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From the beginning, the Beatles announced their debt to Black music
in interviews, recording covers and original songs inspired by
Chuck Berry, Little Richard, Fats Domino, the Shirelles, and other
giants of R&B. Blackbird goes deeper, appreciating
unacknowledged forerunners, as well as Black artists whose
interpretations keep the Beatles in play. Drawing on interviews
with Black musicians and using the song “Blackbird” as a
touchstone, Katie Kapurch and Jon Marc Smith tell a new history.
They present unheard stories and resituate old ones, offering the
phrase “transatlantic flight” to characterize a back-and-forth
dialogue shaped by Black musicians in the United States and
elsewhere, including Liverpool. Kapurch and Smith find a lineage
that reaches back to the very origins of American popular music,
one that involves the original twentieth-century blackbird,
Florence Mills, and the King of the Twelve String, Lead Belly.
Continuing the circular flight path with Nina Simone, Billy
Preston, Jimi Hendrix, Aretha Franklin, Sylvester, and others, the
authors take readers into the twenty-first century, when Black
artists like Bettye LaVette harness the Beatles for today.
Detailed, thoughtful, and revelatory, Blackbird explores musical
and storytelling legacies full of rich but contested symbolism.
Appealing to those interested in developing a deep understanding of
the evolution of popular music, this book promises that you’ll
never hear “Blackbird”—and the Beatles—the same way again.
This book examines melodramatic impulses in Charlotte Bronte's Jane
Eyre and Stephenie Meyer's Twilight Saga, as well as the series'
film adaptations and fan-authored texts. Attention to conventions
such as crying, victimization, and happy endings in the context of
the Twilight-Jane Eyre relationship reveals melodrama as an
empowering mode of communication for girls. Although melodrama has
saturated popular culture since the nineteenth century, its
expression in texts for, about, and by girls has been remarkably
under theorized. By defining melodrama, however, through its
Victorian lineages, Katie Kapurch recognizes melodrama's aesthetic
form and rhetorical function in contemporary girl culture while
also demonstrating its legacy since the nineteenth century.
Informed by feminist theories of literature and film, Kapurch shows
how melodrama is worthy of serious consideration since the mode
critiques limiting social constructions of postfeminist girlhood
and, at the same time, enhances intimacy between girls-both
characters and readers.
The Beatles are probably the most photographed band in history and
are the subject of numerous biographical studies, but a surprising
dearth of academic scholarship addresses the Fab Four. New Critical
Perspectives on the Beatles offers a collection of original,
previously unpublished essays that explore 'new' aspects of the
Beatles. The interdisciplinary collection situates the band in its
historical moment of the 1960s, but argues for artistic innovation
and cultural ingenuity that account for the Beatles' lasting
popularity today. Along with theoretical approaches that bridge the
study of music with perspectives from non-music disciplines, the
texts under investigation make this collection 'new' in terms of
Beatles' scholarship. Contributors frequently address
under-examined Beatles texts or present critical perspectives on
familiar works to produce new insight about the Beatles and their
multi-generational audiences.
From the beginning, the Beatles announced their debt to Black music
in interviews, recording covers and original songs inspired by
Chuck Berry, Little Richard, Fats Domino, the Shirelles, and other
giants of R&B. Blackbird goes deeper, appreciating
unacknowledged forerunners, as well as Black artists whose
interpretations keep the Beatles in play. Drawing on interviews
with Black musicians and using the song “Blackbird” as a
touchstone, Katie Kapurch and Jon Marc Smith tell a new history.
They present unheard stories and resituate old ones, offering the
phrase “transatlantic flight” to characterize a back-and-forth
dialogue shaped by Black musicians in the United States and
elsewhere, including Liverpool. Kapurch and Smith find a lineage
that reaches back to the very origins of American popular music,
one that involves the original twentieth-century blackbird,
Florence Mills, and the King of the Twelve String, Lead Belly.
Continuing the circular flight path with Nina Simone, Billy
Preston, Jimi Hendrix, Aretha Franklin, Sylvester, and others, the
authors take readers into the twenty-first century, when Black
artists like Bettye LaVette harness the Beatles for today.
Detailed, thoughtful, and revelatory, Blackbird explores musical
and storytelling legacies full of rich but contested symbolism.
Appealing to those interested in developing a deep understanding of
the evolution of popular music, this book promises that you’ll
never hear “Blackbird”—and the Beatles—the same way again.
This book examines melodramatic impulses in Charlotte Bronte's Jane
Eyre and Stephenie Meyer's Twilight Saga, as well as the series'
film adaptations and fan-authored texts. Attention to conventions
such as crying, victimization, and happy endings in the context of
the Twilight-Jane Eyre relationship reveals melodrama as an
empowering mode of communication for girls. Although melodrama has
saturated popular culture since the nineteenth century, its
expression in texts for, about, and by girls has been remarkably
under theorized. By defining melodrama, however, through its
Victorian lineages, Katie Kapurch recognizes melodrama's aesthetic
form and rhetorical function in contemporary girl culture while
also demonstrating its legacy since the nineteenth century.
Informed by feminist theories of literature and film, Kapurch shows
how melodrama is worthy of serious consideration since the mode
critiques limiting social constructions of postfeminist girlhood
and, at the same time, enhances intimacy between girls-both
characters and readers.
The Beatles are known for cheeky punchlines, but understanding
their humor goes beyond laughing at John Lennon’s memorable
“rattle your jewelry” dig at the Royal Variety Performance in
1963. From the beginning, the Beatles’ music was full of wordplay
and winks, guided by comedic influences ranging from rhythm and
blues, British radio, and the Liverpool pub scene. Gifted with
timing and deadpan wit, the band habitually relied on irony,
sarcasm, and nonsense. Early jokes revealed an aptitude for
improvisation and self-awareness, techniques honed throughout the
1960s and into solo careers. Experts in the art of play, including
musical experimentation, the Beatles’ shared sense of humor is a
key ingredient to their appeal during the 1960s— and to their
endurance. The Beatles and Humour offers innovative takes on the
serious art of Beatle fun, an instrument of social, political, and
economic critique. Chapters also situate the band alongside British
and non-British predecessors and collaborators, such as Billy
Preston and Yoko Ono, uncovering diverse components and unexpected
effects of the Beatles’ output.
For the Beatles, 1967 marks a signal crossroads that would both
transform the group's career and place them on a trajectory towards
their eventual disbandment. It was a year in which they exploded
prevailing rock music demographics through the global onslaught and
international success of Sgt. Pepper's Lonely Hearts Club Band
beginning in June 1967. Yet it was also a period that saw them in a
precarious state of flux throughout the summer and fall months, as
the band attempted to recapture their artistic direction in the
wake of Sgt. Pepper and the untimely death of manager Brian
Epstein. The Beatles, Sgt. Pepper, and the Summer of Love draws
readers into that pivotal year in the life of the band. For the Fab
Four, 1967 would see the band members part ways with psychedelia
and the avant-garde through the trials and tribulations of the
Magical Mystery Tour, a project that resulted in a series of
classic recordings, while at the same time revealing the bandmates'
aesthetic vulnerabilities and failings as would-be filmmakers and
auteurs.
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