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Young musician dies weeks after writing final song

Cat Janice has died aged 31 with her family by her side. The young musician, who had a large following on TikTok, had been battling cancer since January 2022 when doctors diagnosed her with sarcoma, a rare malignant tumour. She was declared cancer-free on July 22 that same year, following extensive surgery, chemo and radiation therapy. The mum-of-one was sadly re-diagnosed with cancer in June last year and despite fighting hard in the second round of her treatments, Janice told fans in January that her cancer "won" and that she "fought hard but sarcomas are too tough". Janice's family have announced her passing in a statement shared to her Instagram. "From her childhood home and surrounded by her loving family, Catherine peacefully entered the light and love of her heavenly creator," they said. "We are eternally thankful for the outpouring of love that Catherine and our family have received over the past few months." Before she died, Janice publicly announced that all her music would be signed over to her 7-year-old son, Loren, to support him in the future. Just weeks before her death, she released her final song Dance You Outta My Head in the hope it would spread "joy and fun". "My last joy would be if you pre saved my song 'Dance You Outta My Head' and streamed it because all proceeds go straight to my 7-year-old boy I'm leaving behind," she said, before the song was released. The song went viral, and took he number one spot in several countries and the number five spot on the Apple Itunes globally. Her family have said that the love she received for her final song, was unbelievable parting gift she could have ever received. "Cat saw her music go places she never expected and rests in the peace of knowing that she will continue to provide for her son through her music. This would not have been possible without all of you." Images: Instagram

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Top 80s songs to get you moving

While the fashion from the 1980s might only come out of the closet for dress up parties these days, the music is still considered some of the best of our time. Especially for music to get you moving. From dance and pop hits to a little rap and rock, it’s got to be one of the most diverse, eclectic and extravagant decades in recent cultural history. Here, we have been busy rifling through the tracks to whittle down a decade of music into 40 of the best tracks to move to. From dancing to exercise, if you want to get up off that couch, these are the songs to hit play on. 1. “Girls Just Want to Have Fun” by Cindy Lauper (1983) 2. “Hit Me with Your Best Shot” by Pat Benatar (1980) 3. “Eye of the Tiger” by Survivor (1982) 4. “Love Shack” by The B-52's (1989) 5. “Beat It” by Michael Jackson (1982) 6. “Manic Monday” by The Bangles (1986) 7. “Let's Dance” by David Bowie (1983) 8. “Livin' on a Prayer” by Bon Jovi (1986) 9. “I Love Rock N' Roll” by Joan Jett & The Blackhearts (1982) 10. “Thriller” by Michael Jackson (1982) 11. “Faith” by George Michael (1987) 12. “Jump” by Van Halen (1984) 13. “Don't Stop Believin’" by Journey (1982) 14. “Walking on Sunshine” by Katrina & The Waves (1983) 15. “Kiss” by Prince (1986) 16. “Holiday” by Madonna (1983) 17. “Celebration” by Kool and the Gang (1980) 18. “Billie Jean” by Michael Jackson (1982) 19. “Love is a Battlefield” by Pat Benatar (1983) 20. “Sweet Dreams (Are Made of This)” by Eurythmics (1983) 21. “White Wedding” by Billy Idol (1982) 22. “Take on Me” by a-ha (1985) 23. “Video Killed the Radio Star” by The Buggles (1981) 24. “Karma Chameleon” by Culture Club (1983) 25. “The Tide is High” by Blondie (1980) 26. “Wake Me Up Before You Go-Go” by Wham (1984) 27. “Let's Hear It for the Boy” by Deniece Williams (1984) 28. “A Little Respect” by Erasure (1988) 29. “Sweet Child O' Mine” by Guns N' Roses (1987) 30. “Footloose” by Kenny Loggins (1984) 31. “Wild Thing” by Tone-Loc (1989) 32. “Tainted Love” by Soft Cell (1981) 33. “Borderline” by Madonna (1983) 34. “I Wanna Dance With Somebody” by Whitney Houston (1987) 35. “Just Can't Get Enough” by Depeche Mode (1981) 36. “Never Gonna Give You Up” by Rick Astley (1987) 37. “Always Something There to Remind Me” by Naked Eyes (1983) 38. “You Got It (The Right Stuff)” by New Kids on the Block (1988) 39. “It Takes Two” by Rob Base (1988) 40. “Down Under” by Men at Work (1981) Image: Getty

