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. </p> <p>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.”</p> <p>“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.”</p> <p><em>Image credits: Getty Images</em></p>

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6 classic songs involved in lawsuits

<p>Like with all art, the line between appropriation and plagiarism in the music world is very blurred. Artists have always been inspired by other artists, so it’s inevitable that some works will be similar to others. These cases, however, prove that the consequences of copyright infringement can be extremely costly indeed.</p> <p><strong>The Beatles vs. Chuck Berry</strong></p> <p>Chuck Berry’s music has long been the object of adaptation, but none were as high-profile as The Beatles’ hit song “Come Together”, which allegedly borrowed lyrics and melodies from Berry’s “You Can’t Catch Me”. Lennon’s line, “Here come ol’ flattop, he come groovin’ up slowly” is thought to have been taken from Berry’s “Here come a flattop, he was movin’ up with me”. Berry’s publishing company was awarded nearly US$85,000 as a settlement.</p> <p><strong>Johnny Cash vs. Gordon Jenkins</strong></p> <p>In the 1970s, Cash was ordered to pay Gordon Jenkins US$75,000 after his 1955 song “Folsom Prison Blues” allegedly used lyrics and music from Jenkins’ 1953 tune “Crescent City Blues”. Although Cash’s song was a tale of murder and imprisonment and Jenkins’ was about a lovelorn woman desperate to escape, the songs were still similar enough to be the focus of a lawsuit.</p> <p><strong>Men At Work vs. Larrikin Music</strong></p> <p>It’s considered to be one of Australia’s most iconic songs (even an unofficial anthem for some), but Men At Work’s hit song “Down Under” was the subject of a nasty dispute in 2009 when they were sued by Larrikin Music, the owners of 1932 classic “Kookaburra”. Larrikin Music claimed that part of the Aussie band’s flute riff was stolen from the song “Kookaburra”, written by Marion Sinclair. The band was forced to give Larrikin 5 per cent of all royalties after 2002.</p> <p><strong>Ray Parker, Jr. vs. Huey Lewis and the News</strong></p> <p>Who can forget Parker’s iconic <em>Ghostbusters</em> theme song? Well, as it turns out, it may not have been completely original. Huey Lewis and the News sued Parker after hearing similarities with their song “I Want a New Drug”, and won the suit. In a strange twist, however, Huey Lewis revealed the details of the settlement to the media in a breach of confidentiality and was counter-sued by Parker in 2001.</p> <p><strong>Rod Stewart vs. Jorge Ben</strong></p> <p>Stewart was sued after the vocal melody from his hit “Do Ya Think I’m Sexy?” was found to be uncannily similar to that of Jorge Ben’s 1976 song “Taj Mahal”. As part of the settlement, Stewart decided to donate a percentage of the track’s earnings to UNICEF. “Clearly the melody had lodged itself in my memory and then resurfaced. Unconscious plagiarism, plain and simple,” Stewart wrote in his autobiography.</p> <p><strong>Coldplay vs. Joe Satriani</strong></p> <p>Satriani sued Coldplay in 2008, alleging that their song “Viva la Vida” used “substantial original portions” of music from his song “If I Could Fly”, which was released four years previously. They settled out of court in 2009. This suit came just months after American band Creaky Boards accused them of stealing the melody of their ironically-named song “The Songs I Didn’t Write”. Yusuf Islam (Cat Stevens) also claimed the song ripped off his track “Foreigner Suite”.</p> <p>Do you think any of these songs sound like their alleged inspirations? Tell us your thoughts in the comment section below.</p> <p><em>Image credit: Getty</em></p> <p><strong>Related links:</strong></p> <p><a href="../finance/insurance/2016/04/10-odd-things-celebrities-have-insured/"><span style="text-decoration: underline;"><em><strong>10 odd things celebrities have insured</strong></em></span></a></p> <p><a href="../entertainment/music/2016/04/the-surprising-real-names-of-singers/"><span style="text-decoration: underline;"><em><strong>The surprising real names of famous singers</strong></em></span></a></p> <p><a href="../entertainment/music/2016/03/rock-and-roll-hits-banned-from-being-played/"><strong><em><span style="text-decoration: underline;">6 rock ‘n’ roll hits banned from being played</span></em></strong></a></p>

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Readers respond: What's a song that is so beautiful it makes you cry?

<p>It doesn't take much for music to make you move, but music that moves you to the point of tears is something special. </p> <p>We asked our readers which songs they find so beautiful that it touches a part of their soul and brings them to tears.</p> <p>Here are some of our favourite responses that, and a list of songs you could add to your playlist. </p> <p><strong>Mary Therese Apostol</strong> - Unchained Melody from the film Ghosts... always brings me to tears. Also Always on my Mind brings back beautiful memories of a very loved person.</p> <p><strong>Susan Buntin</strong> - Mike and the Mechanics song called The Living Years as I wasn’t there for my parents passing.</p> <p><strong>Pat Sayers</strong> - "I'll take you home again Kathleen". One of my mother's favorites to sing, she had a good voice. It is not heard at all these days, but I cry even when I sing it, remembering her.</p> <p><strong>Suzie Justinic</strong> - “If I can dream” by Elvis Presley. Very powerful song. Cry every time I hear it.</p> <p><strong>Debbie Costelloe</strong> - Goodbye my friend by Linda Ronstad,it holds memories of my loved ones</p> <p><strong>Kate Gregg</strong> - Fields of Athernrye</p> <p><strong>Janine Sarai George </strong>- Outside when a full band of bagpipes plays a certain song, Danny Boy, Flowers of Scotland it can be magic.</p> <p><strong>Chrissy Soldi</strong> - Nothing else matters by Metallica it was played at my son’s funeral still brings tears to my eyes.</p> <p><strong>Annie MacCormack</strong> - ‘Sailing’ by Rod Stewart. We played it at my mum’s funeral. I cry every time I hear it. </p> <p><strong>Nita Kennedy </strong>- "You raised me up" the CD was given to me on mother's day by my daughters with instructions to listen to the words because they reflected how they thought of me ... I did and I cried .....</p> <p><strong>Linda Misarz </strong>- If I can dream, by Elvis. Very powerful message.</p> <p><strong>Barbara Bergen </strong>- Beautiful Dreamer by Roy Orbison</p> <p><strong>Joyce Nickson</strong> - Imagine! John Lennon.</p>

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Readers respond: What's a cover song that's better than the original?

