Tag Archives: guest post

Arachnophonia: Why Karen Carpenter Matters

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Editor’s note: Arachnophonia 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.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student worker Cole (class of 2021) and features a hybrid biography/memoir about the life and legacy of 1970s pop star Karen Carpenter. Thanks, Cole!

Why Karen Carpenter Matters by Karen Tongson

Why Karen Carpenter Matters

“Why Karen Carpenter Matters” book cover
(image: University of Texas Press)

2019 marks fifty years since the release of the Carpenters’ debut album Ticket to Ride (1969; originally released as Offering). Over a fourteen-year career, the Downey, California based brother-sister duo of Karen and Richard released ten albums and were best known for their runaway hits “(They Long to Be) Close to You” (1970), “We’ve Only Just Begun” (1970), and “Top of The World” (1973). Richard handled much of the writing and all of the arranging of their songs, blending easy listening, adult contemporary, and classical stylings together, despite the popularity of hard rock at the time. Richard crafted their songs to bolster the uniquely low and rich voice of his sister. The Carpenters’ signature sound was characterized by the use of multi-tracking to back Karen’s voice with itself to provide harmonies, a technique known as overdubbing. Indeed, it was Karen who was eventually forced out from behind her drum set to become the reluctant star of the group.

The story of the Carpenters is ultimately one of tragedy. As their fame grew, so did the demands of a near-constant touring schedule. This, coupled with increased scrutiny from the media, is speculated to be the cause of Karen’s development of anorexia nervosa. Around the same time, Richard developed an addiction to Quaaludes, a sleeping pill. Although Richard cured his addiction through rehab, little was known about eating disorders at the time that any treatment Karen underwent was dubious at best. She died from complications from anorexia in 1983 at the age of thirty-two.

Carpenters_1974

The Carpenters, 1974
By A&M Records – Billboard Magazine, page 2, Public Domain, https://commons.wikimedia.org/w/index.php?curid=75866990

In the decades since Karen’s death, the Carpenters’ catalog has been critically re-evaluated several times over, amassing further acclaim alongside greater examination into the Carpenters’ personal lives and a paradigmatic shift in understanding of anorexia nervosa. One such re-evaluation comes in the form of Karen Tongson’s Why Karen Carpenter Matters, released earlier this year. Part-biography, part-autobiography, and part-musicography, it charts not only the life of Karen Carpenter, but Karen Tongson (the author — named for Carpenter) and her lifelong relationship to the music of the Carpenters. A Filipino-American immigrant, Tongson draws inspiration from her own life to examine why the music of the Carpenters endures for people of color, the LGBTQ+ community, and anyone else who has craved the “white normalcy” that middle class suburbanites Richard and Karen seemed to embody. Tongson emphasizes Karen’s well-documented tomboyishness as a form of queer identity, and highlights how Karen, like so many minorities, obsessed over achieving a “white picket fence lifestyle” as a form of validation. Tongson’s writing put to words an understanding I first suspected while watching Fresh Off The Boat with my Japanese-American mother: though their children may only want to escape it, for many immigrants, white suburbia is the dream.

If it wasn’t already obvious, I’m a fan of the Carpenters. Their arrangements were superb and Karen was a generational talent. But even for those who find their music ‘too soft and too white,’ I recommend this book. At 138 pages, Why Karen Carpenter Matters is a brief and pleasant read that challenges some of the predominant assumptions we hold about why we love the music we love.

The Carpenters’ fifth studio album, Now & Then (1973) is also available for check out from the Parsons Music Library.

The Carpenters - Then And Now

Arachnophonia : Rent – Filmed Live on Broadway (2008)

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Editor’s note: Arachnophonia 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.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student worker Meghan (class of 2020) and features a filmed performance of the musical Rent. Thanks, Meghan!

