Crazy in Love with a Smooth Criminal: an In-Depth Look at Parasocial Relationships and How Celebrities Affect the Relationship" (2015)

Total Page:16

File Type:pdf, Size:1020Kb

Crazy in Love with a Smooth Criminal: an In-Depth Look at Parasocial Relationships and How Celebrities Affect the Relationship Johnson & Wales University ScholarsArchive@JWU Academic Symposium of Undergraduate College of Arts & Sciences Scholarship Spring 2015 Crazy in Love with a Smooth Criminal: An In- Depth Look at Parasocial Relationships and How Celebrities Affect the Relationship Alyssa Termini Johnson & Wales University - Providence, [email protected] Follow this and additional works at: https://scholarsarchive.jwu.edu/ac_symposium Part of the Social and Behavioral Sciences Commons Repository Citation Termini, Alyssa, "Crazy in Love with a Smooth Criminal: An In-Depth Look at Parasocial Relationships and How Celebrities Affect the Relationship" (2015). Academic Symposium of Undergraduate Scholarship. 31. https://scholarsarchive.jwu.edu/ac_symposium/31 This Research Paper is brought to you for free and open access by the College of Arts & Sciences at ScholarsArchive@JWU. It has been accepted for inclusion in Academic Symposium of Undergraduate Scholarship by an authorized administrator of ScholarsArchive@JWU. For more information, please contact [email protected]. Crazy in Love with a Smooth Criminal: An In-Depth Look at Parasocial Relationships and How Celebrities Affect the Relationship By Alyssa Termini 1 Acknowledgements I would like to acknowledge Dr. Wendy Wagner for inspiring me to write about Beyoncé and encouraging me to pursue the topic. Dr. Christopher Westgate was indispensable throughout this entire process. From providing sources, ideas, and edits, Dr. Westgate proved to be more resourceful and helpful than I ever could have imagined. Finally, I would like to acknowledge and thank my parents for always picking up the phone, for providing me with an education, and for not only showing me the world, but also giving it to me. 2 Table of Contents: Introduction…………………………………………………………………………………..........4 Chapter 1: Celebrity Obsession…………………………………………………………………...5 Chapter 2: Let Me Hear You Say Hey Mrs. Carter……………………………………………...22 Chapter 3: The Glove Comes Off………………………………………………………………..46 Chapter 4: Mr. Jackson and Mrs. Carter…………………………………………………………64 Works Cited…………………………………………………………………...............................75 3 Introduction: Within this thesis, the celebrity careers of Beyoncé and Michael Jackson will be evaluated while keeping in mind the classic theory of parasocial interaction and parasocial relationships. Donald Horton and Richard Wohl penned the classic parasocial interaction theory in 1956 speaking of the persona, a celebrity, and the one-sided relationships spectators develop with personas. What is not said by Horton and Wohl, and what is said in this thesis, is that although the celebrity persona may not be aware they are involved in a parasocial relationship, their actions contribute to the creation of a parasocial relationship. By examining scholarly articles, celebrity readers and journals, enough research was gathered to create a foundation for my argument. When it came to the case studies on Beyoncé and Michael Jackson, an approach of evaluating song lyrics and music videos was used, as well as evaluating popular websites such as Billboard and Rolling Stone . Overall, the approach of scholarly research combined with music lyrics and videos, as well as articles led to a conclusion expanding upon the original thoughts of Horton and Wohl’s parasocial interaction theory. 4 Chapter 1: Celebrity Obsession As human beings we are often looking to other people for inspiration and direction in life, whether it be socially, cosmetically, or just for the fun of it. What is interesting about this observation is that more often than not, audiences and observers are turning to contemporary celebrities to fuel their inspiration. While many people have a detached relationship with their favorite icon, there are occasions when the fixation gets out of hand and develops into a nearly psychotic obsession. There are copious amounts of literature and reports on the causes of celebrity obsession, fixation, and veneration, but it all begins with a history. It has been said time and time again that the ancient Egyptians paved the way for modern society. Egyptians were polytheistic, and much of their lifestyle was centered on worshiping their many gods, deities, and pharaohs. Lay Egyptians believed in everything their icons did, and undoubtedly followed their lead in life. Because the gods and pharaohs held such prominent roles in society, and because they were seen as all knowing or powerful, the Egyptians worshipped them. Between worshiping in temples and performing symbolic dances, the ancient Egyptian people perfected the concept of idol adoration (Roberts). Research on ancient Egyptian societies suggests that with power, superhuman-like qualities, and reverence from others, a person can be the subject of someone else’s veneration. To provide an example, Amon, Egyptian king of the gods, was one of the most prominent deities of ancient Egypt. He was the god for those who felt