DOCSLIB.ORG

Sounding and Signifyin’

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sounding and Signifyin’ SOUNDING AND SIGNIFYIN’: REPRESENTATION AND THE THEATRICAL BLACK VOICE by Michael John Mohammed Dissertation Committee: Professor Kelly Parkes, Sponsor Professor Randall Allsup Approved by the Committee on the Degree of Doctor of Education Date May 20, 2020 Submitted in partial fulfillment of the requirements for the Degree of Doctor of Education in Teachers College, Columbia University 2020 ABSTRACT SOUNDING AND SIGNIFYIN’: REPRESENTATION AND THE THEATRICAL BLACK VOICE Michael John Mohammed This qualitative dissertation identifies musical strategies that black theatre singers use when presenting and re-presenting music that integrates western classical vocal aesthetics with stylistic genres of traditionally black forms like gospel, jazz, and blues. This study investigates the use of the voice by five black opera and musical theatre performers and the approaches that they take in the representation of music that requires integrated vocality, which integrates elements from western classical traditions with those from black popular and folk idioms. Data were collected through audio/visual analysis, interviews, and video stimulated recall, presented through narrative analysis. Three emergent themes are explored are as follows: Authenticity is rooted in the singer’s experience of cultural traditions and expression; technique is a means of personal and cultural expression and provides the opportunity for personal liberation, and; a singer positions themself at the nexus of their cultural legacy as a learner, exemplar, advocate, and transmitter of culture. The implications for educators at the tertiary level are discussed in the final chapter. Alignment of technique, personal expression, and identity infuses a singer’s sound with meaning; fostering the black singer’s use of their cultural capital helps them transform their life experiences into artistic interpretation. Representation, the use of signs that link a person to their cultural circles, is an act of re-humanization, combating dehumanization caused by systematic and societal exclusion by placing positive images at the center of their cultural legacy. In higher education, pre-professional training becomes humanizing when expression is viewed as a means of critical understanding of a student’s lived experience. Also, inspiring persons with marginalized identities requires re-centralizing power toward those who can imagine themselves transforming the entertainment industry into a more inclusive artistic space. © Copyright Michael John Mohammed 2020 All Rights Reserved ii DEDICATION To my father and mother who inspire my brothers and me to lead with intelligence and kindness. iii ACKNOWLEDGEMENTS My own enthusiasm for this project increased along the path to completion with each interview and each conversation I had with others. I first must express gratitude to the participants of this study. Each of these incredible artists invited me into their thoughts and processes with immense openness and truth. The four other members of my doctoral cohort as well as my fellow Team 4 Doctoral Seminar mates were integral to the development of the work, culminating in this document. I thank my professors at Teachers College who have left indelible imprints on my thinking and educating. Much appreciation is extended to my defense committee: Dr. Kelly Parkes, Dr. Randall Allsup, Dr. Jeanne Goffi-Fynn, and Dr. Mark Anthony Gooden. When talking about my dissertation with people, the response was usually something like, “Really? That’s amazing!” This reaction was then often followed by a thought or a tidbit or the name of a particular performer whom I should check out. I am extremely grateful for these exchanges with friends, peers, and acquaintances, which deepened my own understanding of the work I was doing. My editor Fiore Sireci was extremely helpful in finessing the presentation of this document. My secondary, collegiate, and avocational students have no idea how inspired I am by them and their bravery in bringing themselves into their work. I am grateful to my family for their affirmation and support through the completion of the doctoral degree. Finally, my incredible husband Jonathan Smucker, who continues his own journey as an artist and iv teacher, amazes me with his intelligence and grace. I cannot communicate all of my gratitude for his constancy and emotional sustenance. M. M. v TABLE OF CONTENTS Page Chapter I – INTRODUCTION ........................................................................................... 1 Introduction .................................................................................................................... 1 Personal Narrative .......................................................................................................... 3 Problem Statement .......................................................................................................... 6 Purpose ............................................................................................................................ 7 Research Questions......................................................................................................... 7 Theoretical Framework ................................................................................................... 8 Conceptual Framework ................................................................................................. 10 Operational Definitions ................................................................................................ 11 Summary ........................................................................................................................ 15 Chapter II – LITERATURE REVIEW ........................................................................... 16 Introduction .................................................................................................................. 16 Cultural Capital............................................................................................................. 16 Black Aesthetics ........................................................................................................ 17 Black Vocality ........................................................................................................... 21 Signifiers of Vocality ................................................................................................ 