Music

"It breaks my heart": Robbie Williams' dedication to fallen Sydney fan

Robbie Williams has dedicated an emotional song to the woman who passed away after an incident at his concert in Sydney. Robyn Hall, a woman in her 70s, died after spending a week in an induced coma, after she suffered a serious head injury at Williams' show at Allianz stadium on November 16th. Performing in Melbourne on Thursday, Williams addressed the devastating incident and dedicated his hit song Angels to Robyn and her family. He said on stage to the crowd at AAMI Park, “It breaks my heart and I’ve been thinking about it an awful lot and I’ve thought about it through the show tonight.” <div class="embed" style="font-size: 16px; box-sizing: inherit; margin: 0px; padding: 0px; border: 0px; vertical-align: baseline; outline: none !important;"><iframe class="embedly-embed" style="box-sizing: inherit; margin: 0px; padding: 0px; border-width: 0px; vertical-align: baseline; width: 600px; max-width: 100%; outline: none !important;" title="tiktok embed" src="https://cdn.embedly.com/widgets/media.html?src=https%3A%2F%2Fwww.tiktok.com%2Fembed%2Fv2%2F7304437214732094728&display_name=tiktok&url=https%3A%2F%2Fwww.tiktok.com%2F%40theageaustralia%2Fvideo%2F7304437214732094728%3Fembed_source%3D121355059%252C121351166%252C121331973%252C120811592%252C120810756%253Bnull%253Bembed_masking%26refer%3Dembed%26referer_url%3Ddk79lclgtez2i.cloudfront.net%252FPyWtRc2%253Fapp%253D1%2526v%253D1%2526img%253D1%2526lazy%253D1%26referer_video_id%3D7304437214732094728&image=https%3A%2F%2Fp16-sign-sg.tiktokcdn.com%2Ftos-alisg-p-0037%2Fo8cJDW8MgQerjBKI3SeYVvhS6CfAUQUwXD1FgA%7Etplv-dmt-logom%3Atos-alisg-i-0068%2FocfI48S6IAgjMyAgAEvQA5EgSDvWQfdeKwXIAF.image%3Fx-expires%3D1700949600%26x-signature%3DfCsDz4T93Vyn5CSPoqnmFZJY%252FOc%253D&key=59e3ae3acaa649a5a98672932445e203&type=text%2Fhtml&schema=tiktok" width="340" height="700" frameborder="0" scrolling="no" allowfullscreen="allowfullscreen"></iframe></div> “I just want to give a big shout out and lots of love from me and my band to Robyn and Robyn’s family." “Let’s all sing up, she was somebody just like you who came to the gig just like you did tonight, this is for her.” After Robyn <a href="https://oversixty.com.au/health/caring/sydney-woman-who-died-at-robbie-williams-concert-identified" target="_blank" rel="noopener">tragically died</a> in St Vincent's Hospital, her son Michael paid tribute to his mum on Facebook, saying he had lost his "best friend". “I haven’t got the words to say what my mum meant to me,” he said. “Taken from under me and my best friend is no longer with me … I love you forever.” <p style="font-size: 16px; box-sizing: border-box; margin-top: 0px; margin-bottom: 1rem; caret-color: #212529; color: #212529; font-family: -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, 'Helvetica Neue', Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', 'Noto Color Emoji';">A family friend said Hall loved the British singer and had “thoroughly” enjoyed the evening before tragedy struck. <p style="font-size: 16px; box-sizing: border-box; margin-top: 0px; margin-bottom: 1rem; caret-color: #212529; color: #212529; font-family: -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, 'Helvetica Neue', Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', 'Noto Color Emoji';">“She was one of those ones who looked 50 but was 70. She took care of herself and didn’t need carers,” he said. <p style="font-size: 16px; box-sizing: border-box; margin-top: 0px; margin-bottom: 1rem; caret-color: #212529; color: #212529; font-family: -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, 'Helvetica Neue', Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', 'Noto Color Emoji';">“Robyn was the most beautiful human I have ever met. Through all adversity, she smiled, hugged and laughed her way through,” he said. <p style="font-size: 16px; box-sizing: border-box; margin-top: 0px; margin-bottom: 1rem; caret-color: #212529; color: #212529; font-family: -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, 'Helvetica Neue', Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', 'Noto Color Emoji';">“Broken hearts amongst all her family and friends, she will be missed by all who knew her.” <p style="font-size: 16px; box-sizing: border-box; margin-top: 0px; margin-bottom: 1rem; caret-color: #212529; color: #212529; font-family: -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, 'Helvetica Neue', Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', 'Noto Color Emoji';">Image credits: Facebook / Getty Images <div id="fuse-injected-22953829264-1" class="fuse-slot-dynamic publift-video-ad" style="box-sizing: border-box; padding-top: 24px; padding-bottom: 24px; display: flex; justify-content: center;" data-fuse="22953829264" data-fuse-injected-at="1700777022430" data-fuse-code="fuse-slot-22953829264-1" data-fuse-zone-instance="zone-instance-22953829264-1" data-fuse-slot="fuse-slot-22953829264-1" data-fuse-processed-at="892"> <div id="fuse-slot-22953829264-1" class="fuse-slot" style="box-sizing: border-box; max-width: inherit; max-height: inherit;"></div> </div>

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Mariah Carey slapped with multi-million dollar lawsuit over hit festive song