<p>Just because a particular version of a song came first, doesn't necessarily mean it's better than a cover.</p> <p>We asked our readers what their favourite cover tracks are, and the response was overwhelming. </p> <p>Here's what they said. </p> <p><strong>Moses Serugo</strong> - All Whitney Houston covers!</p> <p><strong>Glen Crawford</strong> - Johnny Cash’s cover of Trent Reznor’s ‘Hurt’. It was one of the last songs Johnny recorded, and is awesome!</p> <p><strong>Vicki Hunt</strong> - Torn by Natalie Imbruglia. Apparently someone recorded it before she did, although I've only heard her version, which was a major hit for her. </p> <p><strong>Bruce Winther</strong> - Fields of Gold by Eva Cassidy.</p> <p><strong>Sheila Schmidt</strong> - Bette Midler’s version of Beast of Burden is better than the Rolling Stones.</p> <p><strong>Ken Jacob</strong> - Simply the Best by Tina Turner better than the original by Bonnie Tyler.</p> <p><strong>Harold Hanlon</strong> - Elton John doing Lucy in the Sky with Diamonds.</p> <p><strong>Judi Nicholls</strong> - U2 doing Unchained Melody. </p> <p><strong>Michael Zoellner</strong> - Blinded By The Light by Manfred Mann. Much better than Bruce Springsteen who originally did the song.</p> <p><strong>Jennifer Mitchell</strong> - Hallelujah by Lucy Thomas is absolutely beautiful.</p> <p><strong>Leanne Guthrie</strong> - We've gotta get out of this place, The Angels. Best version ever!!</p> <p><strong>Weeze Aitch</strong> - Horses by Darryl Braithwaite. Originally by Ricki Lee Jones. </p> <p><strong>Noelene Braidwood</strong> - The Wonder Of You, by Elvis Presley. </p> <p><strong>Michael Pemberton</strong> - All Along the Watchtower (Dylan) cover by the Jimi Hendrix Experience.</p> <p><strong>Rick Graham</strong> - The Sound of Silence by Disturbed.</p> <p><strong>Steve Pullan</strong> - Smooth Criminal by Alien Ant Farm. </p> <p><strong>Deirdre Dee O'Hanlon McGregor</strong> - Dear Prudence Beatles song covered by Doug Parkinson, he does a great job, better than the Beatles.</p> <p><strong>Graham Anderson</strong> - Can't think of one. The originals are the best. </p> <p><em>Image credits: Getty Images </em></p>

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

<p>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. </p> <p>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.</p> <p>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. </p> <p>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.</p> <p>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.</p> <p>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.</p> <h2>Creating a personal soundscape</h2> <p>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. </p> <p>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.</p> <p>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.</p> <p>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></p> <p>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.</p> <p>“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.</p> <p>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. </p> <p>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>”.</p> <p>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.</p> <p>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.</p> <p>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.</p> <p>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. </p> <p>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.</p> <h2>The speed of happiness</h2> <p>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.</p> <p>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. </p> <p>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.</p> <p><em>Image credits: Getty Images</em></p> <p><em>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>. </em></p>

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“I’ve written some real stinkers”: Billy Joel reveals controversial songs

<p>Singer and songwriter Billy Joel has revealed two non “woke” songs that may not have been written given today’s political climate.</p> <p>The Piano Man singer is one of the best-selling musicians to date, but the 73-year-old admitted in an interview with the <em>LA Times</em> that if he were to do it all over again, he would take away “at least 25 per cent” of his songs.</p> <p>“I’ve written some real stinkers I wish I could take back,” he said, citing ‘When in Rome’ from his 1989 album <em>Storm Front</em> and ‘C’était Toi’ from 1980’s <em>Glass Houses</em>.</p> <p>“I don’t even speak French, so I don’t know what I was doing. Sometimes I’d get six or seven songs I thought were pretty damn good, then there’d be a couple of squeeze-outs at the end just to fill up the album. I realise now I shouldn’t have done that.”</p> <p>Joel released 12 successful pop and rock albums between 1971 and 1993 but then stopped writing new material, save for <em>Fantasies and Delusions</em>, his 2001 album of classical compositions.</p> <p>Joel also told the <em>LA Times</em> that he didn’t make that decision “based on whether it was right or wrong”.</p> <p>“It just felt like it was time for me to stop writing songs,” he said. “I didn’t have the same motivation anymore. You need inspiration to create good new music, and if you don’t have it, don’t bother. Get off the treadmill, for Christ’s sake.”</p> <p>He was asked whether he considered “the current cultural and political climate” when organising a setlist, Joel said that it crossed his mind with a song such as ‘Captain Jack’, which references “the junkies and the closet queens”.</p> <p>“You mean are they woke? It crosses my mind,” he admitted.</p> <p>“But ‘Captain Jack’ has gotten real boring to me. The verse is just two chords over and over again, and it’s this dreary story of some suburban kid jacking off at home. My mind starts to wander during the song, so I don’t do it even though people want to hear it.”</p> <p>He agreed that ‘Only the Good Die Young’ was also a tough sell by ‘modern woke standards’. The song, featured on 1977’s <em>The Stranger</em>, was written from the perspective of a young man determined to have sex with a Catholic girl.</p> <p>The song has not aged well by today’s standards, with lyrics such as, “come out Virginia, don’t let me wait, you Catholic girls start much too late” and “they say there’s a heaven for those who will wait, some say it’s better, but I say it ain’t”.</p> <p>“It’s occurred to me recently that I’m trying to talk some poor innocent woman into losing her virginity because of my lust,” Joel said.</p> <p>“It’s kind of a selfish song — like, who cares what happens to you? What about what I want? But on the other hand, it was of its time. This was written in the mid-‘70s, and I was trying to seduce girls. Why bulls**t about it?”</p> <p><em>Image credit: Getty</em></p>