23 Hybrid Forms and the Challenges of Hybridity ........................................................ 24 Singers who Define and Transcend Conceptions of Vocalism ................................. 27 Performativity and Authenticity .................................................................................. 30 Appropriation ............................................................................................................ 33 Expressivity .................................................................................................................. 34 Audience Construction of Meaning .......................................................................... 34 Acoustic Strategies Used by the Performing Artist .................................................. 36 Strategies for Teaching Expressivity......................................................................... 39 Lenses as Methods: Literature ...................................................................................... 41 Signification through Discourse Analysis, Hermeneutics, and Semiotics ................ 42 Critical Theory, Critical Race Theory, and Intersectionality in Music and Applied Theatre ............................................................................... 43 Research in Recorded Material ............................................................................... 50 Summary ........................................................................................................................ 53 Chapter III – METHODOLOGY .................................................................................... 55 Introduction .................................................................................................................. 55 Rationale for the Methodology ..................................................................................... 56 Research Design Overview .......................................................................................... 57 Interview.................................................................................................................... 58 Audio/Visual Analysis .............................................................................................. 59 vi Stimulated Recall ...................................................................................................... 59 Pilot Studies .................................................................................................................. 60 Interviews .................................................................................................................. 60 Themes and interview questions ........................................................................... 61 Participants ............................................................................................................ 61 Emergent themes ................................................................................................... 62 Recording Example ................................................................................................... 65 Participants ..................................................................................................................
Load more

Recommended publications
  • Black US Army Bands and Their Bandmasters in World War I
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications: School of Music Music, School of Fall 8-21-2012 Black US Army Bands and Their Bandmasters in World War I Peter M. Lefferts University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicfacpub Part of the Music Commons Lefferts, Peter M., "Black US Army Bands and Their Bandmasters in World War I" (2012). Faculty Publications: School of Music. 25. https://digitalcommons.unl.edu/musicfacpub/25 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications: School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. 1 Version of 08/21/2012 This essay is a work in progress. It was uploaded for the first time in August 2012, and the present document is the first version. The author welcomes comments, additions, and corrections ([email protected]). Black US Army bands and their bandmasters in World War I Peter M. Lefferts This essay sketches the story of the bands and bandmasters of the twenty seven new black army regiments which served in the U.S. Army in World War I. They underwent rapid mobilization and demobilization over 1917-1919, and were for the most part unconnected by personnel or traditions to the long-established bands of the four black regular U.S. Army regiments that preceded them and continued to serve after them. Pressed to find sufficient numbers of willing and able black band leaders, the army turned to schools and the entertainment industry for the necessary talent.
    [Show full text]
  • Treble Voices in Choral Music
    loft is shown by the absence of the con• gregation: Bach and Maria Barbara were Treble Voices In Choral Music: only practicing and church was not even in session! WOMEN, MEN, BOYS, OR CASTRATI? There were certain places where wo• men were allowed to perform reltgious TIMOTHY MOUNT in a "Gloria" and "Credo" by Guillaume music: these were the convents, cloisters, Legrant in 1426. Giant choir books, large and religious schools for girls. Nuns were 2147 South Mallul, #5 enough for an entire chorus to see, were permitted to sing choral music (obvious• Anaheim, California 92802 first made in Italy in the middle and the ly, for high voices only) among them• second half of the 15th century. In selves and even for invited audiences. England, choral music began about 1430 This practice was established in the with the English polyphonic carol. Middle Ages when the music was limited Born in Princeton, New Jersey, Timo• to plainsong. Later, however, polyphonic thy Mount recently received his MA in Polyphonic choral music took its works were also performed. __ On his musi• choral conducting at California State cue from and developed out of the cal tour of Italy in 1770 Burney describes University, Fullerton, where he was a stu• Gregorian unison chorus; this ex• several conservatorios or music schools dent of Howard Swan. Undergraduate plains why the first choral music in Venice for girls. These schools must work was at the University of Michigan. occurs in the church and why secular not be confused with the vocational con• compositions are slow in taking up He has sung professionally with the opera servatories of today.