Mariah Carey is facing a multi-million dollar lawsuit over her hit festive song, as another musician has come forward claiming she plagiarised an original work. Carey’s song All I Want For Christmas Is You has long been a staple of December, and has sold over 10 million copies since its 1994 release. However, Andy Stone, lead vocalist of Vince Vance and the Valiants, claims Carey infringed on his copyright. Stone co-wrote a song, which has the same title as Carey’s smash hit, in 1989 to which he claims Carey and her team of copying his song’s “compositional structure,” according to the complaint obtained by <a href="https://www.foxnews.com/entertainment/mariah-carey-facing-20-million-lawsuit-over-all-i-want-for-christmas-is-you" target="_blank" rel="noopener">Fox News Digital</a>. <iframe title="YouTube video player" src="https://www.youtube.com/embed/w8HWHd0EYJA?si=IdW0GIKXEQBJqaO_" width="560" height="315" frameborder="0" allowfullscreen="allowfullscreen"></iframe> The court documents state that Carey “directly” copied lyrics from Stone’s 1989 hit and “approximately 50 per cent” of the song is copyright infringement. Stone went on to claim that Carey and her team “undoubtedly” had access to his version of All I Want For Christmas is You due to its “wide commercial and cultural success.” Stone’s track charted on Billboard for years, with the band even performing the track at the White House in 1994 - the same year Carey’s festive song was released. “Carey has capitalised on the success of her infringing work,” Stone’s complaint alleged. <iframe title="YouTube video player" src="https://www.youtube.com/embed/yXQViqx6GMY?si=Exrq9M0AA2u5XRpB" width="560" height="315" frameborder="0" allowfullscreen="allowfullscreen"></iframe> “All I Want For Christmas is You has become a ubiquitous part of popular culture, and Carey’s name has become synonymous with the season.” Stone first sued Carey over the copyright issue in June 2022 in a Louisiana court before dropping the claim five months later. Image credits: Getty Images

Legal

“Deeply disappointed”: The Wiggles hit out at council’s “harsh” use of iconic song

The Wiggles have taken aim at the Western Australian city of Bunbury for using their iconic song in a “harsh” way. The childrens’ entertainers found out the local council had been playing their song Hot Potato on an endless loop to deter homeless people from congregating. The song had been playing at the Graham Bricknell Music Shell, a stage in one of the town’s parks, that plays host to bands and events. When not in use for entertainment purposes, homeless people would gather under the shell and pitch tent to seek shelter from the elements. After being alerted to the fact that their song was being used in such a callous way, The Wiggles contacted The City of Bunbury and banned them from using the song. In a statement given to the <a href="https://thewest.com.au/entertainment/the-wiggles-slap-the-city-of-bunbury-with-music-ban-over-homelessness-row--c-12413889" target="_blank" rel="noopener">West Australian, </a>they said, “The Wiggles’ music is created to bring joy and happiness to children and families around the world, and we are deeply disappointed to hear that it is being used in any other way.” The council had been using the Wiggles’ song for around six months before the band issued their ban. Mayor of Bunbury Jaysen Miguel defended his decision to play the music, saying, “The City of Bunbury has been running music on and off there for the past six months, as happens across Australia and across the world where you can have music in certain areas to deter anti-social behaviours.” “But... there has been a known problem where people are getting in and turning the music up to full bore.” Local homeless cafe provider Intown Centre said the council needed a better response to the homelessness crisis, as Chair David Bailey said, “In the last couple of days, I have been walking around and I have heard it, but I did not think it was the council.” “I thought it was someone with a CD player,” he said. “It did strike me as odd. It is harsh . . . (and) there needs to be a better response.” Image credits: Getty Images

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It was written for nuclear disarmament – but today You’re The Voice is the perfect song for the ‘yes’ campaign