oppressed, and was so highly revered that his temple was the largest and wealthiest in the land (The Editors of Encyclopedia Britannica). Long after the ancient Egyptians roamed the Earth, there was a monarchy in the country of England. In England, the monarchs, or social gods, were looked to for guidance on protocol, fashion, and decorum. Not too long ago, Queen Victoria donned the iconic white wedding gown, 5 and today it has become a staple in nearly every Westernized wedding (Pappas). This scenario resembles both the Egyptian pharaohs and gods, and today’s celebrities. Like the Egyptians worshiped their gods and pharaohs, modern-day fans fixate on and try to attach themselves to celebrities’ lives. Just as Egyptians worshiped in their temples, contemporary fans gather in arenas to worship their favorite comedian, musician, or upstanding figure. As human beings we sing and dance along with our favorite star(s), just as ritualistic dances were performed for the gods in ancient times. Why were the gods and pharaohs revered so highly? Because they were prominent, they were rich, and they were in a position that appealed to the commoners (Roberts). Much like yesterday’s gods and pharaohs, today’s celebrities are put up on a media-created pedestal and are portrayed as rich, superhuman, and youthful. Two contemporary performers have even earned royal monikers: Beyoncé and Michael Jackson have been referred to as the Queen and King of Pop, respectively. In the following scholarly works that have been evaluated, the focus is on both Beyoncé and Michael Jackson, to see what has been said about the pop royalty up to this point. Celebrity Cultures: An Introduction does not speak of Beyoncé, but Michael Jackson is discussed at different times throughout the celebrity studies literature. The star’s infamous court case is chronicled and evaluated for its ability to aid Michael in maintaining his celebrity status, and the reader even labeled the case a “media whirlwind.” This label was placed due to the amount of press it received, and how the publicity often replaced world news on televisions across America. Another part of Michael that was examined were his body enhancements and the effects they had on his fan base (Brown). Popular Music and Society contained a surplus of information regarding Michael Jackson and his celebrity status. Professor Stan Hawkins examined the style of the star’s performances 6 within his article, “You Rocked Our World, Michael: Your Moves, Your Look, Your Music, Everything!” and acknowledged what attributes of the performer led to fans worshipping him. Hawkins attributed much of the fans’ admiration to Michael’s ability to blend identities and styles, and to diversify the music market. Hawkins even mentioned the King of Pop tailoring his movements and performances in order to achieve ideal audiovisual entertainment (Hawkins). Through observation and evaluation, much was found on what made Michael appealing to various crowds and age groups. Popular Music and Society contained three additional articles relevant to this topic. Dr. Jacqueline Warwick examined the star’s transition from child star to adult pop icon in “’You Can’t Win, Child, but You Can’t Get Out of the Game’: Michael Jackson’s Transition from Child Star to Superstar,” and concluded that not only did young Michael’s sassy nature lead to crowd adoration, but the fact that he came from a wholesome and loving family contributed to the audience’s love for Michael Jackson (Warwick). In his article “Black or White? Michael Jackson and the Idea of Crossover,” Professor David Brackett spoke of the “crossover effect” that Michael possessed as an artist, meaning his music succeeded in multiple genres and target audiences. The most profound argument Brackett made in his article was that Michael’s relationship with his music is what led to a relationship with his audience, alluding to the statements he made as an artist and the musical innovations he created with every passing album and lyric (Brackett). In her article “Difference that Exceeded Understanding: Remembering Michael Jackson (1958-2009),” Professor Susan Fast talks of Michael’s uniqueness and how he was a difficult man to decipher, leading to audiences becoming infatuated with him. She also touches lightly on Michael’s upbringing and how it played a role in his adult life, but does not expand on the topic (Fast). 7 In the Celebrity Studies journal there are several articles on the late Michael Jackson. In “Michael as he is not remembered: Jackson’s ‘forgotten’ celebrity activism,” Michael’s great amount of philanthropic work is mentioned, and how his controversies in life overshadowed what he gave back to the world (Van Den Bulck and Panis). Additionally, there are many retrospective articles about Michael; one in particular, “Michael Jackson: celebrity death, mourning, and media events,” examines the events that occurred immediately after the untimely death of the King of Pop, and how his sudden death may shed light on some of the oddities of his celebrity status (Bennett). As for Beyoncé, much of the findings are recent, within the last five years, providing scholars with an up-to-date look at the narrative behind her celebrity status.
