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The Beatles' admiration for the US girl-groups of the late 1950s and early 1960s has generally been taken to imply an "androgynous" positioning on their part, particularly in their covers of girl-group songs. However, a comparison of the discourses of girl-group and early Beatles love songs shows a clear distinction between active and passive expre...
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Context 1
... it also showed that this contrast is achieved differently in the songs addressed to the boy as ''you'' and in those that talk about him in the third person. Table 1 summarizes the findings from this analysis in relation to the ''pronoun sequences'' that were examined in the songs, and the accompanying note 7 provides examples and more detail. ...Context 2
... ''She loves you'' is the reported speech of the fantasy ''I love him'' of girl-group discourse, then we may look for the counterpart constraining role of ''reality'' represented in the girl-group songs in the ''He-me'' formulations (see Table 1). This is indeed found in the song ''She said you hurt her so,'' representing the reported speech transposition of ''She said, 'He hurt me so'.'' ...Context 3
... boy's'' love/wish for ''you'' is set against ''that boy's'' capacity to hurt, expressed through a ''he-you'' sequence (''That boy won't be happy Till he's seen you cry''). This ''he-you'' sequence of hurtful reality aligns with that of the girl-group ''You-him'' songs (see Table 1). However, in this case, there is no contrasting ''You-him'' sequence. ...Similar publications
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Citations
... Indeed, Bradby suggests that girl groups established a "discourse to which the Beatles had to respond." 16 Bradby pinpoints a contrast between the more passive plea in the lyrics for "you" to "let me be your man / hold your hand" with that of an "opening narrative device, 'Now I'll tell you . . . ' and the seminarrative 'When I touch you.'" 17 Bradby hears and reads unfolding narrative and semi-narrative features in the lyrics. ...
... But as well as rock 'n' roll, and music hall, the music of the girl groups was a key ingredient in the musical mixture that would help to propel The Beatles to era defining prominence. It provided a source of material for covers in their live sets and on their early records as well as inflecting both their vocal delivery and discursive expressions of desire (Bradby 2005). For all that the initial hook may have been the muscular performances of the early rockers, a strand of American pop songs brushed shoulders with rock 'n' roll and rhythm and blues in the club sets of the putative big names of sixties rock. ...
The discussion of narrative in mashups typically involves how a preexisting message is reinterpreted by the incorporation of new musical material. However, many scholars note how DJ Earworm's technique of creating new lyrics through the combination of samples from up to fifty different tracks conveys an original message that is distinct from its borrowed sources. In his various interviews, DJ Earworm elaborates that his mashups are original compositions that act as musical time capsules that capture the zeitgeist of the age. Nevertheless, DJ Earworm only provides brief commentary on the meaning of his mashups and there is no close examination of these narratives in the literature. This raises the question: To what degree do DJ Earworm's mashups reflect cultural issues in American society? By merging Zbikowski's concept of conceptual integration with Almén's theory of musical narrative, this paper will demonstrate how DJ Earworm's mashups show a consistent pattern of having complex narratives with cultural messages that resonate with contemporary issues in American society, including fossil fuel dependence, income inequality, and political and racial division.
Bob Dylan and John Lennon are two of the most iconic names in popular music. Dylan is arguably the twentieth century's most important singer-songwriter. Lennon was founder and leader of the Beatles who remain, by some margin, the most covered songwriters in history. While Dylan erased the boundaries between pop and poetry, Lennon and his band transformed the genre's creative potential. The parallels between the two men are striking but underexplored. This book addresses that lack. Jon Stewart discusses Dylan's and Lennon's relationship; their politics; their understanding of history; and their deeply held spiritual beliefs. In revealing how each artist challenged the restrictive social norms of their day, the author shows how his subjects asked profound moral questions about what it means to be human and how we should live. His book is a potent meditation and exploration of two emblematic figures whose brilliance changed Western music for a generation.