<a href="https://theconversation.com/profiles/peter-tregear-825">Peter Tregear</a>, <a href="https://theconversation.com/institutions/the-university-of-melbourne-722">The University of Melbourne</a> The serendipity of the pairing between John Farnham’s 1986 hit single You’re the Voice and the Voice to Parliament referendum is obvious, but it goes well beyond the fact the two share the key word “voice”. The original was composed by a team of British songwriters in response to an anti-nuclear demonstration in London’s Hyde Park in 1985. Chris Thompson, Andy Qunta and Maggie Ryder had planned a song-writing session on the day an <a href="https://www.nytimes.com/1985/10/27/world/100000-in-london-protest-arms-race.html">estimated 100,000 marched through central London</a> in support the Campaign for Nuclear Disarmament. Thompson, however, overslept. As an act of self-admonishment he decided to express his remorse by conceiving a song that emphasised the importance of personal agency in achieving political change. This is the kernel of meaning in You’re the Voice. It is also what makes it so especially well suited to support a campaign about a referendum to give Indigenous Australians a constitutionally recognised Voice to Parliament nearly 40 years later. <blockquote class="twitter-tweet"> OUR NEW AD IS LIVE! You’re the Voice that will make history. On 14 October, we know we all can stand together with the power to be powerful. <a href="https://twitter.com/hashtag/HistoryIsCalling?src=hash&ref_src=twsrc%5Etfw">#HistoryIsCalling</a>, so <a href="https://twitter.com/hashtag/VoteYes?src=hash&ref_src=twsrc%5Etfw">#VoteYes</a>. Are you in? John Farnham is. <a href="https://twitter.com/hashtag/UluruStatement?src=hash&ref_src=twsrc%5Etfw">#UluruStatement</a> <a href="https://twitter.com/hashtag/StayTrue2Uluru?src=hash&ref_src=twsrc%5Etfw">#StayTrue2Uluru</a> <a href="https://twitter.com/hashtag/YoureTheVoice?src=hash&ref_src=twsrc%5Etfw">#YoureTheVoice</a> <a href="https://twitter.com/hashtag/VoteYes?src=hash&ref_src=twsrc%5Etfw">#VoteYes</a> <a href="https://t.co/4ujYd9gk0M">pic.twitter.com/4ujYd9gk0M</a> — ulurustatement (@ulurustatement) <a href="https://twitter.com/ulurustatement/status/1698260272165875951?ref_src=twsrc%5Etfw">September 3, 2023</a></blockquote> <h2>The grain of Farnham’s voice</h2> Thompson was not at all convinced at the time Farnham <a href="https://www.news.com.au/entertainment/music/why-john-farnham-was-nearly-rockblocked-from-youre-the-voice/news-story/9e048f2d4550a8b4c1a28e2eba4909f6">could do the song justice</a> when he requested it for inclusion in his album Whispering Jack. And yet the particular qualities of Farnham’s singing is also arguably crucial to the song’s success, then and now. The music’s combination of <a href="https://en.wikipedia.org/wiki/Sentimental_ballad#Power_ballads">power ballad</a> tempo with <a href="https://music.amazon.com.au/playlists/B078H6J6BF">pub anthem</a> singability calls for a kind of full-throated vocal performance that takes more than a little inspiration from African American gospel traditions. Singers drawn from these traditions include giants of popular musical culture like James Brown, Tina Turner and Aretha Franklin. It is not exaggerated praise to suggest Farnham here delivers a performance that stands with their best. And it was career changing for him, helping Farnham to put to rest his earlier image as a clean-cut purveyor of sentimental pop songs like <a href="https://www.youtube.com/watch?v=r0c55lXRAeg">Sadie the Cleaning Lady</a> and relaunch his career. Farnham’s singing here exemplifies what Roland Barthes famously described in <a href="https://courses.lsa.umich.edu/jptw/wp-content/uploads/sites/23/2017/08/Barthes-ImageMusicText.pdf">an essay from 1972</a> as the “grain of the voice”: the element of a singer’s individuality which helps convey the sincerity and authenticity of what is being sung. You’re the Voice further highlights the grain of Farnham’s singing via the exclamation “oh, whoa!” regularly punctuating the song’s chorus. In a powerful moment of sonic symbolism, the exclamation is eventually taken up in the advertisement (like the sentiment of the song itself, it is no doubt hoped) by a chorus of supporters. <h2>You are the voice</h2> Indeed, if it is to succeed, the referendum will need to convince an especially broad coalition of Australians to vote for “yes”. The song supports this goal from its very title: you are the voice. It asks each of us, individually, to consider how we can act for the common good. <blockquote> We have the chance to turn the pages over We can write what we want to write We gotta make ends meet, before we get much older. </blockquote> The song’s explicit call to action has now been connected to the forthcoming referendum: now is the moment to use your voice at the ballot box to give, in turn, a constitutionally enshrined voice to indigenous Australians. The “yes” campaign’s appeal to collective responsibility is one aspect of the referendum process that <a href="https://www.theguardian.com/australia-news/2023/aug/16/lidia-thorpe-calls-for-referendum-called-off-indigenous-voice-to-parliament-no-campaign">concerns some Indigenous critics</a>. The very enterprise of constitutional reform, after all, presumes the legitimacy of the Australian constitution which in turn presumes the legitimacy of the original act of colonial dispossession. But the bigger threat to the “yes” campaign arguably comes from those who see the idea of an <a href="https://ipa.org.au/ipa-today/the-indigenous-voice-to-parliament-has-the-potential-to-be-divisive">Indigenous voice to parliament itself as divisive</a>. Yet, as the song goes: <blockquote> This time, we know we all can stand together With the power to be powerful Believing we can make it better. </blockquote> The use of You’re the Voice here reinforces the view that supporting the Voice to Parliament is a positive act of national reconciliation that we, as a nation, can take together. It is an injunction to take personal and collective responsibility for the history and character of the country we all share. <h2>Politically inclusive</h2> The advertisement is the work of Mark Green of <a href="https://themonkeys.com.au/">The Monkeys advertising agency</a> and historian <a href="https://www.clarewright.com.au/">Clare Wright</a>. It focuses on a family as they watch key moments which shaped Australia’s collective identity. It looks at key moments of reconciliation, Indigenous achievement and Indigenous protest; but also broader moments in collective action. In a particularly astute move, the advertisement overlays images of <a href="https://www.theguardian.com/australia-news/2019/jan/01/john-howard-port-arthur-gun-control-1996-cabinet-papers">John Howard’s 1996 gun reforms</a> in the wake of the Port Arthur massacre as Farnham delivers the lines: <blockquote> We’re all someone’s daughter We’re all someone’s son How long can we look at each other Down the barrel of a gun? </blockquote> Implicit in this conjunction is a reminder to us that support for the “yes” vote, like any nation-changing political act, can come from any side of politics. <h2>Democratising the message</h2> There are many more layers we could tease apart in You’re The Voice. Its extended bagpipes solo originated as an homage to AC/DC singer Bon Scott, connecting it to the egalitarian, <a href="https://www.popmatters.com/141796-let-there-be-rock-2496022409.html">working class culture</a> Scott’s music addresses. Then there is the way the bagpipes, combined with the song’s use of side-drum rhythmic patterns, evoke the sound world of a military tattoo or march. This simultaneously elevates the register of its message. The song – and now the ad – is an implicit call to arms. The inclusion of You’re the Voice in the “yes” campaign thus provides powerful support for its central message. Farnham himself recognises this. Upon release of the advertisement, Farnham <a href="https://www.smh.com.au/politics/federal/john-farnham-backs-voice-permits-his-anthem-to-front-yes-campaign-ad-20230901-p5e18t.html">spoke about</a> how, when it was first released in 1986, the song “changed his life”. Generously, he concluded: "I can only hope that now it might help in some small way, to change the lives of our First Nations Peoples for the better." <a href="https://theconversation.com/profiles/peter-tregear-825">Peter Tregear</a>, Principal Fellow and Professor of Music, <a href="https://theconversation.com/institutions/the-university-of-melbourne-722">The University of Melbourne</a> Image credits: Getty Images This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/it-was-written-for-nuclear-disarmament-but-today-youre-the-voice-is-the-perfect-song-for-the-yes-campaign-212769">original article</a>.