Recommended publications
  • Beyoncé Joins Phoenix House for the Opening of the Beyoncé Cosmetology Center at the Phoenix House Career Academy
    FOR IMMEDIATE RELEASE Pop Superstar and Music Icon Beyoncé Joins Phoenix House For the Opening of the Beyoncé Cosmetology Center at the Phoenix House Career Academy New York, New York—March 5, 2010—Phoenix House, the nation’s leading non- profit provider of substance abuse and prevention services, today announces the opening of the Beyoncé Cosmetology Center at the Phoenix House Career Academy. A residential treatment program with a fully equipped vocational training center on site, the Career Academy, located in Brooklyn, NY, guides students as they work toward their professional and personal goals. Adding a new track to the Career Academy’s vocational programs, the Beyoncé Cosmetology Center will offer a seven-month cosmetology training course for adult men and women. As Beyoncé is a spokesperson for L’Oréal Paris, the company is generously providing all makeup, skin care, and hair care products. The pop superstar’s relationship with Phoenix House began when she was preparing for the role of Etta James in the 2008 film Cadillac Records. To play the part of the former heroin addict, Beyoncé met with women in treatment at the Career Academy. Moved by their powerful stories of addiction and recovery, she later donated her salary from the film. A year later, she and her mother and business partner, fashion designer Tina Knowles, who owned a popular hair salon in Houston when Beyoncé was growing up, conceived of the idea of Phoenix House’s new cosmetology program. “We were thrilled when Beyoncé and her mother Tina approached us about creating a cosmetology center for our clients,” said Phoenix House President and CEO Howard Meitiner.
    [Show full text]
  • A$Ap Rocky Injured Generation Tour 18-City
    A$AP ROCKY INJURED GENERATION TOUR 18-CITY NORTH AMERICAN TOUR KICKS OFF TUESDAY, JANUARY 8 TICKETS ON SALE FRIDAY, NOVEMBER 2 October 29, 2018 – New York – A$AP Rocky will be hitting the road this winter with his Injured Generation Tour. The 18-city North American tour kicks off on Tuesday, January 8th in Minneapolis at The Armory, and will make stops in Los Angeles, Chicago, Philadelphia, Atlanta and more, before wrapping on Wednesday, February 6th in Kent, WA at accesso ShoWare Center. The tour is produced by AEG Presents. Tickets for A$AP Rocky’s Injured Generation Tour go on sale Friday, November 2nd at 12 noon local time. A$AP Rocky Fan Presale will begin Tuesday October 30th at 10am local time through Thursday, November 1st at 10pm local time. American Express® Card Members can purchase tickets before the general public beginning Tuesday, October 30th at 12 noon local time, through Thursday, November 1st at 10pm local time. For more information and to purchase tickets please visit: https://tstng.co/shows.html The tour comes on the heels of the release of A$AP Rocky’s highly-anticipated third studio album, TESTING, which has garnered over 1 billion streams worldwide, landing at #1 on the iTunes charts in 16 countries upon release. TESTING launches a new era for Rocky, exploring new sounds and ideas in an unparalleled musical landscape where he continues to break the mainstream mindset with sonics rarely heard in hip-hop. This album picks up where Rocky last left off, weaving mind-melting aural psychedelics into hip-hop that is, at times dark and confessional, and in other moments uplifting and celebratory.
