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.
Beyoncé in Formation offers a deep-dive into the lyrics and meaning of Beyoncé’s 2016 album Lemonade through a Black feminist and LGBTQ+ lens, creating a deeply nuanced and complex view of the Billboard #1 album.
Tinsley effectively combines her personal life, renowned Black feminist and LGBTQ+ artists, and Beyoncé’s album into one cohesive story wherein she breaks down the ways in which Beyoncé’s album is not only a Black-empowerment album, but an album that introduces complex feminist and LGBTQ+ ideas rarely seen in mainstream music.
I originally picked up this book because I love picking apart lyrics and delving into hidden messages in songs and music videos, however I quickly realized that it would be about much more than song inspection. I appreciate the way in which Tinsley was able to integrate her life into the greater story of Black feminism in a way that felt raw and real, much like the rest of the book. She doesn’t dance around any subject, and no subject matter is too grandiose to take on. Whether it’s gender and sexuality, racism, or the history of music, Tinsley covers it all.
Of course, this book would be nothing without the album Lemonade itself. The CD is also available at Parsons Music Library — feel free to check out both the CD and the book to heighten your experience!
Picture of the author (Eliana class of 2024) at a Beyonce concert in 2016
Welcome back to Parsons Playlists! Today we’re featuring a playlist of music by Japanese R&B/hip-hop artist Joji, curated by Music Library student manager Brianna (class of 2024).
George Kusunoki Miller, who goes by the musical pseudonym Joji, is a Japanese singer, songwriter, and comedian. He began his career in entertainment on YouTube, releasing comedic rap songs under the name “Pink Guy”, and various other videos where he would often star in multiple roles. In 2015, he retired from his YouTube career and began making the music he had always wanted, now going by Joji. When asked how this was different from his previous musical career as Pink Guy, he said “I guess that’s the difference, Joji’s just me.” His debut album Ballads I made him the first Asain-born artist to reach #1 on Billboard’s R&B/Hip-Hop Albums chart in 2018. His most recent release from 2020, titled Nectar, reached a peak of #3 on US Billboard 200. Here is a compilation of my favorite songs from Joji.
Welcome back to Parsons Playlists! Today we’re featuring a selection of songs with Funky Bass Grooves as curated by Music Library student manager Christian (class of 2023).
Parsons Playlists: Funky Bass Grooves
A playlist of some great songs with dangerously funky bass lines.
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.
With the 92nd Academy Awards freshly behind us, I’ve been thinking about my favorite film soundtracks. For me, a driving factor of what makes a movie memorable or great is its music –either score, soundtrack, or both. I love when I hear a song that I recognize during a scene, which I can dance or sing along to in my seat. On the other hand, I also love when movies introduce me to music. The only reason I loved the songs “Hungry Eyes” and “Be My Baby” so much as a kid was because of the movie Dirty Dancing.
My parents showed me Dirty Dancing at a young age, probably because I was a dancer whose first childhood dream was to be a Broadway star, and it instantly became one of my favorite movies. The soundtrack, which features songs spanning multiple decades, made an already wholesome and fun movie even more enjoyable. Even as a child, I could feel the nostalgia that it portrayed, as it features 50’s and 60’s pop hits like “Love is Strange” and “Stay” that instantly transport the viewer to a summer in 1963. Naturally, a distinctly 80s sound is also incorporated in songs like “She’s Like the Wind” sung by lead actor Patrick Swayze himself, a man of apparently many talents. And of course, many of these songs are used in dance scenes, following Baby and Johnny’s journey from frustrating rehearsals to final performance.
There are many iconic movie scenes that will be forever associated with their respective songs, or vice versa. Think: “(Don’t You) Forget About Me” with Judd Nelson’s fist in the air at the end of The Breakfast Club, or “Girl You’ll Be a Woman Soon” in Uma Thurman’s apartment in Pulp Fiction. But undoubtedly one of the most commonly known and referenced music/movie scene pairings is “(I’ve Had) The Time Of My Life” from the final dance scene in Dirty Dancing –with extra emphasis on the achievement of Baby’s lift that happens right as the song climaxes. This is the kind of flawless, emotional moment that makes the right fusion of a scene and a song selection one of my favorite aspects of film. It’s also one of the many moments that made the Dirty Dancing soundtrack go multi-platinum.
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.
Today’s installment of Arachnophonia is by student worker Lauren (class of 2023) and features Back To Black, the second and final studio album by English singer-songwriter Amy Winehouse. Thanks, Lauren!
