Welcome back to Parsons Playlists! Today’s playlist is curated by Music Library student manager Amy (class of 2025) and features some of her favorite seasonal music.
Autumn Equinox
One of my favorite ways to welcome a new season is by finding songs that capture the shift in the air. Autumn, my favorite season, always has me waiting with bated breath for the first official day of fall. Then, I can finally pull out my sweaters, enjoy hot coffee, and play songs like “‘Tis Autumn” by the Nat King Cole Trio. Here are a few others I think are perfect for when fall arrives:
Editor’s note:Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.
Music and Manipulation, edited by Steven Brown and Ulrik Volgsten, delves into the complex ways in which music is employed as a tool for social influence and control. Through a collection of essays from various scholars, the book explores how music affects human behavior, shapes identities, and is used in contexts of power and manipulation.
The essays in this anthology investigate how music is used both to foster unity and to exert control, depending on the circumstances. For instance, one section of the book delves into the use of music in political propaganda, where governments and regimes leverage music to promote nationalistic sentiments and manipulate public opinion. This can be seen in examples ranging from national anthems to political campaigns, where music serves as a subtle yet powerful force to unite people under a common ideology.
The book also explores music’s role in advertising and commercial contexts, where it is utilized to shape consumer behavior and create emotional connections with products. This type of “manipulation” often goes unnoticed but is incredibly effective in influencing purchasing decisions and brand loyalty.
Another theme covered in Music and Manipulation is the therapeutic use of music. In contrast to the more coercive applications discussed earlier, music therapy is framed as a positive use of music to influence emotions and improve mental health. This section highlights how music can be used to heal and empower individuals, demonstrating its dual capacity for both control and liberation.
Religious and ceremonial uses of music are also examined, revealing how music shapes spiritual experiences and creates a sense of communal identity. In religious contexts, music often serves as a tool for guiding emotions and fostering a sense of unity among believers. The authors also explore how different cultures use music in rituals and ceremonies to reinforce social bonds and cultural values.
Welcome back to Parsons Playlists — a special Banned Books Week edition! Today’s playlist is curated by Music Library student manager Amy (class of 2025) and features tracks that have been censored over the years.
Music Censorship
For decades, musicians’ artistic liberties have been censored, whether it be because of references to sex, violence, drugs, politics, or religion, it is all a restriction of one’s freedom of speech. In honor of Banned Books Week, here is a list of songs that might be on your playlists that were banned or censored in one way or another.
Billie Holiday’s protest song “Strange Fruit” which was a direct call out of American racism, especially Southern lynchings, was too controversial for most radio stations. The song, originally a poem by Abel Meeropol inspired by the 1930 lynchings of Thomas Ship and Abraham Smith, was performed by Meeropol before Holiday made it her closing act in 1938. Time magazine named it “Song of the Century” in 1999. (1)
Christian groups in Lebanon and the Philippines called for a ban on Lady Gaga’s concerts and her album as a whole. Christian and Muslim groups in 2012 worked hard to try to ban Gaga’s shows, calling them the “work of Satan.” (2)
Loretta Lynn’s song about sexual freedom and birth control, “The Pill” shocked the world in 1975 because of its lyrics discussing birth control, something that was only made legal three years before the song’s release. When the song was released, three years after its initial recording, over 60 radio stations banned the song. Modern country artists like Miranda Lambert and The Chicks were heavily influenced by Lynn’s strength to stray from the norm and talk about important topics not everyone wants to sing about. (3)
In 1993, a bomb exploded under the North Tower of the World Trade Center, killing six people. Some historians see this attack by Islamic radicals as the start of a two-decade conflict with the West. The Notorious B.I.G., nearby at the time, referenced the event in his 1994 single “Juicy” with the line “blow up like the World Trade,” symbolizing his desire for rapid success. After his 1997 death, his music became iconic in 1990s rap culture. Following 9/11, the lyric was removed from media, and the edited version of the song is still played today. (4)