    [Show full text]
  • Black Women, Natural Hair, and New Media (Re)Negotiations of Beauty
    “IT’S THE FEELINGS I WEAR”: BLACK WOMEN, NATURAL HAIR, AND NEW MEDIA (RE)NEGOTIATIONS OF BEAUTY By Kristin Denise Rowe A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of African American and African Studies—Doctor of Philosophy 2019 ABSTRACT “IT’S THE FEELINGS I WEAR”: BLACK WOMEN, NATURAL HAIR, AND NEW MEDIA (RE)NEGOTIATIONS OF BEAUTY By Kristin Denise Rowe At the intersection of social media, a trend in organic products, and an interest in do-it-yourself culture, the late 2000s opened a space for many Black American women to stop chemically straightening their hair via “relaxers” and begin to wear their hair natural—resulting in an Internet-based cultural phenomenon known as the “natural hair movement.” Within this context, conversations around beauty standards, hair politics, and Black women’s embodiment have flourished within the public sphere, largely through YouTube, social media, and websites. My project maps these conversations, by exploring contemporary expressions of Black women’s natural hair within cultural production. Using textual and content analysis, I investigate various sites of inquiry: natural hair product advertisements and internet representations, as well as the ways hair texture is evoked in recent song lyrics, filmic scenes, and non- fiction prose by Black women. Each of these “hair moments” offers a complex articulation of the ways Black women experience, share, and negotiate the socio-historically fraught terrain that is racialized body politics
    [Show full text]
  • The Life & Rhymes of Jay-Z, an Historical Biography
    ABSTRACT Title of Dissertation: THE LIFE & RHYMES OF JAY-Z, AN HISTORICAL BIOGRAPHY: 1969-2004 Omékongo Dibinga, Doctor of Philosophy, 2015 Dissertation directed by: Dr. Barbara Finkelstein, Professor Emerita, University of Maryland College of Education. Department of Teaching and Learning, Policy and Leadership. The purpose of this dissertation is to explore the life and ideas of Jay-Z. It is an effort to illuminate the ways in which he managed the vicissitudes of life as they were inscribed in the political, economic cultural, social contexts and message systems of the worlds which he inhabited: the social ideas of class struggle, the fact of black youth disempowerment, educational disenfranchisement, entrepreneurial possibility, and the struggle of families to buffer their children from the horrors of life on the streets. Jay-Z was born into a society in flux in 1969. By the time Jay-Z reached his 20s, he saw the art form he came to love at the age of 9—hip hop— become a vehicle for upward mobility and the acquisition of great wealth through the sale of multiplatinum albums, massive record deal signings, and the omnipresence of hip-hop culture on radio and television. In short, Jay-Z lived at a time where, if he could survive his turbulent environment, he could take advantage of new terrains of possibility. This dissertation seeks to shed light on the life and development of Jay-Z during a time of great challenge and change in America and beyond. THE LIFE & RHYMES OF JAY-Z, AN HISTORICAL BIOGRAPHY: 1969-2004 An historical biography: 1969-2004 by Omékongo Dibinga Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2015 Advisory Committee: Professor Barbara Finkelstein, Chair Professor Steve Klees Professor Robert Croninger Professor Derrick Alridge Professor Hoda Mahmoudi © Copyright by Omékongo Dibinga 2015 Acknowledgments I would first like to thank God for making life possible and bringing me to this point in my life.
    [Show full text]
  • 12" White Vinyl 27.99 2Pac Thug Life
    Recording Artist Recording Title Price 1975 Notes On A Conditional Form - 12" White Vinyl 27.99 2pac Thug Life - Vol 1 12" 25th Anniverary 20.99 3108 3108 12" 9.99 50 Cent Best Of 50 Cent 12" 29.99 65daysofstatic Replicr 2019 12" 20.99 Abba Live At Wembley Arena 12" - Half Speed Master 3 Lp 32.99 Abba Gold 12" 22.99 Abba Abba - The Album 12" 12.99 AC/DC Highway To Hell 12" 20.99 AC/DC Back In Black - 12" 20.99 Ace Frehley Spaceman - 12" 29.99 Acid Mothers Temple Minstrel In The Galaxy 12" 21.99 Adam & The Ants Kings Of The Wild Frontier 12" 15.99 Adele 25 12" 16.99 Adele 21 12" 16.99 Adele 19- 12" 16.99 Agnes Obel Myopia 12" 21.99 Ags Connolly How About Now 12" 9.99 Air Moon Safari 12" 14.99 Alan Marks Erik Satie - Vexations 12" 19.99 Alanis Morissette Jagged Little Pill 12" 18.99 Aldous Harding Party 12" 16.99 Aldous Harding Designer 12" 14.99 Alec Cheer Night Kaleidoscope Ost 12" 14.99 Alex Banks Beneath The Surface 12" 19.99 Alex Lahey The Best Of Luck Club 12" White Vinyl 19.99 Alex Lahey I Love You Like A Brother 12" Peach Vinyl 19.99 Alfie Templeman Happiness In Liquid Form 14.99 Algiers There Is No Year 12" Dinked Edition 26.99 Ali Farka Toure With Ry CooderTalking Timbuktu 12" 24.99 Alice Coltrane The Ecstatic Music Of... 12" 28.99 Alice Cooper Greatest Hits 12" 16.99 Allah Las Lahs 12" Dinked Edition 19.99 Allah Las Lahs 12" 18.99 Alloy Orchestra Man With A Movie Camera- Live At Third Man Records 12" 12.99 Alt-j An Awesome Wave 12" 16.99 Amazones D'afrique Amazones Power 12" 24.99 Amy Winehouse Frank 12" 19.99 Amy Winehouse Back To Black - 12" 12.99 Anchorsong Cohesion 12" 12.99 Anderson Paak Malibu 12" 21.99 Andrew Combs Worried Man 12" White Vinyl 16.99 Andrew Combs Ideal Man 12" Colour Vinyl 16.99 Andrew W.k I Get Wet 12" 38.99 Angel Olsen All Mirrors 12" Clear Vinyl 22.99 Ann Peebles Greatest Hits 12" 15.99 Anna Calvi Hunted 12" - Ltd Red 24.99 Anna St.