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"Writing songs is my therapy": Ed Sheeran reveals further heartbreak

<p>In the wake of the tragic news of the <a href="https://www.oversixty.co.nz/news/news/tragedy-strikes-ed-sheeran-tour" target="_blank" rel="noopener">heartbreaking loss</a> suffered by his co-writer and touring partner, Ed Sheeran has taken to Instagram to share his struggle following a series of life-changing events – and how this has altered the course of his new album, Subtract.</p> <p>The singer shared how he “spiralled” into depression last year after his wife, Cherry, was diagnosed with a tumour during her second pregnancy, which couldn’t be treated until after she gave birth.</p> <p>The star explained that he was "trying to sculpt the perfect acoustic album" for almost a decade, when the series of events changed everything.</p> <p>“Writing songs is my therapy. It helps me make sense of my feelings. I wrote without thought of what the songs would be, I just wrote whatever tumbled out.</p> <p>“And in just over a week, I replaced a decade’s worth of work with my deepest darkest thoughts," he captioned.</p> <p>“Within the space of a month, my pregnant wife got told she had a tumour, with no route to treatment until after the birth.</p> <p>“My best friend Jamal [Edwards], a brother to me, died suddenly and I found myself standing in court defending my integrity and career as a songwriter. I was spiralling through fear, depression and anxiety.</p> <p>“I felt like I was drowning, head below the surface, looking up but not being able to break through for air".</p> <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/CpPY7qyI6XB/?utm_source=ig_embed&amp;utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/p/CpPY7qyI6XB/?utm_source=ig_embed&amp;utm_campaign=loading" target="_blank" rel="noopener">A post shared by Ed Sheeran (@teddysphotos)</a></p> </div> </blockquote> <p>The four-time Grammy award winner shared that this album was a "trapdoor" into his soul, and a way for him to make sense of everything he's been through.</p> <p><span style="font-family: -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen, Ubuntu, Cantarell, 'Open Sans', 'Helvetica Neue', sans-serif;">Sheeran</span><span style="font-family: -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen, Ubuntu, Cantarell, 'Open Sans', 'Helvetica Neue', sans-serif;"> </span>announced the birth of his second daughter, Jupiter, in May of last year.Subtract will be released on the 5th of May 2023, through Asylum/Atlantic.</p> <p><em>Image: Getty</em></p>

Caring

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Why certain types of music make our brains sing, and others don’t