In AABA songs (sometimes called verse–bridge songs) written and performed by the Beatles, the song texts’ scansion and rhyme show significant contrasts between different sections, and these contrasts often have important formal and narrative functions. Combining rock Formenlehre with phonetic analysis, this article shows that A modules tend to have irregular scansion and frequent rhyme, while B modules tend to show regular scansion and less frequent rhyme. In the unusual cases where A modules have infrequent rhyme, the B modules tend to offer contrast by showing greater rhyme frequency. These contrasts represent an independent, recurring formal device in the Beatles’ catalogue that does not entirely comport with other well-defined formal processes, such as the loose-verse/tight-chorus schema. The scansion and rhyme have various narrative and formal functions: They often suggest a contrast between an active and passive state in the song’s protagonist, and disruptions to regular patterns or conflict with grammatical boundaries can play a critical role in shaping phrases. B modules that thwart the norm can connote an especially high emotional arousal or suggest a process of intensification and conclusion, linking the form to an expanded statement–response–departure–conclusion form. The analyses demonstrate the central role that prosody often plays in popular song and show the importance of considering its relation to other musical patterns.
Scholars have long recognized the complexities of song personas in popular music. Less well recognized is the way that the deployment of pronouns in pop song lyrics can create sudden shifts in the various currents of musical meaning. Although songs often commit to a single point of view, it is quite common for songs to feature complex shifts in discourse, sometimes aligned with important changes in the music. This paper addresses an especially important pattern, a shift from distance to intimacy.
In the 1960s, those famous throngs of Beatlemaniacs screamed in their seats and chased after the Fab Four in the streets. But the Beatles continue to appeal to many contemporary girls, whose fandom is still expressed in public via the Web. To theorize the Beatles’ lasting popularity among female youth, this chapter first considers the Beatles’ relationship to girl culture, especially in the context of the Ed Sullivan Show. The Beatles invoked girl-group discourse in their songs, speaking directly to girls; at the same time the band presented a comforting vision of brotherly intimacy, and they were also rebellious in this androgyny. The chapter next turns to a consideration of modern-day girl fans, exploring a couple of their YouTube channels. Consistently, these girls (one from America, one from Germany) call upon the Beatles as a vehicle for addressing intimacy in relationships, mashing up songs and images as they “play” with the members of the band. In fact, re-envisioning John Lennon and Paul McCartney’s friendship outside its historical moment offers possibilities for queer re-workings of Beatle biographies. Such innovative play reveals how the Beatles’ appeals to girls in the 1960s inform the band’s relevance to this twenty-first-century moment.
The starting point of critical elaboration is the consciousness of what one really is, and is “knowing thyself” as a product of the historical process to date which has deposited in you an infinity of traces, without leaving an inventory. Therefore it is imperative at the outset to compile such an inventory. antonio gramsci Introduction The chapter deals with the formative years of both the Beatles and the six youths who were group members in the late 1950s and early 1960s, including Stuart Sutcliffe and Pete Best, who left the band in 1961 and 1962 respectively. Although it cannot claim to be a complete inventory (to borrow a term from Gramsci in the quotation above), it is intended to present the boys and the band as products of the historical process in the England of the 1950s through the presentation of some of the “infinity of traces” deposited in them by that historical period. In this account of the dual formation of the group and the six individuals, I will discuss first the various networks within which the six were enmeshed as children, adolescents and young men: those of the family and social class, of the school and youth culture peer group. The second part of the chapter describes and analyses the musical factors and features that coalesced to form first the Quarrymen skiffle group and then the early Beatles. The data upon which this chapter is based are drawn from published biographies and autobiographies. These publications are of three types: authorized biographies such as those of Shepherd, Davies, Miles, and the Beatles “themselves”; unauthorized biographies such as Goldman's, Connolly's, and Sullivan's psychoanalytical volume; and the memoirs of colleagues, friends, and family such as Epstein, Cynthia Lennon, and Pauline Sutcliffe. The overall quality of this material is uneven, with a number of errors and discrepancies that have confused the general understanding of the early years of the Beatles.
From Please Please Me to Abbey Road, this collection of essays tells the fascinating story of the Beatles – the creation of the band, their musical influences, and their cultural significance, with emphasis on their genesis and practices as musicians, songwriters, and recording artists. Through detailed biographical and album analyses, the book uncovers the background of each band member and provides expansive readings of the band's music. • Traces the group's creative output from their earliest recordings through their career • Pays particular attention to the social and historical factors which contributed to the creation of the band • Investigates the Beatles' unique enduring musical legacy and cultural power • Clearly organized into three sections, covering Background, Works, and History and Influence, the Companion is ideal for course usage, and is also a must-read for all Beatles fans.