Rent: Filmed Live on Broadway

Rent Live on Broadway DVD cover

Rent is a Tony award-winning musical production that originated on Broadway in 1994, and has since been remade into a movie and has been touring since its 20th anniversary in 2014. The story follows a group of New York City bohemians who are struggling to make their rent payments, while juggling the challenges of the AIDS epidemic that directly affects a few main characters. We see the ups and downs of their lives, all set to catchy rock music.

This musical is a personal favorite of mine. I remember stumbling across it about 8 years ago, when I was entirely too young to really understand what was going on. I can remember my attraction to the upbeat rock music, which I had never experienced in a musical theater setting before. However, as I got older and began to grasp the story line that the talented actors were portraying, it suddenly clicked: it is such a powerful work targeting tough social justice issues.

Rent Live cast photo

From homelessness and poverty, to the AIDS epidemic, drug abuse, and homosexuality, this musical puts faces, names, and stories behind people who grapple with the challenges associated with these and the experiences they have. Especially for those who were born in the 1990s and after, they don’t really have an idea of what the AIDS epidemic was like in the United States. This musical is a way for us to get a glimpse into what the lives of affected individuals were like. We see a heartbroken romantic partner and devastated friends lose a loved one, we see others struggle with past losses, and we see others just wondering when it will be their turn. At times, it can be hard to watch these characters go through this, especially because the writing and acting is so realistic and authentic. However, I think it is important to watch, as it gives us a chance to reflect on our own privilege, and how lucky we are today. We never know when our time is up in this world. We must treat every day like there is “no day but today”, and we must hold onto what is important. There’s only 525,600 minutes a year: how will you measure your year?

Rent Live Cast 2008

Arachnophonia: Folk Music and the New Left in the Sixties

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Editor’s note: Arachnophonia 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.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student worker Eve (class of 2020) and features a book entitled Folk Music and the New Left in the Sixties. Thanks, Eve!

Folk Music and the New Left in the Sixties by Michael Scott Cain

Folk Music and the New Left in the Sixties

I am super excited about Michael Scott Cain’s Folk Music and the New Left in the Sixties book available through the Music Library Collection! As an environmental activist, I am intrigued by the connection between music and activism and have drawn strength from songs like “The Times They Are A – Changin’” (Bob Dylan), “Resilient” (Rising Appalachia) and “Pa’lante” (Hurray for The Riff Raff). Most recently, at the Climate Strike in D.C., performers like Caroline Rose sang “Money”, and my Environmental Law professor’s daughter performed an original song about climate change!

https://globalclimatestrike.net/

As a result, I am excited to explore this book and Cain’s insight about the revival of folk music in the 1960’s that addressed a political shift and new cultural ideologies in America. The book focuses on musicians like Joan Baez, Peter Paul & Mary, and Bob Dylan and is divided into three parts; first, The Background, focused on the emergence of the New Left, second, The Politics, examining the politics of the New Left, and third, The Music, or the soundtrack of the New Left movement. When paging through the book, I was interested in the connection between suburbanization and the emergence of the New Left, and was drawn to the idea of a “prefigurative model” that turns the status quo upside down, where the “last shall be first”. Michael Scott Cain integrates an analysis of American history, culture, icons, music and experiences in an accessible and interesting read. Check it out!

Bob Dylan & Joan Baez during the 1960s

Arachnophonia: Getz/Gilberto

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Editor’s note: Arachnophonia 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.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student worker Colin (class of 2021) and features the classic 1963 bossa nova album Getz/Gilberto. Thanks, Colin!

Stan Getz / João Gilberto

Getz/Gilberto

Getz / Gilberto

America in the 1950s was one of the greatest growing periods of this nation’s history. The decade marked huge economic growth following the end of World War II, a spiked population rate from the “baby boomers,” and the rise of new forms of technology and music. Rock n’ roll quickly became a well-received genre among the nation’s youth, and this was expedited by the new product known as television and also the “King” of hip-shaking and dance, Elvis Presley. Jazz, which had established itself as a cornerstone of American music, found it was taking a backseat both commercially and artistically against all the attention rock had been receiving.