<p>A few years ago, Spotify published an online <a href="https://www.francetvinfo.fr/culture/musique/spotify-devoile-une-cartographie-des-gouts-musicaux_3320877.html">interactive map</a> of musical tastes, sorted by city. At the time, <a href="https://open.spotify.com/artist/5TEGxYftTkeKmLXkZjHNUE">Jeanne Added</a> prevailed in Paris and Nantes, and London was partial to local hip hop duo <a href="https://open.spotify.com/artist/31lnFZEM6ysvjOx59VyxRE">Krept and Kronan</a>. It is well established that music tastes vary over time, by region and even by social group. However, most brains look alike at birth, so what happens in them that causes us to end up with such disparate music tastes?</p> <h2>Emotions – a story of prediction</h2> <p>If one presented you with a unknown melody and suddenly stopped it, you could be able to sing the note you think fit the best. At least, professional musicians could! In a <a href="https://www.jneurosci.org/content/41/35/7449">study</a> published in the Journal of Neuroscience in September 2021, we show that similar prediction mechanisms are happening in the brain every time we listen to music, whithout us being necessarly conscious of it. Those predictions are generated in the auditory cortex and merged with the note that was actually heard, resulting in a “prediction error”. We used this prediction error as a sort of neural score to measure how well the brain could predict the next note in a melody.</p> <p>Back in <a href="https://books.google.fr/books/about/Emotion_and_Meaning_in_Music.html?id=HuWCVGKhwy0C&amp;redir_esc=y">1956</a>, the US composer and musicologist Leonard Meyer theorised that emotion could be induced in music by a sense of satisfaction or frustration derived from the listener’s expectations. Since then, academic advances have helped identify a link between musical expectations and other more complex feelings. For instance, participants in <a href="https://onlinelibrary.wiley.com/doi/10.1111/cogs.12477">one study</a> were able to memorize tone sequences much better if they could first accurately predict the notes within.</p> <p>Now, basic emotions (e.g., joy, sadness or annoyance) can be broken down into two fundamental dimensions, valence and psychological activation, which measure, respectively, how positive an emotion is (e.g., sadness versus joy) and how exciting it is (boredom versus anger). Combining the two helps us define these basic emotions. Two studies from <a href="https://link.springer.com/article/10.3758/s13415-013-0161-y">2013</a> and <a href="http://webprojects.eecs.qmul.ac.uk/marcusp/papers/SauveEtAl2018.pdf">2018</a> showed that when participants were asked to rank these two dimensions on a sliding scale, there was a clear relationship between prediction error and emotion. For instance, in those studies, music notes that were less accurately predicted led to emotions with greater psychological activation.</p> <p>Throughout the history of <a href="https://www.nature.com/articles/nrn1406">cognitive neuroscience</a>, pleasure has often been linked to the reward system, particularly with regard to learning processes. <a href="https://www.cell.com/current-biology/pdf/S0960-9822(14)01207-X.pdf">Studies</a> have shown that there are particular dopaminergic neurons that react to prediction error. Among other functions, this process enables us to learn about and predict the world around us. It is not yet clear whether pleasure drives learning or vice versa, but the two processes are undoubtedly connected. This also applies to music.</p> <p>When we listen to music, the greatest amount of pleasure stems from events predicted with only a moderate level of accuracy. In other words, overly simple and predictable events – or, indeed, overly complex ones – do not necessarily induce new learning and thus generate only a small amount of pleasure. Most pleasure comes from the events falling in between – those that are complex enough to arouse interest but consistent enough with our predictions to form a pattern.</p> <h2>Predictions dependent on our culture</h2> <p>Nevertheless, our prediction of musical events remains inexorably bound to our musical upbringing. To explore this phenomenon, a group of researchers met with the Sámi people, who inhabit the region stretching between the northernmost reaches of Sweden and the Kola Peninsula in Russia. Their traditional singing, known as yoik, differs vastly from Western tonal music due to limited exposure to Western culture.