    [Show full text]
  • Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600
    Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands.
    [Show full text]
  • The Status and the Problem of Western Vocal Music Teaching in Myanmar
    Journal of Advanced Research in Social Sciences and Humanities Volume 1, Issue 1 (9-17) DOI: https://dx.doi.org/10.26500/JARSSH-01-2016-0102 The status and the problem of Western vocal music teaching in Myanmar MAI NAY CHI HNIN PWINT OO∗ Department of Music Education, College of Music, Mahidol University, Salaya, Thailand Abstract Aim: The aim of this study is to identify and recommend solutions to the problems not only in teaching but also in learning Western classical vocal music. The research will also consider the benefits of solving these problems. The primary objective of this study was to infer the status and the problems of Western vocal music teaching in Myanmar and to explore the appropriate methods for the solution of the problems in the environment of the government school system. Method: This research used qualitative methods, formal and informal interviews and observation. There were six vocal music teachers from a variety of Music Centers in Yangon, one vocal music teacher from The Myanmar Institute of Theology (Liberal Arts program), Music Department in Myanmar and one vocal instructor from an independent unit who are currently working in that area with at least 2 years’ experience in western vocal teaching as full-time and part-time teachers. Findings: The researcher found through the interviews that most of the vocal music teachers did not study in voice much and most of them did not have the opportunity to study music since they were young. Most of them taught voice to students based on only their experience and what they learnt from experienced teachers.
    [Show full text]
  • Between Liminality and Transgression: Experimental Voice in Avant-Garde Performance
    BETWEEN LIMINALITY AND TRANSGRESSION: EXPERIMENTAL VOICE IN AVANT-GARDE PERFORMANCE _________________________________________________________________ A thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy in Theatre and Film Studies in the University of Canterbury by Emma Johnston ______________________ University of Canterbury 2014 ii Abstract This thesis explores the notion of ‘experimental voice’ in avant-garde performance, in the way it transgresses conventional forms of vocal expression as a means of both extending and enhancing the expressive capabilities of the voice, and reframing the social and political contexts in which these voices are heard. I examine these avant-garde voices in relation to three different liminal contexts in which the voice plays a central role: in ritual vocal expressions, such as Greek lament and Māori karanga, where the voice forms a bridge between the living and the dead; in electroacoustic music and film, where the voice is dissociated from its source body and can be heard to resound somewhere between human and machine; and from a psychoanalytic perspective, where the voice may bring to consciousness the repressed fears and desires of the unconscious. The liminal phase of ritual performance is a time of inherent possibility, where the usual social structures are inverted or subverted, but the liminal is ultimately temporary and conservative. Victor Turner suggests the concept of the ‘liminoid’ as a more transgressive alternative to the liminal, allowing for permanent and lasting social change. It may be in the liminoid realm of avant-garde performance that voices can be reimagined inside the frame of performance, as a means of exploring new forms of expression in life.