Music

Backlash for John Farnham over use of iconic song in Voice campaign

John Farnham, the celebrated Australian music legend, has allowed his timeless classic, "You're the Voice", to serve as the official soundtrack for the Yes campaign in the Indigenous Voice to Parliament referendum of 2023. This decision, however, has sparked mixed reactions from the public. Farnham's decision to lend his 1980s hit to the campaign holds particular significance as Australia gears up for the pivotal referendum on October 14. In a heartfelt statement, Farnham expressed his motivation for this gesture, saying, "This song changed my life. I can only hope that it now might help, in some small way, to change the lives of our First Nations people for the better." Tim Wheatley, the son of Farnham's late longtime manager Glenn Wheatley, added, "Win or lose this referendum, this song will forever remain on the right side of history." The campaign video featuring the song will be widely disseminated, appearing on television, social media and various digital platforms. However, the decision to use Farnham's iconic track has not been without controversy. Some critics argue that the campaign missed an opportunity to promote the event using an Indigenous artist, thereby highlighting the importance of Indigenous voices in this critical moment. <blockquote class="twitter-tweet"> A very sad day today to hear John Farnham allowing his song to be used for the YES Campaign. Selling yourself out to a divisive political stance. Have been a fan of yours for decades. You have just sold your soul to half of Australia. Shame on you. Vote No to the Voice — Bobby Abruzzo (@wbfc1954) <a href="https://twitter.com/wbfc1954/status/1698126419912745206?ref_src=twsrc%5Etfw">September 3, 2023</a></blockquote> Opposition Leader Peter Dutton also expressed his reservations about the choice of song. He remarked, "In a sense, it's the appropriate theme song for the Yes campaign because remember that the key line in the lyrics there is, you know, 'you're the Voice, try to understand it.' I honestly don't think most Australians understand it. And they want to be informed." The two-minute campaign ad is a poignant montage that showcases significant moments in Australian history, all experienced through the lens of television. As Farnham's hit plays in the background, viewers witness iconic events such as Cathy Freeman's historic victory at the 2000 Olympics, former Prime Minister John Howard's landmark gun reform in 1996, and Kevin Rudd's heartfelt apology to the stolen generations in 2008. <blockquote class="twitter-tweet"> I used to think the song "You're The Voice" was for all Australians. Disappointed that John Farnham has decided to make it divisive and political. Have your say privately by voting John but not like this. Still wish you well in recovery.<a href="https://twitter.com/hashtag/VoteNO23Australia?src=hash&ref_src=twsrc%5Etfw">#VoteNO23Australia</a> <a href="https://t.co/29lxkmCFWG">pic.twitter.com/29lxkmCFWG</a> — Jenny (@JennyandFreedom) <a href="https://twitter.com/JennyandFreedom/status/1698123945176891520?ref_src=twsrc%5Etfw">September 3, 2023</a></blockquote> Image: Supplied

Music

Censorship or sensible: is it bad to listen to Fat Bottomed Girls with your kids?