</p> <p>For a <a href="http://users.jyu.fi/%7Eptoiviai/pdf/Cognition.Yoiks.pdf">study</a> published in 2000, musicians from Sámi regions, Finland and the rest of Europe (the latter coming from various countries unfamiliar with yoik singing) were asked to listen to excerpts of yoiks that they had never heard before. They were then asked to sing the next note in the song, which had been intentionally left out. Interestingly, the spread of data varied greatly between groups; not all participants gave the same response, but certain notes were more prevalent than others within each group. Those who most accurately predicted the next note in the song were the Sámi musicians, followed by the Finnish musicians, who had had more exposure to Sámi music than those from elsewhere in Europe.</p> <h2>Learning new cultures through passive exposure</h2> <p>This brings us to the question of how we learn about cultures, a process known as enculturation. For example, <a href="https://www.musicnotes.com/now/tips/a-complete-guide-to-time-signatures-in-music/">musical time</a> can be divided in different ways. Western musical traditions generally use <a href="https://www.youtube.com/watch?v=e-CEd6xrRQc">four-time signatures</a> (as often heard in classic rock ‘n’ roll) or <a href="https://www.youtube.com/watch?v=-tn2S3kJlyU">three-time signatures</a> (as heard in waltzes). However, other cultures use what Western musical theory calls an asymmetrical meter. Balkan music, for instance, is known for asymmetrical meters like <a href="https://www.youtube.com/watch?v=b65FN-X3OkA">nine-time</a> or <a href="https://www.youtube.com/watch?v=EhVzrqvAsZI">seven-time signatures</a>.</p> <p>To explore these differences, a <a href="https://journals.sagepub.com/doi/full/10.1111/j.0956-7976.2005.00779.x">2005 study</a> looked at folk melodies with either symmetrical or asymmetrical meters. In each one, beats were added or removed at a specific moment – something referred to as an “accident” – and then participants of various ages listened to them. Regardless of whether the piece had a symmetrical or asymmetrical meter, infants aged six months or less listened for the same amount of time. However, 12-month-olds spent considerably more time watching the screen when the “accidents” were introduced into the symmetrical meters compared to the asymmetrical ones. We could infer from this that the subjects were more surprised by an accident in a symmetrical meter because they interpreted it as a disruption to a familiar pattern.</p> <p>To test this hypothesis, the researchers had a CD of Balkan music (with asymmetrical metres) played to the infants in their homes. The experiment was repeated after one week of listening, and the infants spent an equal amount of time watching the screen when the accidents were introduced, regardless of whether the meter was symmetrical or asymmetrical. This means that through passive listening to the Balkan music, they were able to build an internal representation of the musical metric, which allowed them to predict the pattern and detect accidents in both meter types. </p> <p>A <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2927013/pdf/nihms225442.pdf">2010 study</a> found a strikingly similar effect among adults – in this case, not for rhythm but for pitch. These experiments show that passive exposure to music can help us learn the specific musical patterns of a given culture – formally known as the process of enculturation.</p> <p>Throughout this article, we have seen how passive music listening can change the way we predict musical patterns when presented with a new piece. We have also looked at the myriad ways in which listeners predict such patterns, depending on their culture and how it distorts perception by making them feel pleasure and emotions differently. While more research is needed, these studies have opened new avenues toward understanding why there is such diversity in our music tastes. What we know for now is that our musical culture (that is, the music we have listened to throughout life) warps our perception and causes our preference for certain pieces over others, whether by similarity or by contrast to pieces that we have already heard.</p> <p><em>Image credits: Getty Images</em></p> <p><em>This article originally appeared on <a href="https://theconversation.com/why-certain-types-of-music-make-our-brains-sing-and-others-dont-194100" target="_blank" rel="noopener">The Conversation</a>. </em></p>

Music

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Can big data really predict what makes a song popular?