    [Show full text]
  • MU/AAS 1103 Co
    MISSISSIPPI STATE UNIVERSITY COLLEGE OF EDUCATION DEPARTMENT of MUSIC COURSE SYLLABUS Course Prefix and Number: MU/AAS 1103 Course Title: African American Music Credit hours: Three (3) semester hours Type of Course: Lecture Catalog Description : Three hours lecture. A study of African musical and cultural traditions with focus on the impact of these traditions on the development and advancement of African-American music. College of Education Conceptual Framework: The faculty in the College of Education at Mississippi State University are committed to assuring the success of students and graduates by providing superior learning opportunities that are continually improved as society, schools, and technology change. The organizing theme for the conceptual framework for the College of Education at Mississippi State University is educational professionals - dedicated to continual improvement of all students’ educational experiences. The beliefs that guide program development are as follows: 1. KNOWLEDGE - Educational professionals must have a deep understanding of the organizing concepts, processes, and attitudes that comprise their chosen disciplinary knowledge base, the pedagogical knowledge base, and the pedagogical content knowledge base. They must also know how to complement these knowledge bases with the appropriate use of technology. 2. COLLABORATION - Educational professionals must continually seek opportunities to work together, learn from one another, forge partnerships, and assume positions of responsibility. 3. REFLECTION - Educational professionals must be willing to assess their own strengths and weaknesses through reflection. They must also possess the skills, behaviors, and attitudes necessary to learn, change, and grow as life-long learners. 4. PRACTICE - Educational professionals must have a rich repertoire of research-based strategies for instruction, assessment, and the use of technologies.
    [Show full text]
  • Why Do Singers Sing in the Way They
    Why do singers sing in the way they do? Why, for example, is western classical singing so different from pop singing? How is it that Freddie Mercury and Montserrat Caballe could sing together? These are the kinds of questions which John Potter, a singer of international repute and himself the master of many styles, poses in this fascinating book, which is effectively a history of singing style. He finds the reasons to be primarily ideological rather than specifically musical. His book identifies particular historical 'moments of change' in singing technique and style, and relates these to a three-stage theory of style based on the relationship of singing to text. There is a substantial section on meaning in singing, and a discussion of how the transmission of meaning is enabled or inhibited by different varieties of style or technique. VOCAL AUTHORITY VOCAL AUTHORITY Singing style and ideology JOHN POTTER CAMBRIDGE UNIVERSITY PRESS PUBLISHED BY THE PRESS SYNDICATE OF THE UNIVERSITY OF CAMBRIDGE The Pitt Building, Trumpington Street, Cambridge CB2 IRP, United Kingdom CAMBRIDGE UNIVERSITY PRESS The Edinburgh Building, Cambridge CB2 2RU, United Kingdom 40 West 20th Street, New York, NY 10011-4211, USA 10 Stamford Road, Oakleigh, Melbourne 3166, Australia © Cambridge University Press 1998 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 1998 Typeset in Baskerville 11 /12^ pt [ c E] A catalogue record for this book is available from the British Library library of Congress cataloguing in publication data Potter, John, tenor.
    [Show full text]
  • Ecomusicology: Bridging the Sciences, Arts, and Humanities
    Ecomusicology: Bridging the Sciences, Arts, and Humanities By: Aaron S. Allen Aaron S. Allen, “Ecomusicology: Bridging the Sciences, Arts, and Humanities,” in Environmental Leadership: A Reference Handbook, ed. Deborah Rigling Gallagher (Sage Publications, 2012), 373-381. Made available courtesy of SAGE Publications: http://dx.doi.org/10.4135/9781452218601 ***© 2012 SAGE Publications. Reprinted with permission. No further reproduction is authorized without written permission from SAGE Publications. This version of the document is not the version of record. Figures and/or pictures may be missing from this format of the document. *** Abstract: Paul Ehrlich is a key figure in modern environmental studies. In addition to ecological research, Ehrlich is known for his warnings about human overpopulation (Ehrlich, 1968). In the 1970s, he made a well-known wager with economist Julian Simon: Ehrlich contended that natural resource prices would increase continually during the 1980s, indicating increased scarcity and human suffering brought about by overpopulation, while Simon believed that prices would decline. Ehrlich was a good sport, and because his neo-Malthusian concerns lost to Simon's cornucopianism, he paid up and admitted he was wrong—but he was wrong only for that decade. Considering a longer time scale, from 1900 to 2008, we see that Ehrlich's perspicacious concerns were indeed correct (Kiel, Matheson, & Golembiewski, 2010). In the inaugural edition of the Journal of Environmental Studies and Sciences, Ehrlich (2011) provided his “personal view” of environmental education. Considering his role as an important and respected environmental thinker and leader, and given the presentation of his ideas in such an auspicious forum, Ehrlich's advice merits our consideration.