However, because of Tony Bennett’s trip to Brazil in 1961, the brazilian-jazz genre of bossa nova was introduced to the United States. One of the musicians that became hooked on this type of music was Stan Getz, an American saxophonist. Bossa nova then found its way into the music scene, and after João Gilberto performed a concert in Carnegie Hall centered around bossa nova, a mutual friend introduced Gilberto and Getz to one another, and the album Getz/Gilberto was released in 1963.

What first attracted me to this album was a random jazz playlist I was listening to on Spotify. Through all the eclectic songs I heard, “The Girl from Ipanema” stood out to me as significant. I had listened to the famous song before, but this version of airy, Portuguese vocals immediately drew my attention. From there, I decided to listen to the album and had such a fun and relaxing time vibing with each song. My personal favorite track is “Corcovado (Quiet Night of Quiet Stars).” The song’s lyrics are quite short, simply referring to a quiet evening in which one can enjoy the sound of music while looking upon the beautiful mountain known as Corcovado. However, the melody and performance of the song are really astounding, and this song serves as one of my favorite jazz tunes of all time.

This album was also received critically well, as it won the Grammy for Album of the Year in 1965; the only jazz album to do so up to that point in history, and it maintained that status until 2008. Also, contrary to what was mentioned about jazz earlier, the JazzTimes released an article that stated it “served as proof that it is possible for music to be both artistically and commercially successful.” Getz/Gilberto definitely helped re-establish jazz into the population’s mindset, and it pushed the doors open for foreign influence in American music.

Arachnophonia – “Coppélia”

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Editor’s note: Arachnophonia 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.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student worker Madeline (class of 2019) and features Léo Delibes’ comic ballet Coppélia. Thanks, Madeline!

Léo Delibes

Coppélia

Coppelia DVD cover

Coppélia is a comic ballet about a woman who rescues her fiancé after he foolishly falls for a mad scientist’s life-like doll. Though the titular character, the true heroine of the ballet is not Coppélia but a village girl named Swanhilda. Unlike the well-known masterpieces Giselle or Swan Lake, the plot of Coppélia spares the audience a tragic romantic ending. As with most ballets, it has the typical elements of grace and technical beauty, however it also includes some unorthodox and interesting character reactions. Far from the docile fairytale princesses, Swanhilda pulls pranks others and (in this production) actually raises her fists to Coppélia when she thinks she’s being snubbed. It has a similar outlandishness to Don Quixote with the happily-ever-after of Sleeping Beauty. Much like Sleeping Beauty, the entire final act is the celebrated wedding between Swanhilda and her gullible fiancé Franz. It includes synchronized acts by the corps de ballet, flirtatious pas de deux of the main couple and other villagers, and two variations meant to showcase the artistic talents and athletic abilities of the heroine and hero.

This copy is the BBC recording of the 2000 Royal Opera House performance in London. The chorographer (Dame) Ninette de Valois, is considered one of Britain’s most influential figures of ballet, and founder of the Birmingham Royal Ballet. She has been referred to as the ‘godmother’ of English and Irish 20th century ballet. Ballets and operas are best seen live, as the sound carries better in the concert hall, and nothing can trump the excitement of seeing the performers in person. However, this film contains good auditory depth when played with a surround sound system. The two advantages of having a recorded copy is being able to rewind to your favorite parts and having a full view of the stage, except when the camera focuses on the duets and soloists. If you are a fan of ballet but (like me) hate sad endings, Coppélia has a funny storyline and talented cast of dancers and musicians.

Arachnophonia: Abba “Thank You For The Music”

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Editor’s note: Arachnophonia 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.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student worker Olivia (class of 2019) and features a compilation of songs by the Sweedish pop group Abba. Thanks, Olivia!