    [Show full text]
  • Exhibits 5 Through 8 to Declaration of Katherine A. Moerke
    10-PR-16-4610'PR'16'46 Filed in First Judicial District Court 12/5/201612/5/2016 6:27:08 PM Carver County, MN EXHIBITEXHIBIT 5 10-PR-16-46 Filed in First Judicial District Court 12/5/2016 6:27:08 PM Carver County, MN Reed Smith LLP 599 Lexington Avenue New York, NY 10022-7650 Jordan W. Siev Tel +1 212 521 5400 Direct Phone: +1 212 205 6085 Fax +1 212 521 5450 Email: [email protected] reedsmith.com October 17, 2016 By Email ([email protected]) Laura Halferty Stinson Leonard Street 150 South Fifth Street Suite 2300 Minneapolis, MN 55402 Re: Roc Nation LLC as Exclusive Rights Holder to Assets of the Estate of Prince Rogers Nelson Dear Ms. Halferty: Roc Nation Musical Assets Artist Bremer May 27 Letter Nation, and its licensors, licensees and assigns, controls and administers certain specific rights in connection with various Artist Musical Assets. Roc Nation does so pursuant to agreements between the relevant parties including, but not limited to, that certain exclusive distribution agreement between Roc MPMusic SA., on the one hand, and NPG Records, Inc. NR NPG Distribution Agreement recordings and other intellectual property rights. The Distribution Agreement provides that the term of the Distribution Agreement is the longer of three years or full recoupment of monies advanced under the Distribution Agreement. As neither of these milestones has yet occurred, the Distribution Agreement remains in full force and effect. By way of background, and as highlighted in the May 27 Letter, Roc Nation and NPG have enjoyed a successful working relationship that has included, among other things, the Distribution involvement of Roc Nation in various aspects o -owned music streaming service.
    [Show full text]
  • Market Segmentation and Selective Exposure in Online News
    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2013 Broken News: Market Segmentation and Selective Exposure in Online News Deidra Lee Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Interdisciplinary Arts and Media Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/564 This Dissertation is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © 2013 Deidra J. Lee All Rights Reserved BROKEN NEWS: MARKET SEGMENTATION AND SELECTIVE EXPOSURE IN ONLINE NEWS A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy at Virginia Commonwealth University By DEIDRA J. LEE B.A. Virginia State University M.A. Old Dominion University Marcus Messner, Ph.D. Assistant Professor of Journalism, VCU School of Mass Communications Ann Creighton-Zollar, Ph.D. VCU College of Humanities and Sciences, Emerita Richard Fine, Ph.D. Professor of English, VCU College of Humanities and Sciences Judy VanSlyke-Turk, Ph.D. VCU School of Mass Communications, Emerita Sara Wilson McKay, Ph.D. Art Education Chair, VCU School of the Arts Virginia Commonwealth University November 2013 ii Acknowledgements First and foremost, I thank God for supplying me with the spiritual strength to endure this entire doctoral process and for blessing me with a wonderful family. None of my accomplishments would be possible without Monroe, Eleanor, Vincent, Marie, David, Patricia and Daphne.