    [Show full text]
  • Understanding the Causes and Effects of Regional Orchestra Bankruptcies in the San Francisco Bay Area
    UNIVERSITY OF CALIFORNIA Santa Barbara Breakdown on the Freeway Philharmonic: Understanding the Causes and EFFects oF Regional Orchestra Bankruptcies in the San Francisco Bay Area A dissertation submitted in partial satisFaction oF the requirements for the degree Doctor oF Philosophy in Music by Alicia Garden Mastromonaco Committee in charge: ProFessor Derek Katz, Chair ProFessor SteFanie Tcharos ProFessor Martha Sprigge December 2020 The dissertation oF Alicia Garden Mastromonaco is approved. _____________________________________________ Martha Sprigge _____________________________________________ SteFanie Tcharos _____________________________________________ Derek Katz, Committee Chair December 2020 Breakdown on the Freeway Philharmonic: Understanding the Causes and EFFects oF Regional Orchestra Bankruptcies in the San Francisco Bay Area Copyright © 2020 by Alicia Garden Mastromonaco iii DEDICATION I dedicate this dissertation to my Friends and colleagues in the Bay Area orchestral world, the Freeway Philharmonic musicians. I hope that this project might help us keep our beloved musical spaces for a long time to come. iv ACKNOWLEDGEMENTS I must first acknowledge my advisor Derek, without whose mentorship this project likely would not have existed. He encouraged me to write about small regional orchestras in the Bay Area and saw the kernel oF what this project would become even beFore I did. His consistent support and endless knowledge on closely related topics shaped nearly every page oF this dissertation. I am also grateFul to SteFanie Tcharos and Martha Sprigge, who have inspired me in their rigorous approach in writing, and who have shaped this dissertation in many ways. This project was borne out oF my own experiences as a musician in the Bay Area orchestral world over the last fourteen years.
    [Show full text]
  • Music and Environment: Registering Contemporary Convergences
    JOURNAL OF OF RESEARCH ONLINE MusicA JOURNALA JOURNALOF THE MUSIC OF MUSICAUSTRALIA COUNCIL OF AUSTRALIA ■ Music and Environment: Registering Contemporary Convergences Introduction H O L L I S T A Y L O R & From the ancient Greek’s harmony of the spheres (Pont 2004) to a first millennium ANDREW HURLEY Babylonian treatise on birdsong (Lambert 1970), from the thirteenth-century round ‘Sumer Is Icumen In’ to Handel’s Water Music (Suites HWV 348–50, 1717), and ■ Faculty of Arts Macquarie University from Beethoven’s Pastoral Symphony (No. 6 in F major, Op. 68, 1808) to Randy North Ryde 2109 Newman’s ‘Burn On’ (Newman 1972), musicians of all stripes have long linked ‘music’ New South Wales Australia and ‘environment’. However, this gloss fails to capture the scope of recent activity by musicians and musicologists who are engaging with topics, concepts, and issues [email protected] ■ relating to the environment. Faculty of Arts and Social Sciences University of Technology Sydney Despite musicology’s historical preoccupation with autonomy, our register of musico- PO Box 123 Broadway 2007 environmental convergences indicates that the discipline is undergoing a sea change — New South Wales one underpinned in particular by the1980s and early 1990s work of New Musicologists Australia like Joseph Kerman, Susan McClary, Lawrence Kramer, and Philip Bohlman. Their [email protected] challenges to the belief that music is essentially self-referential provoked a shift in the discipline, prompting interdisciplinary partnerships to be struck and methodologies to be rethought. Much initial activity focused on the role that politics, gender, and identity play in music.