Back to Black by Amy Winehouse is one of the most influential albums of all time that served to inspire the next wave of female artists such as Adele and Florence and the Machine. Amy Winehouse was an English singer with a uniquely soulful and expressive vocal repertoire. Her music is reminiscent of blues, jazz, and soul by conveying a deep and emotional mood. Not only was her music so revolutionary for its new sound, but it was also reflective of her life and personal struggles. The song “Rehab” featured on the album reflects on the protagonist’s desire to avoid going to rehab for alcohol abuse, unfortunately foreshadowing the singer’s demise. This album may be used for research in order to understand more about Winehouse’s personal emotions, or to learn how she influenced later female artists.
Personally, Amy Winehouse has been someone I’ve admired for her empowering songs and unique character. Even though she has since passed, she remains an iconic musical artist, whose music will be remembered forever. When I listen to Back to Black, I am immediately transported into another time-period and empowered by my femininity.
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.
Today’s installment of Arachnophonia is by student worker Gabi (class of 2020) and features Frank Ocean’s 2012 debut album Channel Orange. Thanks, Gabi!
Pitchfork recently released one of their most famous lists, “The 200 Best Albums of the 2010’s.” Although these kinds of lists and rankings are subjective, and can even be controversial at times, they open up conversations about the cultural relevance of albums, and how they may shape and define a generation. While several artists appear multiple times throughout the list, the only artist with two albums to appear in the top 10 of Pitchfork’s list is Frank Ocean. Ocean scored the number one spot with his most recent full-length album, Blond (2016), and the number 10 spot with Channel Orange (2012). As Ocean has seen additional media coverage lately for hinting at new music releases coming soon, and opening an ongoing queer nightclub event in New York City, I wanted to revisit his first release, Channel Orange, available in the Parsons Music Library.
Channel Orange was Ocean’s debut album, and his firm establishment as one of the most prominent figures in the R&B genre. Days prior to its release, Ocean posted a note on tumblr revealing that stories told through the songs on his album were about a boy, and took public ownership of his sexuality in a manner that also established him as a queer icon in the music world. The rawness and personal tone of the tumblr note is reflected in the tone of the album itself. After the album’s intro, “Start”, its first full-length song is “Thinkin ‘Bout You,” Ocean’s most famous single to date. This song evokes the emotions of longing for someone, and a lingering, unrequited love, in a simple way. Ocean sings that he’s “lyin down” thinking about this person, and creates a relatable image for the listener, who’s probably been there before. My best friend says that this song reminds her of Christmas-time, and sounds how winter weather feels.
My two other favorite songs on this album are “Super Rich Kids” and “Pyramids“. “Super Rich Kids” evokes a sense of nostalgia for me, as it reminds me the type of culture that surrounded me at a private high school in a big city growing up, and that continues to surround me at a private university. Ocean talks of materialism, and how it can cloud real emotion and “real love,” and lack of parental supervision for coming of age children that leads them to live dangerous lifestyles. As I came of age, I watched certain people around me live this kind of life, and in a strange way, this song reminds me of home. “Pyramids” is an epic standout as it is the longest song on the album, coming in at 9 minutes and 52 seconds. In this song, that can work well as a casual listen or a dance-floor hit with its electronic breakdown, Ocean uses ancient Egyptian imagery and figures like Cleopatra to depict the view of black women throughout history. As they were once appreciated as African queens, they are now objectified by pimps, which is the point of view Ocean takes on the second half of the song. The second half of the song drastically juxtaposes the first, being more rhythmic and hip-hop-esque, which reflects the pimp character’s attitude that Ocean is portraying. To me, this song is to Channel Orange as “Nights” is to Blond; a personal favorite with dynamic mid-point switches that take the listener by surprise and keep them interested the entire way through. Channel Orange remains a modern classic even 8 years after its release.
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.
Right now, Ariana Grande is at the top of her game. She has been relevant in the pop genre for quite some time, from her early days as a Broadway and Nickelodeon actress, to now, but is currently transforming her career in what I would consider a glorious comeback.
In May 2017, the Manchester Arena suicide bombing took place at one of Ariana Grande’s concerts, and 22 people were killed. This led Ariana to suffer from severe anxiety, and even post traumatic stress disorder, putting a jolting halt to her career. She did not release new music until her mighty comeback single, “No Tears Left to Cry”, which was to be included on Sweetener, almost a year after the attack. It was an anthem of positivity in light of tragedy, which set the tone for the rest of her music that was to come shortly after.