    [Show full text]
  • Band Song-List
    SONG LIST Modern Rock, Pop & Hip-Hop Adele Bruno Mars Love Song Just The Way You Are Rolling In The Deep Locked Out Of Heaven Someone Like You Treasure Make You Feel My Love Uptown Funk 24K Magic Alicia Keys Leave The Door Open Empire State of Mind Part II Finesse Feat. Cardi B Fallin' If I Ain't Got You BTS No One Dynamite This Girl Is On Fire Capital Cities Ariana Grande Safe and Sound No Tears Left To Cry Bang, Bang Cardi B I like it like that Amy Winhouse Valerie Calvin Harris Rehab Feel So Close Back To Black This is What You Came For Avicii Carly Rae Jepsen Wake Me Up Call Me Maybe Beyonce Cee-lo Green 1 Plus 1 Forget You Crazy In Love Drunk In Love Chainsmokers If I Were a Boy Closer Love On Top Single Ladies Christina Aguilera Lady Marmalade Billie Eilish Bad Guy Christina Perri 1000 Years Black-Eyed Peas I Gotta Feeling Clean Bandit A Little Party Never Killed Nobody Rather Be Bow Wow Wow Corinne Bailey Rae I Want Candy Put your Records On Daft Punk Get Lucky Lose Yourself To Dance Justin Timberlake Darius Rucker Suit & Tie Wagon Wheel Can’t Stop The Feeling Cry Me A River David Guetta Love You Like I Love You Titanium Feat. Sia Sexy Back Drake Jay-Z and Alicia Keys Hotline Bling Empire State of Mind One Dance In My Feelings Jess Glynne Hold One We’re Going Home Hold My Hand Too Good Controlla Jessie J Bang, Bang DNCE Domino Cake By The Ocean Kygo Disclosure Higher Love Latch Katy Perry Dua Lipa Chained To the Rhythm Don’t Start Now California Gurls Levitating Firework Teenage Dream Duffy Mercy Lady Gaga Bad Romance Ed Sheeran Just Dance Shape Of You Poker Face Thinking Out loud Perfect Duet Feat.
    [Show full text]
  • By Beyonce Knowles
    © 2018 JETIR September 2018, Volume 5, Issue 9 www.jetir.org (ISSN-2349-5162) ANALYSIS OF COMPLAINING STRATEGIES IN THE HOLLYWOOD SONG “IF I WERE A BOY” BY BEYONCE KNOWLES Dr. Amrita Tyagi Assistant Professor, Department of English, Galgotias University, Greater Noida Dr. Vijay Kumar Associate Professor, Department of English, Galgotias University, Greater Noida ABSTRACT -In this digital era, complaining has become so pervasive that it creeps into our conversations from the dinner table to our workplace. A complaint is incomplete without three main elements: a speaker, a listener, and a signaling system or language. Language plays a crucial part in our lives to inform people around us of what we feel, what we desire and question or understand the world around us. The fundamental function of language is communication. Songs are one of the greatest creations of human kind in the course of history. It is creativity in a pure and undiluted form and format. The speech act is an utterance considered as an action, particularly with regards to its intention, purpose or effect. Jane Austin claims that many utterances are equivalent to actions which means without performing an action by mere words action can be performed. Songs reflect the society, what’s present in the society creates an impact on the songs written by various songwriters and hence songs are incomplete without complaints, be it any romantic song, sad song or an inspiring one. Complaints can be found in every song about the lover, the world or the people. In this study, the lyrics of a Hollywood song “If I were a boy” by an American singer Beyonce Knowles has been used for the analysis of complaining act.
    [Show full text]
  • Of Producing Popular Music
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 6-26-2019 1:00 PM The Elements of Production: Myth, Gender, and the "Fundamental Task" of Producing Popular Music Lydia Wilton The University of Western Ontario Supervisor Coates, Norma. The University of Western Ontario Graduate Program in Popular Music and Culture A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Music © Lydia Wilton 2019 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Musicology Commons Recommended Citation Wilton, Lydia, "The Elements of Production: Myth, Gender, and the "Fundamental Task" of Producing Popular Music" (2019). Electronic Thesis and Dissertation Repository. 6350. https://ir.lib.uwo.ca/etd/6350 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract Using Antoine Hennion’s “anti-musicology”, this research project proposes a methodology for studying music production that empowers production choices as the primary analytical tool. It employs this methodology to analyze Kesha’s Rainbow, Janelle Monáe’s Dirty Computer, and St. Vincent’s Masseduction according to four, encompassing groups of production elements: musical elements, lyrical elements, personal elements, and narrative elements. All three albums were critical and commercial successes, and analyzing their respective choices offers valuable insight into the practice of successful producers that could not necessarily be captured by methodologies traditionally used for studying production, such as the interview.