In 2009, the Parents Television Council urged radio stations across the country not to play Britney Spears’s newest song, “If U Seek Amy,” because of the lyrics’ double meaning. If the title of the song is said quickly, it sounds like one is spelling out F-U-C-K me. (5)
Olivia Newton-John’s most successful song of her career, “Physical” was banned from many radio and TV stations for being too sexual. However, this didn’t stop the song from its roaring success. Over 40 years later the song’s release, her song is now sampled by modern music artists like Dua Lipa and Doja Cat. (6)
Sarah Jones’ lyrical poem, “Your Revolution” was a direct call out of the treatment and portrayal of women in hip-hop music. The FCC called out a radio station and Jones for playing the song, and when Jones sued them, the case was dismissed, but many stations didn’t play the song while the case was ongoing. (7)
Following up on a listener complaint, the FCC fined a radio station $7000 for airing the radio edit of Eminem’s “The Real Slim Shady.” The FCC complained that the song contained offensive sexual references that were intended to shock audiences. (8)
The Rolling Stones’ song “(I Can’t Get No) Satisfaction” was initially played only on pirate radio stations in the UK due to its sexually suggestive lyrics. (9)
Madonna’s 1989 hit was censored for its provocative mix of religious imagery and sexual themes. The accompanying music video, which featured depictions of burning crosses and Madonna receiving stigmata, caused outrage among religious groups and led to boycotts and bans. (10)
Though the band denied it, many believed this 1967 track was a reference to LSD due to its initials and psychedelic lyrics. As a result, the song faced bans from radio stations, particularly in the more conservative U.S. and U.K. (11)
The 1984 song was banned by MTV in the U.S. due to its music video, which featured the band members dressed in drag, parodying soap operas. While it was intended humorously, it was deemed inappropriate and sparked controversy in more conservative regions. (12)
This 1988 protest song against police brutality faced heavy censorship due to its explicit language and perceived incitement of violence against law enforcement. The FBI even sent a warning letter to the group’s record label, leading to bans from mainstream radio. (13)
Released in 2002, this anti-war ballad was censored after the band spoke out against President George W. Bush and the Iraq War. Country radio stations pulled the song in response to public outrage, severely impacting its airplay. (14)
This 2006 track was the band’s response to the backlash they received for their anti-Bush comments. The song’s defiant tone led to continued boycotts from country radio, reflecting the politically charged climate at the time.(14)
Editor’s note:Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.
Bob Dylan’s debut album, released in March 1962 by Columbia Records, marks a pivotal moment in the history of folk and popular music. Recorded over two days in November 1961, the album introduces the world to the raw, authentic voice of 20-year-old Dylan. The opening track, “You’re No Good,” immediately showcases Dylan‘s distinctive vocal style and his ability to infuse traditional songs with new life. The album is a compelling blend of folk standards, bluesy interpretations, and a few original compositions, offering a glimpse into the mind of a burgeoning songwriter and storyteller.
Dylan’s command of the acoustic guitar is evident throughout the album, providing a solid foundation for his poetic and often socially conscious lyrics. “Talkin’ New York” is an autobiographical track detailing Dylan’s early experiences and struggles in the Greenwich Village folk scene. “In My Time of Dyin'” reflects Dylan’s fascination with mortality and traditional blues themes, while “Man of Constant Sorrow” highlights his ability to reinterpret folk classics with a fresh perspective.
The album also features Dylan’s take on the traditional ballad “House of the Risin’ Sun,” a rendition that would influence countless musicians. The haunting quality of this track, combined with Dylan’s distinctive vocal delivery, contributes to the enduring appeal of the song. “Song to Woody” pays homage to Woody Guthrie, one of Dylan‘s most significant influences.
In hindsight, Bob Dylan is a captivating snapshot of an artist on the cusp of greatness. While not an immediate commercial success, the album laid the groundwork for Dylan’s subsequent groundbreaking work. Its influence on the folk revival of the 1960s and its enduring impact on subsequent generations of musicians solidify its place as a seminal piece in the folk and rock canon. Bob Dylan captures the essence of a young artist finding his voice, foreshadowing the revolutionary changes he would bring to the world of music in the years to come.
Editor’s note:Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.