In Sweetener, Ariana finally finds her own, unique sound. While her voice has always been recognizable as powerful, the songs on Sweetener go past her usual made-for-radio pop, providing a personal look into her growth, both as a person and as an artist. As trends in music have shifted, so has her style, going from experimenting with EDM on her previous album, Dangerous Woman, to using trap and hip-hop influences on Sweetener. Pharrell Williams‘s sophisticated and smooth production, combined with features from Missy Elliot and Nicki Minaj, show how hip-hop and trap have only enhanced Ariana’s music.
Ariana’s overall sound to me has matured, and may have even shifted her audience from younger girls to all people around her age, who are able to relate to what she’s saying. On Sweetener, she covers the ups and downs of romantic relationships, singing about love in her dreams on “R.E.M.” and a crush who she just can’t seem to ignore on “Goodnight and go.” On the other side of this, Ariana reminds us of mental health and self-care on the tracks “Breathin” and “Get Well Soon.” “Breathin” is about Ariana’s own experience with anxiety, and reminds listeners who are going through similar situations to keep breathing. Sometimes I listen to “Breathin” when I’m nervous, and it helps me keep calm. “Get Well Soon”, the closing track, is my personal favorite. Described by Ariana as a “musical hug” to her fans, it reminds listeners to take care of their bodies and encourages a discussion about mental health. She tells listeners that she will be there, even in their worst moments, and inspires them to “work their way to the top”.
There is a clear reason for Ariana’s seemingly overwhelming popularity today: her music has never been better.
When Sweetener came out, I woke up, made myself a coffee, and sat in my sunny backyard on a hot August morning to listen to it for the first time. The album made me feel warm and happy, and I don’t think it was just because of the weather. To me, this is a special album that I still listen to, especially when I’m feeling down, and will always remember. It holds a firm spot in my top albums of 2018.
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.
This special edition of Arachnophonia features contributions from students in Dr. Joanna Love‘s MUS 235 class: “I Want My MTV: Music Video and the Transformation of the Music Industry.”
It’s 1984. Prince has just dominated the music industry with his iconic album, and equally iconic film of the same name Purple Rain. With a top-selling album and film under his belt, Prince has officially solidified himself within the music industry as a creative genius. After the immense success of the album, fans and critics anticipated and longed for his next album to match up sonically. However, Prince’s next album, Around the World in a Day, flopped in every regard – sales, expectations of fans, and ratings of critics. With the release of his next album, Parade, fans and critics still hoped for an album with the same sound as the iconic Purple Rain. Similarly to Around the World in a Day, the album did not have the same sound. While Parade, the source of my current analysis, did not flop in the same way that Around the World in a Day did, it was released to very mixed reviews.
Prince, born Prince Rogers Nelson in Minneapolis, Minnesota in 1958, made his initial rise to fame primarily as a rock, pop, and disco artist. Though Prince was always an unpredictable, wild artist, it came as a complete surprise to fans and critics when he practically changed his whole sound to a much more psychedelic sound on Around the World in a Day. Similarly to the previous album, Parade maintained facets of the 1960s British boy rock-band inspired neo-psychedelia genre with distorted vocals, instruments and synthesizer sounds on songs such as “I Wonder U.” However, this album was also very much Prince’s introduction of the exploration of a genre known as “Baroque pop.” An infusion of rock and classical music, Baroque pop is a form of rock with a much more orchestral sound, as opposed to heavy guitar riffs. With this genre, the focus is on layered harmonies, as well as dramatic, intense strings and horns. There are also, for the most part, subtle elements of funk on the entire album. With prominent bass guitar, and noticeable drums and synthesizers, Prince and his backing band The Revolution certainly incorporate funk along with the experimentation of Baroque pop. Written as the soundtrack for a black and white romantic drama film, and Prince’s directorial debut, Under the Cherry Moon, Parade has a quite equal mix of slow tempo, somber songs (i.e. “Under the Cherry Moon” and “Do U Lie?”), as well as more upbeat, heavily-textured songs (i.e. “New Position” and “Girls & Boys”). To this day, fans and critics discuss the album Parade with mixed reviews. However, what practically everyone agrees on is that the standout song, and one of the biggest songs of Prince’s nearly four-decade long career, was the iconic “Kiss.”
Arguably the most “funky”song on Parade, Prince’s “Kiss.”