<p>Music is part of our lives in different ways. We listen to it on our commutes and it resounds through shopping centres. Some of us seek live music at concerts, festivals and shows or rely on music to set the tone and mood of our days.</p> <p>While we might understand the genres or songs we appreciate, it’s not clear precisely why a certain song is more appealing or popular. Perhaps the lyrics speak to an experience? Perhaps the energy makes it appealing? These questions are important to answer for music industry professionals, and <a href="https://theconversation.com/how-data-is-transforming-the-music-industry-70940">analyzing data</a> is a key part of this.</p> <p>At Carleton University, a group of data science researchers sought to answer the question: “What descriptive features of a song make it popular on music/online platforms?”</p> <h2>Revenue in the music industry</h2> <p>Revenue in the music industry <a href="https://doi.org/10.1509/jm.14.0473">is derived from two sources that are affected by different factors: live music and recorded music</a>. During the pandemic, although live music income dropped due to the cancellation of in-person performances, the <a href="https://doi.org/10.1371/journal.pone.0267640">income from streaming</a> rose.</p> <p>As digital platforms like Spotify and TikTok have grown, <a href="https://doi.org/10.5753/sbcm.2019.10436">the majority of music revenue has come to be contributed by digital media, mostly music streaming</a>. How and whether this <a href="https://theconversation.com/artists-spotify-criticisms-point-to-larger-ways-musicians-lose-with-streaming-heres-3-changes-to-help-in-canada-176526">revenue reaches singers and songwriters at large</a> is another matter. </p> <h2>Popularity on digital platforms</h2> <p>The popularity of a song on digital platforms is considered a measure of the revenue the song may generate.</p> <p>As such, producers seek to answer questions like “<a href="https://doi.org/10.1098/rsos.171274">How can we make the song more popular?</a>” and “<a href="https://doi.org/10.1109/ICMLA.2019.00149">What are the characteristics of songs that make it the top charts?</a>” </p> <p>With collaborators <a href="https://www.linkedin.com/in/laura-colley/">Laura Colley</a>, <a href="https://www.linkedin.com/in/andrew-dybka/">Andrew Dybka</a>, Adam Gauthier, Jacob Laboissonniere, Alexandre Mougeot and Nayeeb Mowla, we produced a systematic study that collected data from YouTube, Twitter, TikTok, Spotify and Billboard (<a href="https://www.billboard.com/charts/hot-100">Billboard Hot-100</a>, sometimes also denoted by data researchers as “<a href="https://data.world/bigml/association-discovery">Billboard hot top</a>” or in our work and others’ work, “Billboard Top-100”).</p> <p>We linked the datasets from the different platforms with Spotify’s acoustic descriptive metric or “descriptive features” for songs. These features have been derived <a href="https://www.billboard.com/music/music-news/echo-nest-columbia-university-launch-million-song-dataset-1178990/">from a dataset which yielded categories for measuring and analyzing qualities of songs</a>. Spotify’s <a href="https://www.theguardian.com/technology/2014/mar/06/spotify-echo-nest-streaming-music-deal">metrics capture</a> <a href="https://doi.org/10.1098/rsos.171274">descriptive features such as</a>acousticness, energy, danceability and instrumentalness (the collection of instruments and voices in a given piece). </p> <p>We sought to find trends and analyze the relationship between songs’ descriptive features and their popularity.</p> <p>The rankings on the weekly <a href="https://www.billboard.com/charts/hot-100/">Billboard Hot-100</a> are based on sales, online streams and radio plays in the United States.</p> <p>The analysis we performed by looking at Spotify and Billboard revealed insights that are useful for the music industry.</p> <h2>What predicts a Billboard hit?</h2> <p>To perform <a href="https://ieeexplore.ieee.org/document/9842568">this study</a>, we used two different data sets pertaining to songs that <a href="https://www.npr.org/sections/therecord/2013/08/16/207879695/how-the-hot-100-became-americas-hit-barometer">were Billboard hits</a> <a href="https://data.world/kcmillersean/billboard-hot-100-1958-2017">from the early 1940s to 2020</a> and Spotify data related to over 600,000 tracks and over one million artists.</p> <p>Interestingly, we found no substantial correlations between the number of weeks a song remained on the charts, as a measure of popularity, and the acoustic features included in the study.</p> <p>Our analysis determined that newer songs tend to last longer on the charts and that a song’s popularity affects how long it stays on the charts. </p> <p>In a related study, researchers collected data for Billboard’s Hot 100 from 1958 to 2013 and found that <a href="https://doi.org/10.1007/978-3-319-13734-6_36">songs with a higher tempo and danceability often get a higher peak position on the Billboard charts</a>. </p> <h2>Predicting Spotify song popularity</h2> <p>We also used the songs’ features to generate machine learning models to predict Spotify song popularity. Preliminary results concluded that features are not linearly correlated, with some expected exceptions including songs’ energy. </p> <p>This indicated that the Spotify metrics we studied — including acousticness, danceability, duration, energy, explicitness, instrumentalness, liveness, speechiness (a measure of the presence of spoken words in a song), tempo and release year — were not strong predictors of the song’s popularity.</p> <p>The majority of songs in the Spotify dataset were not listed as explicit, tended to have low instrumentalness and speechiness, and were typically recent songs. </p> <p>Although one may think that some features that are innate to certain songs make them more popular, our study revealed that popularity can not be attributed solely to quantifiable acoustic elements. </p> <p>This means that song makers and consumers must consider other contextual factors beyond the musical features, as captured by Spotify’s measurables, that may contribute to the song’s success. </p> <h2>Elements affecting popularity shift</h2> <p>Our study reinforces that elements affecting the popularity of songs change over time and should be continuously explored. </p> <p>For example, <a href="https://doi.org/10.1098%2Frsos.171274">in songs produced between 1985 and 2015 in the United Kingdom, songs produced by female artists were more successful</a>.</p> <p>Other aspects may substantially contribute to the success of a song. Data scientists have proposed <a href="https://doi.org/10.1371/journal.pone.0244576">simplicity of the lyrics</a>, the advertising and <a href="https://www.ipr.edu/blogs/audio-production/what-are-the-elements-of-popular-music/">distribution plans</a> as potential predictors of songs’ popularity.</p> <h2>Attached listeners</h2> <p>Many musicians and producers make use of popular events and marketing strategies to advertise songs. Such events create social engagements and <a href="https://doi.org/10.3389/fpsyg.2018.02682">audience involvement</a> which attaches the listener to the song being performed. </p> <p>For the public, <a href="https://www.osheaga.com/en">live music events</a>, following long lockdowns, have been opportune for reuniting friends, and <a href="https://ottawabluesfest.ca/">enjoying live artistry and</a> entertainment.</p> <p>While attending a music event or listening to a song, we invite you to reflect on what it is about the song that makes you enjoy it.</p> <p><em>Image credits: Getty Images</em></p> <p><em>This arctic originally appeared on <a href="https://theconversation.com/can-big-data-really-predict-what-makes-a-song-popular-189052" target="_blank" rel="noopener">The Conversation</a>. </em></p>