One musical masterpiece that has left a mark on the Broadway stage is The Color Purple. Beyond its powerful performances and captivating narrative, the new Broadway cast recording (released in 2016) stands as a testament to the emotional depth embedded in this timeless production. And seeing as the movie adaptation hit late last year, I thought I would bring some recognition to the musical it was inspired by.
The Color Purple, adapted from Alice Walker’s Pulitzer Prize-winning novel, weaves a rich tapestry of storytelling, empowerment, and redemption. The new Broadway cast recording, capturing the live energy of the performances, transports listeners into the heart of the narrative, enveloping them in the struggles and triumphs of its characters.
The cast of The Color Purple not only possesses remarkable vocal prowess but also embodies the emotional complexity of their roles. From the soul-stirring melodies of Celie to the powerful anthems of empowerment, each track showcases the diversity and depth of the performers.
The Color Purple new Broadway cast recording contributes to the cultural landscape by amplifying narratives that are often marginalized. The celebration of African American culture, the exploration of sisterhood, and the unapologetic embrace of individuality contribute to its enduring legacy.
Some of my favorite musical highlights are as follows:
“I’m Here,” performed by Cynthia Erivo, stands as a towering pinnacle of vocal prowess and emotional intensity. The raw vulnerability and strength she brings to this anthem of self-discovery resonate long after the final note.
“What About Love?” is a dynamic duet between Jennifer Hudson and Cynthia Erivo. Hudson and Erivo create a harmonious blend of two powerhouse voices. Their chemistry elevates the song, infusing it with a poignant sense of longing and hope.
“The Color Purple,” the titular track, performed by the ensemble cast, serves as the musical thread that ties the narrative together. Its hauntingly beautiful melody captures the essence of the characters’ shared journey and the overarching theme of resilience.
The Color Purple new Broadway cast recording is more than a compilation of songs; it is a journey through the human experience, a celebration of resilience, and a testament to the transformative power of music. As the notes linger in the air, they carry with them the echoes of a narrative that has touched the hearts of audiences, leaving an indelible mark on the annals of Broadway history.
Welcome back to Parsons Playlists! Today’s playlist is curated by Music Library student manager Amy (class of 2025) and features music by American R&B artist and songwriter Victoria Monét.
Victoria Monét
Victoria Monét, a talented R&B artist and songwriter, secured three well-deserved Grammy Awards at the 2024 ceremony, including the coveted title of Best New Artist. Witnessing her triumph filled me with absolute joy, as her musical creations, both as a songwriter and a vocalist, are nothing short of extraordinary. Recognizing that not everyone may be familiar with Victoria’s incredible talent, I decided to curate a playlist featuring some of my favorite songs penned by this exceptional artist.
Another year, another Pantone color playlist! This is my third annual Pantone playlist, and this playlist might be my favorite. 2024’s color of the year is Peach Fuzz, which Pantone’s website describes as a color that “captures our desire to nurture ourselves and others. It’s a velvety gentle peach tone whose all-embracing spirit enriches mind, body, and soul. Pantone collaborated with multiple companies this year, including Cariuma Sneakers, a ripe peach flavored tea from TEALEAVES’, Peach Fuzz colored Polaroid film, and a peach-colored lip oil from Shades by Shan.
Here are 15 songs that I think are reminiscent of the color peach fuzz:
Editor’s note:Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.
As a girl whose father crafted her music taste, you would think my favorites would be The Beatles or The Eagles, Jimi Hendrix, or even Led Zeppelin. Instead, my father decided to raise a young girl who only listened to melodramatic psychedelic rock music like Janis Joplin.
Sitting in the back of my dad’s car, he slipped his Pearl CD into the player and told me, “This is what good music is, so, listen closely.”
The raspy and powerful voice of Janis shook my world, and I couldn’t get enough. We listened to the entire album and I knew Janis was the perfect artist for me. I even started dressing like her. I had just gotten glasses and was admittedly embarrassed, but once I saw the funky big frames Janis had, I got myself a pair and didn’t feel as worried about how I looked.
The last song my dad showed me was “Mercedez Benz.” The song was a stark difference from everything else on the album-it seemed more casual, and it was a cappella; every other song had a backing band.