<a href="https://theconversation.com/profiles/liz-giuffre-105499">Liz Giuffre</a>, <a href="https://theconversation.com/institutions/university-of-technology-sydney-936">University of Technology Sydney</a> International music press has reported this week that Queen’s song Fat Bottomed Girls <a href="https://www.billboard.com/music/music-news/queen-fat-bottomed-girls-greatest-hits-1235396348/">has not been included</a> in a greatest hits compilation aimed at children. While there was no formal justification given, presumably lyrics “fat bottomed” and “big fat fatty” were the problem, and even the very singable hook, “Oh, won’t you take me home tonight”. Predictably, The Daily Mail and similar outlets used it as an excuse to bemoan cancel culture, political correctness and the like, with the headline “<a href="https://www.dailymail.co.uk/tvshowbiz/article-12424449/We-woke-Classic-Queen-song-Fat-Bottomed-Girls-mysteriously-dropped-groups-new-Greatest-Hits-collection.html">We Will Woke You</a>” quickly out of the gate. Joke headlines aside, should children be exposed to music with questionable themes or lyrics? The answer is not a hard yes or no. My colleague Shelley Brunt and I studied a range of factors and practices relating to <a href="https://www.routledge.com/Popular-Music-and-Parenting/Brunt-Giuffre/p/book/9780367367138">Popular Music and Parenting</a>, and we found that more important than individual songs or concerts is the support children are given when they’re listening or participating. A parent or caregiver should always be part of a conversation and some sort of relationship when engaging with music. This can involve practical things like making sure developing ears aren’t exposed to too harsh a volume or that they know how to find a trusted adult at a concert. But this also extends to the basics of media and cultural literacy, like what images and stories are being presented in popular music, and how we want to consider those in our own lives. In the same way you’d hope someone would talk to a child to remind them that superheroes can’t actually fly (and subsequently if you’re dressed as a superhero for book week don’t go leaping off tall buildings!), popular music of all types needs to be contextualised. <figure><iframe src="https://www.youtube.com/embed/VMnjF1O4eH0?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <h2>Should we censor, or change, the way popular music is presented for kids?</h2> There is certainly a long tradition of amending popular songs to make them child or family friendly. On television, this has happened as long as the medium has been around, with some lyrics and dance moves toned down to appease concerned parents and tastemakers about the potential evils of pop. Famously, <a href="https://www.youtube.com/watch?v=oim51kUg748">Elvis Presley serenaded a literal Hound Dog</a> rather than the metaphorical villain of his 1950s hit. In Australia, the local TV version of <a href="https://nostalgiacentral.com/music/music-on-film-and-tv/bandstand-australia/">Bandstand</a> from the 1970s featured local artists singing clean versions of international pop songs while <a href="https://www.youtube.com/watch?v=guembJBOOyI">wearing modest hems and neck lines</a>. This continued with actual children also re-performing pop music, from the Mickey Mouse Club versions of songs from the US to our own wonderful star factory that was <a href="https://theconversation.com/all-my-loving-young-talent-time-still-glows-50-years-since-first-airing-on-australian-tv-159533">Young Talent Time</a>. The tradition continues today with family-friendly, popular music-based programming like The Voice and The Masked Singer. <figure><iframe src="https://www.youtube.com/embed/oim51kUg748?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> In America, there is a huge industry for children’s versions of pop music via the Kidz Bop franchise. Its formula of child performers covering current hits has been wildly successful for over 20 years. Some perhaps obvious substitutions are made – the <a href="https://www.youtube.com/watch?v=zkctByJbtNY">cover of Lizzo’s About Damn Time</a> is now “About That Time”, with the opening lyric changed to “Kidz Bop O’Clock” rather than “Bad Bitch O’Clock”. In some other Kidz Bop songs, though, <a href="https://pudding.cool/2020/04/kidz-bop/">references to violence and drugs have been left in</a>. Other longer-standing children’s franchises have also made amendments to pop lyrics, but arguably with a bit more creativity and fun. The Muppets’ cover of Bohemian Rhapsody, replacing the original murder with a rant from Animal, is divine. <figure><iframe src="https://www.youtube.com/embed/tgbNymZ7vqY?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <h2>Should music ever just be for kids?</h2> Context is key when deciding what is for children or for adults. And hopefully we’re always listening (in some way) together. Caregivers should be able to make an informed decision about whether a particular song is appropriate for their child, however they consider that in terms of context. By the same token, the resurgence of <a href="https://www.theguardian.com/music/2022/apr/05/how-the-wiggles-took-over-the-world-and-got-the-cool-kids-on-side-too">millennial love</a> for The Wiggles has shown us no one should be considered “too old” for Hot Potato or Fruit Salad. <figure><iframe src="https://www.youtube.com/embed/quHus3DwN4Q?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> When considering potential harm for younger listeners, factors like <a href="https://kidsafeqld.com.au/risks-noise-exposure-baby/">volume and tone</a> can be more dangerous than whether or not there’s a questionable lyric. Let’s remember, too, lots of “nursery rhymes” aimed at children are also quite violent if you listen to their words closely. French writer Jacques José Attali <a href="https://www.google.com.au/books/edition/Noise/OHe7AAAAIAAJ?hl=en">famously argued</a> the relationship between music, noise and harm is politics and power – even your most beloved song can become just noise if played too loudly or somewhere where you shouldn’t be hearing it. As an academic, parent and fat-bottomed girl myself, my advice is to keep having conversations with the children in your life about what you and they are listening to. Just like reminding your little superhero to only pretend to fly rather than to actually jump – when we sing along to Queen, we remember that using a word like “fat” and even “girl” isn’t how everyone likes to be treated these days.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/212093/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/liz-giuffre-105499">Liz Giuffre</a>, Senior Lecturer in Communication, <a href="https://theconversation.com/institutions/university-of-technology-sydney-936">University of Technology Sydney</a> Image credits: Getty Images This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/censorship-or-sensible-is-it-bad-to-listen-to-fat-bottomed-girls-with-your-kids-212093">original article</a>.