Music

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How Bob Dylan used the ancient practice of ‘imitatio’ to craft some of the most original songs of his time

<p>Over the course of six decades, Bob Dylan steadily brought together popular music and poetic excellence. Yet the guardians of literary culture have only rarely accepted Dylan’s legitimacy.</p> <p>His <a href="https://www.nytimes.com/2016/10/14/arts/music/bob-dylan-nobel-prize-literature.html">2016 Nobel Prize in Literature</a> undermined his outsider status, challenging scholars, fans and critics to think of Dylan as an integral part of international literary heritage. My new book, “<a href="https://www.amazon.com/No-One-Meet-Imitation-Originality/dp/0817321411">No One to Meet: Imitation and Originality in the Songs of Bob Dylan</a>,” takes this challenge seriously and places Dylan within a literary tradition that extends all the way back to the ancients.</p> <p><a href="https://english.umbc.edu/core-faculty/raphael-falco/">I am a professor of early modern literature</a>, with a special interest in the Renaissance. But I am also a longtime Dylan enthusiast and the co-editor of the open-access <a href="https://thedylanreview.org/">Dylan Review</a>, the only scholarly journal on Bob Dylan. </p> <p>After teaching and <a href="https://www.researchgate.net/profile/Raphael-Falco">writing about</a> early modern poetry for 30 years, I couldn’t help but recognize a similarity between the way Dylan composes his songs and the ancient practice known as “<a href="http://www.artandpopularculture.com/Dionysian_imitatio">imitatio</a>.”</p> <h2>Poetic honey-making</h2> <p>Although the Latin word imitatio would translate to “imitation” in English, it doesn’t mean simply producing a mirror image of something. The term instead describes a practice or a methodology of composing poetry.</p> <p>The classical author Seneca <a href="https://en.wikisource.org/wiki/Moral_letters_to_Lucilius/Letter_84">used bees</a> as a metaphor for writing poetry using imitatio. Just as a bee samples and digests the nectar from a whole field of flowers to produce a new kind of honey – which is part flower and part bee – a poet produces a poem by sampling and digesting the best authors of the past.</p> <p>Dylan’s imitations follow this pattern: His best work is always part flower, part Dylan. </p> <p>Consider a song like “<a href="https://www.bobdylan.com/songs/hard-rains-gonna-fall/">A Hard Rain’s A-Gonna Fall</a>.” To write it, Dylan repurposed the familiar Old English ballad “<a href="https://www.poetrybyheart.org.uk/poems/lord-randall/">Lord Randal</a>,” retaining the call-and-response framework. In the original, a worried mother asks, “O where ha’ you been, Lord Randal, my son? / And where ha’ you been, my handsome young man?” and her son tells of being poisoned by his true love. </p> <p>In Dylan’s version, the nominal son responds to the same questions with a brilliant mixture of public and private experiences, conjuring violent images such as a newborn baby surrounded by wolves, black branches dripping blood, the broken tongues of a thousand talkers and pellets poisoning the water. At the end, a young girl hands the speaker – a son in name only – a rainbow, and he promises to know his song well before he’ll stand on the mountain to sing it.</p> <p>“A Hard Rain’s A-Gonna Fall” resounds with the original Old English ballad, which would have been very familiar to Dylan’s original audiences of Greenwich Village folk singers. He first sang the song in 1962 at <a href="https://bedfordandbowery.com/2016/12/the-story-of-the-gaslight-cafe-where-dylan-premiered-a-hard-rains-a-gonna-fall/">the Gaslight Cafe</a> on MacDougal Street, a hangout of folk revival stalwarts. To their ears, Dylan’s indictment of American culture – its racism, militarism and reckless destruction of the environment – would have echoed that poisoning in the earlier poem and added force to the repurposed lyrics.</p> <h2>Drawing from the source</h2> <p>Because Dylan “samples and digests” songs from the past, <a href="https://thedylanreview.org/2022/08/04/interview-with-scott-warmuth/">he has been accused of plagiarism</a>. </p> <p>This charge underestimates Dylan’s complex creative process, which closely resembles that of early modern poets who had a different concept of originality – a concept Dylan intuitively understands. For Renaissance authors, “originality” meant not creating something out of nothing, but <a href="https://www.google.com/books/edition/Origin_and_Originality_in_Renaissance_Li/1OmCQgAACAAJ?hl=en">going back to what had come before</a>. They literally returned to the “origin.” Writers first searched outside themselves to find models to imitate, and then they transformed what they imitated – that is, what they found, sampled and digested – into something new. Achieving originality depended on the successful imitation and repurposing of an admired author from a much earlier era. They did not imitate each other, or contemporary authors from a different national tradition. Instead, they found their models among authors and works from earlier centuries.</p> <p>In his book “<a href="https://archive.org/details/lightintroyimita0000gree/page/n5/mode/2up">The Light in Troy</a>,” literary scholar Thomas Greene points to a 1513 letter written by poet Pietro Bembo to Giovanfrancesco Pico della Mirandola.</p> <p>“Imitation,” Bembo writes, “since it is wholly concerned with a model, must be drawn from the model … the activity of imitating is nothing other than translating the likeness of some other’s style into one’s own writings.” The act of translation was largely stylistic and involved a transformation of the model.</p> <h2>Romantics devise a new definition of originality</h2> <p>However, the Romantics of the late 18th century wished to change, and supersede, that understanding of poetic originality. For them, and the writers who came after them, creative originality meant going inside oneself to find a connection to nature. </p> <p><a href="https://www.google.com/books/edition/Natural_Supernaturalism/-ygCZmrJ2E4C?hl=en&amp;gbpv=1&amp;dq=natural+supernaturalism&amp;printsec=frontcover">As scholar of Romantic literature M.H. Abrams explains</a> in his renowned study “Natural Supernaturalism,” “the poet will proclaim how exquisitely an individual mind … is fitted to the external world, and the external world to the mind, and how the two in union are able to beget a new world.” </p> <p>Instead of the world wrought by imitating the ancients, the new Romantic theories envisioned the union of nature and the mind as the ideal creative process. Abrams quotes the 18th-century German Romantic <a href="https://plato.stanford.edu/entries/novalis/">Novalis</a>: “The higher philosophy is concerned with the marriage of Nature and Mind.”</p> <p>The Romantics believed that through this connection of nature and mind, poets would discover something new and produce an original creation. To borrow from past “original” models, rather than producing a supposedly new work or “new world,” could seem like theft, despite the fact, obvious to anyone paging through an anthology, that poets have always responded to one another and to earlier works.</p> <p>Unfortunately – as Dylan’s critics too often demonstrate – this bias favoring supposedly “natural” originality over imitation continues to color views of the creative process today. </p> <p>For six decades now, Dylan has turned that Romantic idea of originality on its head. With his own idiosyncratic method of composing songs and his creative reinvention of the Renaissance practice of imitatio, he has written and performed – yes, imitation functions in performance too – <a href="https://en.wikipedia.org/wiki/List_of_songs_written_by_Bob_Dylan">over 600 songs</a>, many of which are the most significant and most significantly original songs of his time.</p> <p>To me, there is a firm historical and theoretical rationale for what these audiences have long known – and the Nobel Prize committee made official in 2016 – that Bob Dylan is both a modern voice entirely unique and, at the same time, the product of ancient, time-honoured ways of practicing and thinking about creativity.</p> <p><em>Image credits: Getty Images</em></p> <p><em>This article originally appeared on <a href="https://theconversation.com/how-bob-dylan-used-the-ancient-practice-of-imitatio-to-craft-some-of-the-most-original-songs-of-his-time-187052" target="_blank" rel="noopener">The Conversation</a>. </em></p>