    [Show full text]
  • TINY GLOWING SCREENS Pt. 3 Music by Kush Mody Ft
    TINY GLOWING SCREENS Pt. 3 Music by Kush Mody ft. Camila Recchio & Danny McClain Lyrics by George Watsky VERSE 1 A min G D min F G A min G D min F G Vocals b 4 & 4 ’[RAP] ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ b 4 œ. nœ œ n˙ œ. nœ œ n˙ & 4 œ. œ œ œ ˙ ˙ ˙ œ. œ œ œ ˙ ˙ ˙ Piano œ ˙ ˙ ˙ œ ˙ ˙ ˙ 4 œ. œ œ ˙ ˙ œ. œ œ ˙ ˙ ? b 4 œ ˙ œ ˙ œ. œ œ œ ˙ ˙ ˙ œ. œ œ œ ˙ ˙ ˙ A min G D min F G A min G D min Vox. & b ’ ’ ’ ’ 45 ’ ’ ’ ’ ’ 4 ’ ’ ’ ’ ’ ’ ’ ’ b œ. œ œ 5 n˙ Œ 4 œ. œ œ & œ. nœ œ œ ˙ 4 ˙ ˙ 4 œ. nœ œ œ ˙ w Pno. œ ˙ ˙ ˙ œ ˙ w œ nœ œ œ œ ˙ ˙ œ. œ œ ? b œ œ ˙ 45 Œ 4 œ ˙ w ˙ ˙ œ. œ œ œ ˙ w A min G D min F G A min G D min F G A min G D min Vox. & b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ 45 œ. œ œ n˙ œ. œ œ n˙ œ. œ œ 5 & b œ. nœ œ œ ˙ ˙ ˙ œ. nœ œ œ ˙ ˙ ˙ œ. nœ œ œ ˙ 4 Pno. œ ˙ ˙ ˙ œ ˙ ˙ ˙ œ ˙ œ. œ œ ˙ ˙ œ. œ œ ˙ ˙ œ. œ œ ? b œ ˙ œ ˙ œ ˙ 45 œ. œ œ œ ˙ ˙ ˙ œ. œ œ œ ˙ ˙ ˙ œ. œ œ œ ˙ F G A min C/G D min Bb G D min Vox. 5 4 5 4 & b 4 ’ ’ ’ ’ ’ 4 ’ ’ ’ ’ 4 ’ ’ ’ ’ ’ 4 œ œ œ œ œ œ ˙ ’ ’ ’ ’ Freeze freeze freeze b 5 ˙ n˙ Œ 4 œ œ œ ˙ 5 ˙ n˙ Œ 4 œ œ œ œ ˙ w & 4 ˙ ˙ 4 œ.
    [Show full text]
  • Child of Destiny: Child of Destiny V. 3 Free
    FREE CHILD OF DESTINY: CHILD OF DESTINY V. 3 PDF Jim Krueger,Bud Rogers,Tom Bancroft,Rob Corley,Funnypages Productions,Ariel Padilla | 160 pages | 07 Feb 2008 | ZONDERVAN | 9780310713029 | English | Grand Rapids, United States List of songs recorded by Destiny's Child - Wikipedia The group began their musical career as Girl's Tymeformed in in HoustonTexas. The group was launched into mainstream recognition following the release of their best-selling second album, The Writing's on the Wallwhich contained the number-one singles " Bills, Bills, Bills " and " Say My Name ". Despite critical and commercial success, the group was plagued by internal conflict and legal turmoil, as Roberson and Luckett attempted to split from the group's manager Mathew Knowlesciting favoritism of Knowles and Rowland. In earlyboth Roberson and Luckett were replaced with Williams and Farrah Franklin ; however, Franklin quit after five months, leaving the group as a trio. Their third album, Survivorwhose themes the public interpreted as a channel to the group's experience, produced the worldwide hits " Independent Women ", " Survivor " and " Bootylicious ". Inthey announced a hiatus to pursue solo careers. Since the group's official disbandment inKnowles, Rowland, and Williams have reunited a couple of times, including at the Super Bowl halftime show and Coachella festival. Destiny's Child has sold more than sixty million records worldwide to date. Kelly Rowlandwho relocated to Knowles' house because of family issues, joined them in He brought them to his studio, The Plant Recording Studios, in Northern Californiawith focus on Knowles' vocals because Frager thought she had personality and the ability to sing.
    [Show full text]