ABBA

Thank You For The Music

ABBA - Thank You For The Music

This 1994 collection of Swedish pop group ABBA’s most popular songs, recorded from 1972 through 1982, is an absolute classic. As the second Mamma Mia movie has recently been released, I felt it was time we looked back and appreciated this fabulous music group for all the music they’ve given us (and for what they WILL be giving us – news is that the group is set to release 3 new songs in 2019!).

ABBA group photo

ABBA, also known as Björn & Benny, Agnetha & Anni-Frid, banded together in Stockholm in 1972. They can proudly claim to be one of the best selling music acts of all time, as they’ve sold an estimated 300-500 million records worldwide. Bestselling songs include “Dancing Queen,” “Waterloo,” “Fernando,” and my personal favorite, “Gimme! Gimme! Gimme! (A Man After Midnight).”

When a person thinks of ABBA, they most likely envision a group of four Swedes with voluminous 70’s styled hair, dressed in spectacular costumes, dancing emphatically on stage, having the time of their lives. This is why I appreciate them so much – the energy, positivity, lightness and uplifting emotion the songs bring out in listeners are infectious and inspiring. It feels so good to belt out “Lay All Your Love On Me,” twirl around to “Honey, Honey,” and it is a well known fact that no one stays quiet when “Dancing Queen” comes on over the speakers. It’s no wonder they’ve stayed popular over so many years; the feelings that their songs evoke in listeners are timeless.

ABBA group photo

While the group isn’t planning on touring (in person) any time soon, there is word that a futuristic “hologram tour” (yes, you read that right) is set to debut in 2019 or 2020. All I know is that I have to be there…

ABBA 1994 box set cover

Arachnophonia: Gilbert & Sullivan “The Mikado”

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Editor’s note: Arachnophonia 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.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student worker Emma R. (class of 2021) and features Gilbert & Sullivan’s 1885 operetta The Mikado. Thanks, Emma!

Gilbert & Sullivan

The Mikado

Mikado CD cover

Gilbert and Sullivan remain known over a hundred years after their deaths for their light comic operas which have been reproduced the world over. Of their fourteen operas, The Mikado is one of the most often performed. The Mikado is a love story, a political satire critiquing the British politics of the day, and like all of Gilbert and Sullivan’s operas, it’s a comedy.

The problem? The Mikado is set in a highly fictionalized version of Japan, a culture which at the time [Editor’s note: The Mikado was first produced in London in 1885] was not well understood by the British public. Traditional performances use costuming, makeup and stage presence in ways that today can be considered stereotyping and offensive, not to mention the fact that often, the singers performing in the opera are not of Asian descent. In the century following its original production, more and more attention fell on the problematic aspects of the opera.

This year, the music department at the University of Richmond is presenting the Tucker-Boatwright Festival in collaboration with Boatwright Library, which this year focuses on the representation of the “other” in music and the arts at large, titled “Beyond Exoticism“. An advertising poster for a course tied to the festival included this photo of a production of The Mikado, and the headline “so, what do we think of this?”

Over the years, a number of productions have attempted in different ways to approach the show in a different light to remove the problematic aspects. One New York production, for example, created a new prologue which suggests that the whole show occurs in the mind of a Victorian British person suffering the hallucinogenic effects of a head injury. Other productions have changed the setting, for example, to Renaissance-Era Milan, or to a 1930s-Era British hotel.

1930s set Mikado

The Mikado raises a lot of tough questions about the proper place for historical musical and artistic works which today can be viewed as highly problematic or even offensive. I couldn’t possibly claim to have any of the answers. Luckily, Gilbert and Sullivan operas have a history of being open to modern interpretations, re-wordings, or re-settings, leaving the door open for future directors to present The Mikado as they see fit.

In the meantime, check out this audio recording from the D’Oyly Carte Opera Company, the original producers of many of Gilbert and Sullivan’s operas, at the Music Library, think about these hard questions, and come join this important discussion at the “Beyond Exoticism” events this year.

