February 17, 2023 On Music Love Songs: “Slow Show” By Nathan Goldman Matt Berninger. Wikimedia Commons, Licensed under CCO 2.0. This week, the Review is publishing a series of short reflections on love songs, broadly defined. In her 1993 memoir Exteriors, drawn from seven years of journal entries, Annie Ernaux describes overhearing a familiar pop song at the supermarket. She is struck by the pleasure she experiences—and by a “feeling of panic that the song will end.” This prompts her to consider the relative emotional effects of books and music. While certain novels have left a “violent impression” on her being, the impact hardly compares to the “intense, almost painful” feeling produced by the song. “A book offers more deliverance, more escape, more fulfillment of desire,” she writes. “In songs one remains locked in desire.” The structure of pop music is inherently erotic; the repetitions of rhythm and melody continually summon and satisfy aching anticipation. Love songs bring this otherwise sublimated longing to the surface: some through grand, theatrical gestures, others by drawing out the dialectic of desire embedded in everyday life—say, the feeling of being alone at a party, sad and self-conscious, desperately missing someone. This is the premise of “Slow Show,” a somber but rousing midtempo track from The National’s 2007 album Boxer. The narrator spends the verses separated from his lover, surrounded by people but unable to reach them, confined to the claustrophobic quarters of his own mind. Guitars flutter frenetically over foreboding squalls of feedback, while Matt Berninger’s mumbling baritone evokes the narrator’s recursive, dead-end thoughts: “Standing at the punch table, swallowing punch”; “I leaned on the wall, the wall leaned away”; “I better get my shit together, better gather my shit in.” In the choruses, an atmospheric sweetness swells as he briefly spans the distance, if only in his imagination: “I want to hurry home to you,” Berninger croons, “put on a slow, dumb show for you and crack you up / so you can put a blue ribbon on my brain.” His halting syntax smooths out into the simple, fluid choreography of a fantasized intimacy, which disrupts his anxious solitude. Read More
February 17, 2023 The Review’s Review My Ex Recommends By The Paris Review Mark Fenderson, An Idyl of St. Valentine’s Day, 1909. Internet Archive Book Images, No restrictions, via Wikimedia Commons. My first real lover was dumb, virile, hilarious—I didn’t trust a word he said. Certainly nothing he recommended. This is why, for years, I stayed away from his favorite book, Cormac McCarthy’s Blood Meridian. Until now. I’ve given in, and the epic Western is, predictably, blowing my mind, and, perhaps less predictably, my groin. I am never sure when carnage might strike—when I might find men whose naked bodies have been “roasted until their heads had charred and the brains bubbled in the skulls and steam sang from their noseholes,” when I’ll come across a “charred coagulate” of bodies or a decapitated man whose severed neck “bubbles gently like a stew.” While reading, my muscles stay flexed. Blood pulses through dilated vessels. Awaiting climax, I am in a state of constant tension. Groin on vibrate. I never uncross my legs. This is reading as grotesque edging. Read More
February 17, 2023 On Music Love Songs: “You Don’t Know What Love Is” By Blair McClendon Nina Simone, 1967. Wikimedia Commons. This week, the Review is publishing a series of short reflections on love songs, broadly defined. There was a woman who was always explaining to me the structures of the world, of desire, of experience. Her analysis was brilliant. I have never met somebody so sure of the way things work. Between us, they didn’t. In the end, I learned, form was a problem. Well placed constraints can excite; they can also kill. Either way they tend to leave marks. A studied silence, breezy banter—these are not so convincing if she can take you in at a glance and see where you are still mottled from the pressure of her touch. But it is easy to adopt the position of the wounded lover. If you know what love is, like Nina Simone sings it, then you know that you, too, can leave, must have left, someone with lips that can only taste tears. Nina Simone was not the first to sing “You Don’t Know What Love Is” and her version is not the most famous. That honor probably belongs to Dinah Washington, with her bright and clear voice, or maybe Chet Baker, about whom I have little to say. Billie Holiday’s take, with her enchanting, off-kilter warble is also probably better known. But Simone’s is something else entirely. Hers was released much later on a collection of rare recordings. It is live, noisy, and the background hum nearly merges with the brushes sliding along the snare drum. That and the crowd’s murmurs lend the track a warmth that all the other versions lack. It speaks, in spite of itself, to love’s inexplicable optimism. Read More
