Posts Tagged ‘songs’
June 19, 2015 | by Sadie Stein
Like many small children, my brother was an accomplished con artist. And as is often the case with little boys, his manipulations were most effective when applied to his mother. I can particularly recall one bit of business he’d pull between the ages of about three and five, when we were at the market and he didn’t feel like walking. He’d gaze up at her beseechingly, bat his eyelashes, and simper, “I’ll carry your bundles if you carry me!”
By this point, I had decisively lost my looks: at seven I was a scrawny, buck-toothed gnome with a waxen complexion and a mullet, usually stalking around in pantaloons and a sunbonnet. Charlie, on the other hand, was still cherubic. Read More »
June 18, 2015 | by Sadie Stein
Christopher Robin Milne’s first two memoirs, The Enchanted Places and The Path Through the Trees, are in the canon of great ambivalence books. Perhaps you’ve read that Christopher Robin, as A. A. Milne’s son and muse, grew to loathe his fame and the hordes of Pooh fanatics who stalked him even as an adult. (Milne fils supported himself as a successful bookseller; all the royalties went into a trust fund for his disabled daughter.) “It seemed to me almost that my father had got to where he was by climbing upon my infant shoulders,” he wrote, “that he had filched from me my good name and had left me with the empty fame of being his son.”
But the books don’t read as an angry indictment so much as an attempt to grapple with his condition. Yes, there’s some record straightening—but the author’s sense of frank exploration is sympathetic, and it feels honest. Although he’d ultimately detach from his remote parents, his feelings are complex, and he describes his experiences with sensitivity and nuance. Milne died in 1996; in later life, he’d even come to embrace his father’s legacy, gamely showing up at the occasional official event coming to appreciate the love of nature bestowed by his Sussex childhood. Read More »
May 5, 2015 | by Sadie Stein
My mother’s loathing for the word lady occupies a special place in her pantheon of negativity.
To be specific, she doesn’t actually mind lady as a word or a title of the peerage—as seen in, say, Lady Day*, The Lady Vanishes, or Lady Chatterley’s Lover. It’s when the word appears in lyrics that she puts her foot down. (And even then, there’s a disclaimer: some lyrics are okay. “Luck Be a Lady,” “The Lady Is a Tramp”—these, among others, are acceptable.) Read More »
April 21, 2015 | by Sadie Stein
Human speech is like a cracked kettle on which we tap crude rhythms for bears to dance to, while we long to make music that will melt the stars. —Gustave Flaubert, Madame Bovary
“(Let Me Be Your) Teddy Bear” topped the charts for seven weeks in the summer of 1957. It was from the sound track to Elvis Presley’s second film, the vaguely autobiographical Loving You, in which the King plays a delivery-guy-turned-singing-sensation who engages the affections of Dolores Hart, better known as the starlet who left Hollywood to become a Benedictine nun.
Anyway, everyone knows “(Let Me Be Your) Teddy Bear” is kind of odd, with its BDSM undertones and its arbitrary hierarchy of animals—what’s wrong with lions? Plus there’s the one-is-not-like-the-others aspect of it: Elvis sings of a toy teddy bear in a menagerie of otherwise live animals. But the strangest thing about it is the characterization of teddy bears themselves: Read More »
April 13, 2015 | by Sadie Stein
“Personal pride does not end with noble blood. It leads people to a fond value of their persons, especially if they have any pretense to shape or beauty. Some are so taken with themselves it would seem that nothing else deserved their attention.” —William Penn
“Upside Down” was the lead single on Diana Ross’s 1980 disco record Diana. The song, written by Chic’s Bernard Edwards and Nile Rodgers, topped the charts for a month, and it’s one of the great late-era disco dance hits: catchy, unexpected, propulsive, feisty.
The plot is simple. A boy is turning her upside down, inside out, round and round, et cetera. And then: Read More »
March 31, 2015 | by Sadie Stein
Of the colors, blue and green have the greatest emotional range. Sad reds and melancholy yellows are difficult to turn up. Among the ancient elements, blue occurs everywhere: in ice and water, in the flame as purely as in the flower, overhead and inside caves, covering fruit and oozing out of clay. Although green enlivens the earth and mixes in the ocean, and we find it, copperish, in fire; green air, green skies, are rare. Gray and brown are widely distributed, but there are no joyful swatches of either, or any of exuberant black, sullen pink, or acquiescent orange. Blue is therefore most suitable as the color of interior life. Whether slick light sharp high bright thin quick sour new and cool or low deep sweet dark soft slow smooth heavy old and warm: blue moves easily among them all, and all profoundly qualify our states of feeling. ―William Gass, On Being Blue: A Philosophical Inquiry
Sixty years ago, the camp spectacle we know as the Eurovision Song Contest was born. And in 1967, said Eurovision contest was the site of one of the most shocking miscarriages of justice in international pop-music history.
The competition is famously political—some would say corrupt—and the winning songs have often raised a cynical eyebrow. So maybe no one was surprised when Luxembourg’s ’67 entry—“L’amour est bleu,” performed by the Greek singer Vicky Leandros—didn’t win. No one could have taken out the UK juggernaut “Puppet on a String.” But Luxembourg came in fourth! Behind the Irish entry, “If I Could Choose,” and France’s “Il doit faire beau là-bas”! It was arguably the biggest outrage since 1958, when “Volare” lost out to the insipid “Dors, mon amour.” Read More »