Arachnophonia: John Mayer “Born and Raised”

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Editor’s note: Arachnophonia 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.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student worker Elias (class of 2021) and features John Mayer’s 2012 studio album Born and Raised. Thanks, Elias!

John Mayer

Born and Raised

John Mayer - Born and Raised

John Mayer, the egotistical, narcissistic, prodigious, reformed paradox of a musician is by far my favorite artist of all time. When people think of John Mayer, they typically think of him for one of two things: his iconic love songs or TMZ headlines articulating exactly how he broke Katy Perry’s/Taylor Swift’s/Kim Kardashian’s/Jennifer Anniston’s heart. Either way, I rarely see people appreciating his musical talent or his raw songwriting genius. There’s a reason Eric Clapton calls him a “master” guitarist. And for me, there’s no better example of this mastery than on his fifth studio album, Born and Raised.

You wouldn’t guess it at first, Mayer often speaks in interviews about how his favorite type of music to write is blues. You get hints of this on sprinkled across his other hit albums, but Born and Raised is his real tribute to this passion. From first looking at the album art, it becomes apparent that this is no ordinary album from hit-machine John. There’s no photo of Mayer trying to seem like he doesn’t know his picture is being taken, and no angsty black and white filter over the whole image. No, Born and Raised sports old-fashioned text intertwined with clockwork, adorned with phrases such as “Music by John Mayer” and “Stereo Recorded Sound.” No glitz or glam, no profile shots algorithmically calculated to get girls to pick up the tape. Just the title, and a little style to set the tone.

ohn-Mayer-Born-and-Raised

Now, the music. The tracks on this album are slow, gentle folk songs, with a Mayeresque vibe to them. It opens with “Queen of California,” as Mayer immediately flexes his technical muscles with a flowing, articulated, methodical guitar riff cover almost the entire length of the song. It almost sounds like “Why Georgia” at first, but the album’s themes sink in after a spell. A gentle, clean electric guitar accents the track with smooth bends which work alongside Mayer’s voice to keep you interested.

Another highlight of the album comes with the fifth track, “Something Like Olivia.” If you’re still questioning Mayer’s prowess on the guitar, just watch the music video on YouTube. The fact that he can keep this riff going effortlessly whilst singing is beyond me, and the studio version certainly displays his mastery well. The lyrics are repetitive yet meaningful, and the chorus is easy to sing along to. “Something Like Olivia” is about a girl, but it’s not a love song. It’s a jam.

Finally, we have the title track. “Born and Raised” is deservingly named after the album (or… vice versa?), as the simple chord progression leaves Mayer’s voice at the forefront. A harmonica finishes out each chorus in lieu of a guitar solo, an ode to the unique blues/country rock theme of this album. Lyrically, “Born and Raised” is a strong track, telling the story of how he feels that life has passed him by, and how he no longer feels like he has dreams to work towards: “I still have dreams, they’re not the same/They don’t fly as high as they used to/I saw my friend, he’s in my head/And he said, ‘You don’t remember me do you?’”

As a whole, Born and Raised is a break from Mayer’s routine, and it feels like the first album he made more for himself than for the public. It’s not a collection of hits, and it’s not a collection of his best guitar playing. It’s a collection of jams, and though he would continue his adventure into Americana with his next album, Paradise Valley, it was a testament to the kind of music Mayer wanted to make. If nothing else, it’s a collection of good songs, and an album I think everyone should listen to.

Arachnophonia: The Sound of Music

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Editor’s note: Arachnophonia 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.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student worker Emma A. (class of 2021) and features the libretto for the classic Rodgers & Hammerstein musical The Sound of Music. Thanks, Emma!