Music

Country music star's "racist" song divides audience

A popular country music star has been forced to defend his new song and accompanying music video, after many condemned the track for being racist. Jason Aldean's song, titled Try That in a Small Town, soared to number one on the country music charts in the US, before been pulled by Country Music Television after claims it promoted gun violence, vigilantism and lynching: a form of execution frequently committed against African-Americans. The singer, who is known for his conservative views, defended the song, saying it was about, “the feeling of community that I had growing up in where we took care of our neighbours, regardless of difference of background or beliefs”. He also slammed the furore against the song, saying saying the accusations against the track that it is “pro lynching” are “not only meritless but dangerous”. Singer Sheryl Crow called out Aldean posting on Twitter, “There’s nothing small town or American about promoting violence,” and called the song “lame” for its controversial themes. <blockquote class="twitter-tweet"> .<a href="https://twitter.com/Jason_Aldean?ref_src=twsrc%5Etfw">@Jason_Aldean</a> I’m from a small town. Even people in small towns are sick of violence.There’s nothing small-town or American about promoting violence. You should know that better than anyone having survived a mass shooting. This is not American or small town-like. It’s just lame <a href="https://t.co/cuOtUO9xjr">https://t.co/cuOtUO9xjr</a> — Sheryl Crow (@SherylCrow) <a href="https://twitter.com/SherylCrow/status/1681485292425867264?ref_src=twsrc%5Etfw">July 19, 2023</a></blockquote> The music video for the song prompted a new wave of backlash, as it was filmed outside the Maury County Courthouse in Columbia, Tennessee, which is a site that African American man was lynched. A writer for entertainment industry magazine <a title="variety.com" href="https://variety.com/2023/music/opinion/jason-aldean-try-that-in-a-small-town-worst-country-song-video-column-1235673177/">Variety</a> said it was “the most contemptible country song of the decade” which traded on the “implicit moral superiority of having a limited number of neighbours”. “For Aldean, it’s about how tiny burgs are under the imminent threat of attack from lawless urban marauders who will have to be kept at bay by any means necessary – meaning, pretty explicitly, vigilantism,” wrote its music critic Chris William. He went on to say the video was “dangerous” because it “conflates the act of protesting with violent crime”. In the wake of the criticism, Aldean hit back on his social media accounts, saying people had gone "too far" with their interpretation of the song. He wrote on Twitter, “There is not a single lyric in the song that references race or points to it – and there isn’t a single clip that isn’t real news footage – and while I can try and respect others to have their own interpretation of a song with music – this one goes too far.” “My political views have never been something I’ve hidden from. And I know that a lot of us in this country don’t agree on how we get back to a sense of normalcy, where we go at least a day without a headline that keeps us up at night, but the desire for it to – that’s what the song is about.” Image credits: Getty Images

Music

6 classic songs involved in lawsuits

Like with all art, the line between appropriation and plagiarism in the music world is very blurred. Artists have always been inspired by other artists, so it’s inevitable that some works will be similar to others. These cases, however, prove that the consequences of copyright infringement can be extremely costly indeed. The Beatles vs. Chuck Berry Chuck Berry’s music has long been the object of adaptation, but none were as high-profile as The Beatles’ hit song “Come Together”, which allegedly borrowed lyrics and melodies from Berry’s “You Can’t Catch Me”. Lennon’s line, “Here come ol’ flattop, he come groovin’ up slowly” is thought to have been taken from Berry’s “Here come a flattop, he was movin’ up with me”. Berry’s publishing company was awarded nearly US$85,000 as a settlement. Johnny Cash vs. Gordon Jenkins In the 1970s, Cash was ordered to pay Gordon Jenkins US$75,000 after his 1955 song “Folsom Prison Blues” allegedly used lyrics and music from Jenkins’ 1953 tune “Crescent City Blues”. Although Cash’s song was a tale of murder and imprisonment and Jenkins’ was about a lovelorn woman desperate to escape, the songs were still similar enough to be the focus of a lawsuit. Men At Work vs. Larrikin Music It’s considered to be one of Australia’s most iconic songs (even an unofficial anthem for some), but Men At Work’s hit song “Down Under” was the subject of a nasty dispute in 2009 when they were sued by Larrikin Music, the owners of 1932 classic “Kookaburra”. Larrikin Music claimed that part of the Aussie band’s flute riff was stolen from the song “Kookaburra”, written by Marion Sinclair. The band was forced to give Larrikin 5 per cent of all royalties after 2002. Ray Parker, Jr. vs. Huey Lewis and the News Who can forget Parker’s iconic Ghostbusters theme song? Well, as it turns out, it may not have been completely original. Huey Lewis and the News sued Parker after hearing similarities with their song “I Want a New Drug”, and won the suit. In a strange twist, however, Huey Lewis revealed the details of the settlement to the media in a breach of confidentiality and was counter-sued by Parker in 2001. Rod Stewart vs. Jorge Ben Stewart was sued after the vocal melody from his hit “Do Ya Think I’m Sexy?” was found to be uncannily similar to that of Jorge Ben’s 1976 song “Taj Mahal”. As part of the settlement, Stewart decided to donate a percentage of the track’s earnings to UNICEF. “Clearly the melody had lodged itself in my memory and then resurfaced. Unconscious plagiarism, plain and simple,” Stewart wrote in his autobiography. Coldplay vs. Joe Satriani Satriani sued Coldplay in 2008, alleging that their song “Viva la Vida” used “substantial original portions” of music from his song “If I Could Fly”, which was released four years previously. They settled out of court in 2009. This suit came just months after American band Creaky Boards accused them of stealing the melody of their ironically-named song “The Songs I Didn’t Write”. Yusuf Islam (Cat Stevens) also claimed the song ripped off his track “Foreigner Suite”. Do you think any of these songs sound like their alleged inspirations? Tell us your thoughts in the comment section below. Image credit: Getty Related links: <a href="../finance/insurance/2016/04/10-odd-things-celebrities-have-insured/">10 odd things celebrities have insured</a> <a href="../entertainment/music/2016/04/the-surprising-real-names-of-singers/">The surprising real names of famous singers</a> <a href="../entertainment/music/2016/03/rock-and-roll-hits-banned-from-being-played/">6 rock ‘n’ roll hits banned from being played</a>

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Readers respond: What's a song that is so beautiful it makes you cry?