    [Show full text]
  • Encyclopedia of African American Music Advisory Board
    Encyclopedia of African American Music Advisory Board James Abbington, DMA Associate Professor of Church Music and Worship Candler School of Theology, Emory University William C. Banfield, DMA Professor of Africana Studies, Music, and Society Berklee College of Music Johann Buis, DA Associate Professor of Music History Wheaton College Eileen M. Hayes, PhD Associate Professor of Ethnomusicology College of Music, University of North Texas Cheryl L. Keyes, PhD Professor of Ethnomusicology University of California, Los Angeles Portia K. Maultsby, PhD Professor of Folklore and Ethnomusicology Director of the Archives of African American Music and Culture Indiana University, Bloomington Ingrid Monson, PhD Quincy Jones Professor of African American Music Harvard University Guthrie P. Ramsey, Jr., PhD Edmund J. and Louise W. Kahn Term Professor of Music University of Pennsylvania Encyclopedia of African American Music Volume 1: A–G Emmett G. Price III, Executive Editor Tammy L. Kernodle and Horace J. Maxile, Jr., Associate Editors Copyright 2011 by Emmett G. Price III, Tammy L. Kernodle, and Horace J. Maxile, Jr. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, except for the inclusion of brief quotations in a review, without prior permission in writing from the publisher. Library of Congress Cataloging-in-Publication Data Encyclopedia of African American music / Emmett G. Price III, executive editor ; Tammy L. Kernodle and Horace J. Maxile, Jr., associate editors. p. cm. Includes bibliographical references and index. ISBN 978-0-313-34199-1 (set hard copy : alk.
    [Show full text]
  • The Diaries of Romeo & Juliet
    The Diaries of Romeo & Juliet Adapted & Directed by Kathy Curtiss Romeo: Logan Murphy Juliet: Aspen Thompsen (17-19, Maddie Smith (20-21) Mercutio: Jacob Thomasen Ophelia: Olivia Casper, (Maren Lethbridge 21) Peter (the Nanny): Josh Needles Tybalt: Skylar Lees Officer Lawrence: Cooper Hopkin, Alice Ellsworth (20-21) Lord Capulet: Adam Argyle Lady Montague: Colie Lemon Paris: Riki Squire Fight Direction: Adam Argyle Scenic Design & Graphics: Janice Chan Lighting: Tawnie Robinson Costume Design: Colie Lemon Stage Manager: KD Olsen Dramaturg: Matt Oviatt Assistant Stage Manager: Alyssa Gorski Utah Humanities events: Kathy Curtiss (Aug 18), Adam Argyle (Aug 19), Jeremy Sortore (Aug 20), & Christian Moore ( Aug 21) Special Thanks to Marvin Payne for the Sound Equipment, special-special thanks to John Newman, Glen Pepe & Aja Vogel at UVU Theatre, Dreambridge Pictures (Brad & Melissa Coolidge Foundation), Rychard Curtiss, Dave Biesinger, Utah Humanities, and Utah Arts & Heritage. Songs: Bury a Friend, Bad Guy & Ocean Eyes, by Billie Eilish; Candy, by Robbie Williams Take What You Want, Sunflower, & Hollywood's Bleeding, by Post Malone; Drunk by Elie King Shut Up, by Greyson Chance; Sweet Sacrifice & Use My Voice, by Evanescence; Bad Behavior, by Austin Millz & Remi Wolf ; Blind, by Role Model: Femme Fatale by Brittany Spears Heatwaves, by Glass Animals; Prodigy, by Firestarter; Fearless by Taylor Swift; Good 4 U,by Olivia Rodrigo; Bang, by AJR; Juice, by Liz0; Good Days by SZA Angels like You by Miley Cyrus, Streets by Doja Cat, What the Hell by Avril Lavigne .
    [Show full text]