Originating as a short, acoustic demo given to funk band Mazarati, “Kiss” almost did not make the cut for this Prince album. However, after the band reworked the song into a much funkier tune, Prince decided to take the song back for himself and include it on the album at the last minute. Because of this, it makes sense that, while listening to the album in its entirety, it may seem to the listener that this eventual lead single off of the album does not quite have the same sound as the rest of the songs that make up Parade. Though the rest of the album did have characteristics of funk, the seemingly “plucked” and distorted bassline and the prominent steady synthesizer-created percussion, along with Prince’s quite soulful and sensual vocals, give this song has a much more funk-inspired vibe. Known for being unconventional, Prince, throughout this song, shatters expectations of women to constantly be beautiful or “cool” to be attractive and appealing to him. Donned in slicked back hair, makeup, and heels, Prince shatters stereotypes and norms even more in the video as he sings the lyrics in a falsetto. Though the rest of the album did not receive Purple Rain-level critical acclaim, the single “Kiss” topped charts across the globe, holding the Number 1 spot on the U.S. Billboard Hot 100 Chart for two weeks. The song won the Grammy Award for Best R&B Performance by a Duo or Group with Vocals and has sold over 1,000,000 copies since its release in 1986.
When thinking about this album Parade, and its iconic single “Kiss,” it is interesting to think about the tensions that arose between the two main reactions to the album. While some think of it as a minimalist masterpiece and an interesting follow up to Purple Rain and Around the World in a Day, others view it as a disappointment and throwaway album in Prince’s lengthy discography. One question that one may consider is, what do the overwhelming number of negative reactions to this album say about artists, specifically Black artists, and changing their sound? Why is the music industry so restrictive to artists and so reluctant to accept changes in their music? For scholars who may be studying and analyzing questions like these, comparing this album and its reactions to the music and reactions of Purple Rain could lead to very interesting analysis. Also, with the extremely prominent facets of Baroque pop present on this album, those interested in studying the genre and its then, new, success in Europe could also use this album as a site of analysis. More related to my research of the shattering of gender and sexuality norms and stereotypes for Black artists in music, one could compare the lyrics of the song “Kiss” to its representations in the music video. Analyzing Parade and “Kiss” will certainly help me in my research, as they both give me insight into Prince’s views on gender and sexuality at the time, with the aural representations of his high-pitched voice, etc. in the music, as well as visual representations in music videos such as “Kiss.”
Though Prince and The Revolution’s album Parade still receives mixed reviews, it certainly provides multiple sites for analysis. I’m sure it will assist me in my research of gender and sexuality norms for Black artists in music, as well as numerous other topics of research for other scholars.
Anita Baker is a soulful jazz, gospel, and R&B songstress from Ohio. Growing up in a household with musically inclined individuals, there was always a song being played. The most frequent artist I heard on a daily basis was Ms. Anita Baker. Her smooth and rich contralto voice eluded love and romance. She has had many classic love songs, but one of my favorites is “Giving You the Best That I Got” from her 1988 album of the same name. The song is about two people who have unconditional love for one another. It is sung in a rhythmic way and as you listen closely you can find different contextual expressions she adds to this piece. She paints one vivid picture of what love should really be not only in this song, but in all of her albums. Anita Baker has inspired my own original music and the way I structure my songs. Listening to her music soothes my soul and makes me reminisce on childhood memories.
On April 23, 2016, Beyoncé released her sixth studio album, Lemonade, to mass critical acclaim. Leading up to the release, promotional materials alluded to some sort of release on HBO, though no details were given about what was actually being released—album, documentary, live show?
Considering the precedent set by her 2013 release of Beyoncé, which was dropped with accompanying music videos for all tracks with no promotion, fans speculation hit an all-time high leading up to the release. The Lemonade premiere on HBO was accompanied by a visual album which interspersed songs from the record with prose and poetry by London-based Somali poet Warsan Shire, and featured a wide cast including Serena Williams, Amandla Stenberg, Quvenzhané Wallis, along with the mothers of Trayvon Martin, Michael Brown, and Eric Garner, all victims of racial profiling and extra-judicial killing at the hands of law enforcement officials and vigilante citizens. The album and its visual component weave a story which has been described as “every woman’s journey of self-knowledge and healing.”
Immediately following the release of Lemonade, fans and academics took to Twitter to contribute to a syllabus which would give context to the plethora of references and symbols used in the visual album. Connections ranged from black southern gothic traditions to visual references to Yoruba deity Oshun to audio of Malcolm X. The syllabus was eventually compiled and made available for download by Candice Benbow, who launched the campaign. Download it here: https://issuu.com/candicebenbow/docs/lemonade_syllabus_2016.
The syllabus, made through collaborative efforts from over 70 black women, focuses heavily on work created by and about the experience of black women in the United States and beyond.
