Beyonce, like Diana Ross before her, knows of the many women performers who have preceded her own arrival on the public stage, and has offered compliments to them: and Beyonce is trying to place herself in a flattering locale within that tradition and that ambition involves manners and methods dangerous, enriching, exciting, and easy to misunderstand.
Tag: music
Masculine, Nurturing: Ben Harper’s Both Sides of the Gun
In a song co-written with Danny Kalb, “More Than Sorry,” Ben Harper sings “Goodbye hasn’t been so good to me” and “We all think that we’re right” and “Too many people say goodbye before they say hello,” and concludes, “What…
The Ordinary Lives of Intelligent People: Belle and Sebastian’s If You’re Feeling Sinister
Boredom and pleasure and violence seem the boundaries of the experiences described in several songs. A girl in “If You’re Feeling Sinister” is described thusly: “She was into S&M and bible studies.” (It is to laugh—or weep: the contradictions are less immoral than merely telling: and they tell of contradictory human impulses so strong that each aspect cannot destroy the other but may reinforce somehow the other.)
Fresh Vision, New Sounds: Bright Eyes’ Digital Ash in a Digital Urn
Does one affirm, then move toward, truth over lie, love over hate, and life over death? (How to make these—and other—choices dynamic, vivid? Present them in art—in books, dance, film, music, painting, and theater. How to emphasize that dualities such as life and death are deeply bound? Explore philosophy.)
Imagination and International Perspective: Devendra Banhart’s Cripple Crow
In “Now That I Know,” Devendra Banhart sings, “You got to pay back every penny you owe,” and Banhart sings in a low, hushed but clear voice, and a guitar’s notes create a solemn mood as the song explores debt, secrecy, time passing, travel, elusive connections, and there are assertions of honesty and talk of glory.
A review of Get Used To It by The Brand New Heavies
“Let’s Do It Again,” a song with a dance beat, seems to celebrate the Brand New Heavies. The subjects of the album’s focus are music and love. The music on the album is actually quite vivid without being very original—and…
Speaking to His Generation: John Mayer’s Continuum
Mayer removes the awkwardness from sharp assertions, and fills what might seem blather with conviction: something that is more necessary in certain songs than others. In “Stop This Train,” Mayer begins “No I’m not colorblind, I know the world is black and white” and “Stop this train, I want to get off, and go home again” and “I’m only good at being young.”
Beauty, Joy, Tradition: Wynton Marsalis’s Live at the House of Tribes
The mastery of Wynton Marsalis seems unquestionable to me, someone to whom he first came to attention years ago as a young prodigy: like many I was impressed by his playing of both European classical music and African-American improvisational music. He has since become a principal figure in American culture.
Optimistic Blues: Keb Mo’s Suitcase
In the work of musicians such as Keb Mo and Cassandra Wilson I hear a blues music that has true relation to the tradition as I understand it and that also reflects some of the opportunities and perceptions of contemporary life. However, it is possible to respect the form of the music and lose the depth of the content—and that loss I also hear in some of the music being produced today.
Sinead O’Connor’s Throw Down Your Arms
Throw Down Your Arms is a respectful and sincere tribute, and a lovely piece of music, but except for the respect—cross-cultural, intergenerational, beyond gender—it represents, it is not radical or transformative. Such a comment may be suggesting an impossible standard. It might be simpler if I just said that I like the album very much: without having any inclination to affirm the recording’s view of god-centered spirituality or nationalistic politics, I enjoy the album’s singing and music very much.