After the song was over, my dad told me the horrid news: Janis died of a heroin overdose three days after this first and only recording of “Mercedez Benz.” Three months after her death, her album Pearl was released, her second solo album.
Despite the unfinished nature of the album, it does not even begin to sound that way. Her confidence and remarkable songwriting skills take her far in the album.
The opening of the album “Move Over” is a funky welcome to the album but fits the band (the Full Tilt Boogie Band) and Janis well. The song may be about a breakup but it’s also a song of female empowerment, she’s taking back the reins of her own romantic life.
One of my other favorites on this album is “Cry Baby.” It’s dramatic and passionate and just shows off her voice so well. The song is loud and head-banging at times, but it’s also sorrowful. That’s the power of Janis, she may be the queen of rock, but she’s also the queen of the blues.
Pearl and Janis Joplin’s Greatest Hits are both available as CDs in Parsons Music Library. I highly recommend picking up both as her Greatest Hits also includes music from her first two albums with Big Brother & The Holding Company.
Welcome back to Parsons Playlists! Today’s playlist is curated by Music Library student manager Amy (class of 2025) featuring solo songs by members of the American indie supergroup boygenius.
The boy geniuses
Boygenius, a band comprised of three singer-songwriters (Julien Baker, Phoebe Bridgers and Lucy Dacus), grew enormously popular over the summer, but the majority of listeners are only familiar with the solo music of Bridgers. As a regular listener of both boygenius and the three artists’ solo works, I wanted to shed some light on some of my favorite songs from each of them.
Editor’s note:Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.
When wedding music is discussed, the song that comes to almost everyone’s mind is Johann Pachelbel’s Canon in D. The simple baroque era piece is everywhere, from TV shows to playlists to lists of the best pieces of classical music of all time. But it’s eight bars of music 28 times, how is it so popular?
I’ll explain. Pachelbel and his musical career are not well-known. The original composition of Canon (and Gigue (yes, there is a second movement to this piece)) in D was most likely written around 1680, but not published until the early 1900s. The piece fell to the wayside, pushed out of the spotlight by composers like Vivaldi, Bach, and Handel (no malice towards these very fabulous composers, their music is beautiful as well).
In a New York Times article, the conductor and organist at the Cathedral of St. John the Divine in New York, Kent Tritle, said the piece just became popular through that recording, just by happenstance. It was then featured in the Academy Award-winning film Ordinary People, which catapulted it to further stardom.
However, the thing that sealed the deal of Canon in D as the perfect wedding song was Prince Charles and Princess Diana’s wedding in 1981, which used a baroque processional, shining a light on other baroque composers from long ago.
Canon in D is simple, at its core. And that’s what made people love it. Its use of four instruments and natural progression from simple, quiet notes to a swell of instruments gives an intimate feel to the piece.
It’s also simple, musicality-wise. This canon created what is known as the Pachelbel Progression, which is the same eight chords, typically in a major key, repeated over and over again, which are all built upon the same bass line. The bass line of this canon is an ostinato or a continually repeated musical phrase. In the case of Pachelbel’s canon, it’s the same eight notes all throughout the bass line. These chords are then seemingly played in a round-like way so each instrument plays a similar if not the same melody starting at different times, in this case, that’s the canon part of this piece.
The piece is also simple enough to arrange for any set of instruments, string quartet, organ, keyboard, etc., the only thing holding someone back is the occasion. It is also simple enough for a walk. In a traditional wedding, the bride walking down the aisle is nervous, thus having a steady four-count beat to keep her up and something to focus on makes it so much easier on her. It also makes it easy for her to take her time on her walk, there isn’t a set end to Canon in D, since it is a canon and has the same eight chords, it can just be played forever if needed.
So, in the end, there’s a reason Canon in D is the “wedding song.” It’s simple to play, never-ending, and just a good time. It might be overhyped, but it is near and dear to the hearts of many, including me. This was the first “real” piece of music I learned when I started playing the cello. My aunts were finally allowed to get married and they wanted me to play something for them. My cello teacher at the time pulled out a wrinkled copy of the bass line of Canon in D and let me use it. The notes were easy enough and something I could handle, and it sounded beautiful. Who knew eight notes thrown together would sound so right?