The Sound of Music: The Complete Book and Lyrics of the Broadway Musical

I’ve chosen to discuss the libretto for The Sound of Music. Growing up this movie, play, and its music were quintessential to my after-school evenings and my sister’s love for the music. She was Maria in our school’s production of this show which inspired my own love for the drama club years later. We would watch this movie over and over until we knew every word and could sing along perfectly. They are very happy memories that I share with my sister; and the rest of my family and I will always enjoy listening to and watching The Sound of Music no matter how many times we’ve done it before.

I love how some of the songs are so intricate and over-the-top (“The Lonely Goatherd”) and some are so sweetly written and simple (“My Favorite Things”). No matter which song from the show you’re playing, they are all different — no two sound the same. Some Broadway shows can be very repetitive and over the course of three hours song after song can become boring, but that was never the case for me with The Sound of Music. In addition, the talent that you need to sing some of the songs is amazing. That’s not to say anyone can’t sing along, but to sing them well requires some major pipes. My sister had this talent and seeing her perform our favorite show was one of the moments she truly knew that music and singing would be her life’s passion.

I think that watching, or even just listening to, The Sound of Music is a must for everyone, even if you’re not into musicals. The story line is so captivating and the music is beautiful. If you’ve never seen it before give it a try! If you’re feeling so inclined after, take out this book and learn some of the songs too!

Sound of Music banner

Arachnophonia: The Allman Brothers Band: At Fillmore East

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Editor’s note: Arachnophonia 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.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student worker AJ (class of 2019) and features a live recording of the Allman Brothers Band at the Fillmore East. Thanks, AJ!

The Allman Brothers Band

At Fillmore East

Allman Brothers Band - At Fillmore East

When I was 12 years old, my mother took me to my first concert. My love for music had become exceedingly apparent to my parents, and they figured that 12 years old was an appropriate age to expose me to live music.

My mother is a huge classic rock fan, so growing up I was fed a strict diet of Fleetwood Mac, Rolling Stones, Beatles, and other such legendary bands. However, my favorite band growing up was The Allman Brothers. Gregg Allman’s lyrics and Duane Allman’s guitar (later Dickey Betts’ guitar) constantly played over our car’s sound system during rides short and long. They were coming to our area around my birthday, so my mother decided to get us tickets. Now, although the members were in their old age, and weren’t in their prime anymore, I still believe that to this day it was one of the best concerts I have ever been to.

allman-brothers-band-1971

The Allman Brothers Band circa 1971 – Butch Trucks, Gregg Allman, Berry Oakley, Jaimoe Johanson, & Dickey Betts (L-R)

I wish I had a recording of the night, but unfortunately they weren’t taping this particular concert. The Music Library, however, has The Allman Brothers Band at Fillmore East on CD. A CD that I believe my mother and I listen to quite frequently on trips. There’s nothing better than live music, and nothing better than The Allman Brothers live; I highly recommend listening to this particular recording because it ends with two of my absolute favorite Allman Brothers songs: “In Memory of Elizabeth Reed” and “Whipping Post.”

“In Memory of Elizabeth Reed” is the first instrumental track the Allman Brothers Band wrote. It was written by Dickey Betts who dedicated it to a woman with whom he had had an affair with after she had passed away. This woman was actually Boz Scaggs’ girlfriend, but Dickey changed the name to keep their tryst a secret. Fun fact: the woman is buried in the same graveyard where Duane Allman is buried, and Dickey frequently visited to pay his respects and to write songs. He lifted the name “Elizabeth Reed” from a tombstone near where he used to write.

“Whipping Post” is a hard-hitting, in your face rock song about the torment of being in love with a woman who doesn’t love you back, even when you bend over backwards for her. Its powerful lyrics and driving rhythm really foreshadowed the Allman Brothers’ future success, as “Whipping Post” was one of the first songs written by the band. The song itself is actually quite difficult to play because the track is written in 11/4. Gregg Allman, who didn’t know how to read sheet music at first, had to ask Duane how to count it because he thought the rhythm felt wrong (rightfully so).