February 16, 2023 On Music Love Songs: “This Must Be the Place (Naive Melody)” By David S. Wallace David Byrne, 1978. Photograph by Michael Markos. Wikimedia Commons, Licensed under CCO 2.0. This week, the Review is publishing a series of short reflections on love songs, broadly defined. I think the best love songs are simple. They’re simple because love isn’t, simple because we need to dream a little. Complexity, ambiguity, doubt—they can have their place in novels or in the movies. A love song lets you live in the fantasy of the absolute; maybe that’s also why they last only a couple of minutes. And that’s why we carry them with us, play and replay them until they wear out like old clothes. They stand for too much. I have many songs that mark the time of particular relationships, both their highs and the lows of their dissolution. I’ve played songs on repeat enough to drive people crazy, and I’ve locked myself in my room to listen to late-period Billie Holiday with the lights off. But I have only one renewable love song, which I’ve brought with me through all my relationships: the Talking Heads’ “This Must Be the Place (Naive Melody).” That’s probably because, although it pains me slightly to say this, it began for me as a family romance. When my parents were young and childless and living in Seattle, they saw a sign for the movie Stop Making Sense, Jonathan Demme’s Talking Heads concert film, at a theater near the Pike Place Market. I don’t think my parents were particularly interested in the hip music of the eighties—they just liked the name of the movie. They bought tickets on a whim and went inside. Read More
February 16, 2023 On Music Love Songs: “She Will Be Loved”? By Clare Sestanovich High school lockers in Langley, Virginia. Photograph by Elizabeth Murphy. Wikimedia Commons, licensed under CCO 2.0. This week, the Review is publishing a series of short reflections on love songs, broadly defined. Of all the things I didn’t know when I was thirteen, two pained me the most: music and romance. I had no instrument, no boyfriend, no way of predicting, when I dared to accompany the radio in the car, if my note would match that note. Girls who could sing, I observed, had hookups and breakups, and, even better, the whispered hallway dramas that led from one to the other. I made certain inferences. And yet I didn’t see how to, well, join the chorus. A good ear is innate, isn’t it? You can unwrap a hundred Starbursts with your tongue and still know nothing of kissing. So I kept my crushes to myself. I stopped singing in the shower. Read More
February 16, 2023 On Music Love Songs: “Aguacero” By Carina del Valle Schorske Photograph by Carina del Valle Schorske. This week, the Review is publishing a series of short reflections on love songs, broadly defined. The first time I felt tropical rain was an erotic revelation: I was nine, visiting family in Puerto Rico on a Carnival cruise. At home in California, rain was cold feet and flooded freeways. But on the island, rain came fast and hot, soaked through my cotton dress, then—sliced by sun—revealed a rainbow. Aguacero. The revelation was erotic not only for my body (the sound, the feel) but also for my mind: now I knew that something bad could also be good—depending on temperature, timing, timbre. My friend Luis Alba calls tropical rain “the secret rhythm beneath all our music”—the windy scraping of the guiro, the shifting pebbles of the shekere—but Bad Bunny’s “Aguacero” begins with ten seconds of literal downpour. Then, the fuckboy’s serenade: me tienes el bicho ansioso. “Aguacero” is not a proper love song. It’s reggaeton lite (smooth production, raunchy lyrics), one of the more predictable tracks on Bad Bunny’s latest blockbuster. But I can’t lie about what’s on repeat—in the kitchen, on the beach, on the ride home from his place. As with love songs, so with love: we don’t always desire what we deserve. For a long while—longer than we said we would—I had a lover who was in the middle of a messy divorce. He wouldn’t have me for real, and I wasn’t even sure that’s what I wanted. But I was sick, I was tired, I hadn’t fucked with feeling for several years. So I went ahead in the rain. Si el calor es de noventa, el aguacero es de cien. The chorus was both invitation and warning: if the heat’s at ninety, the downpour’s a hundred. This wetness won’t make you less thirsty. Read More