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Dissecting Stevie Wonder’s Superstition, 50 years after we first heard its infectious grooves

<p>On October 24 1972, Stevie Wonder released his 15th album Talking Book and the world heard the infectious grooves and seamless vocal delivery of the song Superstition for the very first time.</p> <p>Superstition reached number one in the Billboard Hot 100 and on the soul singles chart. </p> <p>The song has been covered by an astounding number of artists, from <a href="https://www.youtube.com/watch?v=dbxmmFsofA4">Mel Torme</a>to <a href="https://www.youtube.com/watch?v=0dNNl79_2Yc">Stevie Ray Vaughan and Macy Gray</a>, French musician <a href="https://www.youtube.com/watch?v=NzwiyeLvZwg">Tété</a> and a unique mashup from <a href="https://www.youtube.com/watch?v=7QLSNwFBFyI">Pomplamoose</a>.</p> <p>Superstition is frequently played at gigs and gatherings all over the globe because the bass riff and driving drum groove have so much <a href="https://www.youtube.com/watch?v=DUIpSe7lcto">dance appeal</a> – a mix of the unexpected syncopation and repetition of the chorus hook. The song feels alive.</p> <h2>A simple structure</h2> <p>The listener can’t help but respond directly to the infectious opening groove played by Wonder. </p> <p>Three key instruments forge the captivating and carefully arranged funk groove in the introduction: the <a href="https://en.wikipedia.org/wiki/Clavinet">Hohner Clavinet</a> (an electronic harpsichord – more on this later), drums and the <a href="https://en.wikipedia.org/wiki/Moog_synthesizer">Moog bass</a>. The cohesion is musical magic. </p> <p>Superstition’s recording engineer Malcolm Cecil <a href="https://openvault.wgbh.org/catalog/V_D5482985134149A5927DED9849248EF">recalled</a> how Wonder recorded the entire song on drums first, with no reference other than the song in his head, then the keyboard bass part, and then the Clavinet. </p> <p>This illustrates how complete his conceptualisation of the song was prior to recording. </p> <p>The song’s structure is simple. The introduction sets up the familiar groove with its static harmony, pulsing bass and keyboard riff. </p> <p>The verse proceeds over the same static harmony, with a new bass riff introduced halfway through, effecting a shift to a higher dynamic level. </p> <p>The chorus releases the tension with a sophisticated cadence, reflecting jazz sensibilities and revealing the breadth of Wonder’s musical knowledge. </p> <p>This structure is repeated, followed by an instrumental version of the chorus. Then there’s a final verse and chorus before a long instrumental section built on the verse riff leads to the final fade out.</p> <h2>Unexpected instruments</h2> <p>One of the most memorable parts of the song is the signature played on the Hohner Clavinet.</p> <p>A <a href="https://www.youtube.com/watch?v=c7CY6aJtegc">Clavinet</a> looks like an electric keyboard, but it is an electro-mechanical string instrument originally developed for the performance of classical harpsichord and clavichord music.</p> <p>Like the <a href="https://en.wikipedia.org/wiki/Hammond_organ">Hammond organ</a> of the 1930s, it was soon discovered and adopted by many contemporary musicians.</p> <p>Wonder had already used the instrument on I Was Made to Love Her (1967), Shoo-Be-Doo-Be-Doo-Da-Day (1968) and I Don’t Know Why (1969). According to music journalist <a href="https://www.goodreads.com/book/show/2722025-innervisions">Martin Horn</a>, Wonder wanted to use the Clavinet on Superstition to “full effect” to “show off”. Wonder had described the instrument as “funky, dirty, stinky”.</p> <p>In some ways, the Clavinet is doing the job a guitarist might normally do. It plays the single note riff at the core of Wonder’s song, and chord parts similar to what you would hear from a strummed guitar. But there are also several other barely audible tracks of clavinet, which subtly add to the texture. </p> <p>Superstition’s bass line is played on an analog synthesiser called <a href="https://www.youtube.com/watch?v=YX0XPdmSfXI">TONTO</a> (The Original New Timbral Orchestra). This is an extraordinary collection of electronics which filled an entire room, adding to the song with a totally unique sonic palette – akin to a PVC pipe hit with a thong.</p> <h2>Standing the test of time</h2> <p>The contributions from the horn parts are also integral, played by Steve Madaio on trumpet and Trevor Lawrence on the tenor saxophone. </p> <p>The horns first appear playing in unison with the bass line in the second half of the verse, emphasising the lift in energy. They play long notes in the chorus emphasising the melody, then reinforce the rhythmic figure at the crest of resolution. </p> <p>Their part culminates in a powerful instrumental hook answering the vocal hook, “superstition ain’t the way”. These parts are repeated in the ensuing verses and choruses.</p> <p>After the final chorus the horns cycle through a sequence containing the verse riff, the chorus hook and a short passage of long notes adapted from the chorus melody. </p> <p>The melody of Superstition is very singable. Wonder’s delivery is fluid and highly expressive. He sings relatively short phrases, allowing the keyboard riffs to fill the space at the end of each phrase. </p> <p>It isn’t until the chorus that Wonder delivers the first effortless vocal lick on “suffer”. His vocal delivery remains understated, with occasional punctuated phrases, gravel tones and a scream within the horn part. </p> <p>The song ends with a long 50 second fade out, reinforcing the riff. </p> <p>Superstition and Wonder’s vocal delivery is so dependable, groovy and secure musically. The listener feels free to give themselves over fully, to trust Wonder completely and lose themselves for a moment. </p> <p>Superstition stands the test of time.</p> <p><em>Image credits: Getty Images</em></p> <p><em>This article originally appeared on <a href="https://theconversation.com/dissecting-stevie-wonders-superstition-50-years-after-we-first-heard-its-infectious-grooves-189551" target="_blank" rel="noopener">The Conversation</a>. </em></p>

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Lost Freddie Mercury song released by Queen

<p dir="ltr">Queen has released a lost song that was originally recorded in 1988, which features the late frontman Freddie Mercury.</p> <p dir="ltr">The track, titled <em>Face It Alone</em>, was written and recorded for the band’s album called <em>The Miracle</em>, but didn’t make it onto the final track listing and was shelved. </p> <p dir="ltr">The song was later rediscovered when the band’s production and archive team returned to the sessions to work on the upcoming reissue of the album. </p> <p dir="ltr"><em>Face It Alone</em> is the first new song released featuring Freddie Mercury since 2014’s <em>Queen Forever</em> album. </p> <p dir="ltr">The 2014 album included three previously unheard tracks with the singer: <em>Let Me In Your Heart Again</em>, <em>Love Kills</em> and <em>There Must Be More to Life Than This</em>.</p> <p dir="ltr">Speaking of the rediscovered track, Queen guitarist Brian May said: “I’m happy that our team were able to find this track.”</p> <p dir="ltr">“After all these years, it’s great to hear all four of us, yes, (former bass player) Deacy is there too, working in the studio on a great song idea which never quite got completed... until now.”</p> <p dir="ltr">Drummer Roger Taylor added, “We’d kind of forgotten about this track but there it was, this little gem.”</p> <p dir="ltr">“It’s wonderful, a real discovery. It’s a very passionate piece.”</p> <p dir="ltr">The song’s resurgence comes ahead of the reissue of the band’s 13th album <em>The Miracle</em>, which was first released in 1989.</p> <p dir="ltr">The album - which included tracks<em> I Want It All</em>, <em>Breakthru</em> and <em>The Invisible Man</em> - reached number one in the UK at the time of its initial release. </p> <p dir="ltr"><em>Image credits: Getty Images</em></p>

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