It doesn't take much for music to make you move, but music that moves you to the point of tears is something special. We asked our readers which songs they find so beautiful that it touches a part of their soul and brings them to tears. Here are some of our favourite responses that, and a list of songs you could add to your playlist. Mary Therese Apostol - Unchained Melody from the film Ghosts... always brings me to tears. Also Always on my Mind brings back beautiful memories of a very loved person. Susan Buntin - Mike and the Mechanics song called The Living Years as I wasn’t there for my parents passing. Pat Sayers - "I'll take you home again Kathleen". One of my mother's favorites to sing, she had a good voice. It is not heard at all these days, but I cry even when I sing it, remembering her. Suzie Justinic - “If I can dream” by Elvis Presley. Very powerful song. Cry every time I hear it. Debbie Costelloe - Goodbye my friend by Linda Ronstad,it holds memories of my loved ones Kate Gregg - Fields of Athernrye Janine Sarai George - Outside when a full band of bagpipes plays a certain song, Danny Boy, Flowers of Scotland it can be magic. Chrissy Soldi - Nothing else matters by Metallica it was played at my son’s funeral still brings tears to my eyes. Annie MacCormack - ‘Sailing’ by Rod Stewart. We played it at my mum’s funeral. I cry every time I hear it. Nita Kennedy - "You raised me up" the CD was given to me on mother's day by my daughters with instructions to listen to the words because they reflected how they thought of me ... I did and I cried ..... Linda Misarz - If I can dream, by Elvis. Very powerful message. Barbara Bergen - Beautiful Dreamer by Roy Orbison Joyce Nickson - Imagine! John Lennon.

Music

Readers respond: What's a cover song that's better than the original?

Just because a particular version of a song came first, doesn't necessarily mean it's better than a cover. We asked our readers what their favourite cover tracks are, and the response was overwhelming. Here's what they said. Moses Serugo - All Whitney Houston covers! Glen Crawford - Johnny Cash’s cover of Trent Reznor’s ‘Hurt’. It was one of the last songs Johnny recorded, and is awesome! Vicki Hunt - Torn by Natalie Imbruglia. Apparently someone recorded it before she did, although I've only heard her version, which was a major hit for her. Bruce Winther - Fields of Gold by Eva Cassidy. Sheila Schmidt - Bette Midler’s version of Beast of Burden is better than the Rolling Stones. Ken Jacob - Simply the Best by Tina Turner better than the original by Bonnie Tyler. Harold Hanlon - Elton John doing Lucy in the Sky with Diamonds. Judi Nicholls - U2 doing Unchained Melody. Michael Zoellner - Blinded By The Light by Manfred Mann. Much better than Bruce Springsteen who originally did the song. Jennifer Mitchell - Hallelujah by Lucy Thomas is absolutely beautiful. Leanne Guthrie - We've gotta get out of this place, The Angels. Best version ever!! Weeze Aitch - Horses by Darryl Braithwaite. Originally by Ricki Lee Jones. Noelene Braidwood - The Wonder Of You, by Elvis Presley. Michael Pemberton - All Along the Watchtower (Dylan) cover by the Jimi Hendrix Experience. Rick Graham - The Sound of Silence by Disturbed. Steve Pullan - Smooth Criminal by Alien Ant Farm. Deirdre Dee O'Hanlon McGregor - Dear Prudence Beatles song covered by Doug Parkinson, he does a great job, better than the Beatles. Graham Anderson - Can't think of one. The originals are the best. Image credits: Getty Images

Music

Happy songs: these are the musical elements that make us feel good

Music has a unique power <a href="https://www.researchgate.net/profile/Daniel-Vaestfjaell/publication/258173113_Emotion_Induction_through_Music_A_Review_of_the_Musical_Mood_Induction_Procedure/links/02e7e527c81174366e000000/Emotion-Induction-through-Music-A-Review-of-the-Musical-Mood-Induction-Procedure.pdf">to affect the way people feel</a> and many people use music to enhance or change their mood, channel emotions and for psychological support. The strong emotional impact of music is derived from its profound physical and psychological effects. For example, listening to relaxing music often has a positive impact on the <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1959222/">autonomic nervous system</a> (which regulates many key bodily functions), by slowing breathing, regulating heart rate, lowering blood pressure and reducing muscle tension. Listening to music also affects us at a deep physiological level, as it has a strong impact on the <a href="http://www.downloads.imune.net/medicalbooks/Neurochemistry%20of%20music.pdf">endocrine system</a>, which is responsible for hormone production. Music can stimulate the release of the neurotransmitters which affect experiences of pleasure by increasing the production of dopamine (the reward hormone), reducing levels of cortisol (the stress hormone) and increasing salivary immunoglobulin A – an antibody responsible for strengthening the immune system. Of course, these benefits are only experienced if we listen to music that we enjoy. <a href="http://www.brainvitge.org/papers/Science-2013-Salimpoor-216-9.pdf">Familiarity</a> also affects enjoyment, but even new music can stimulate positive physical and psychological responses if it is similar to other music that we like. Music we don’t like can have a strong adverse effect upon mood and wellbeing. Individual differences mean emotional <a href="https://journals.sagepub.com/doi/abs/10.1177/0305735618754688?journalCode=poma">reactions to songs differ</a> depending on the participant’s preferences and associations they might have with the music. If we don’t like the song (or it brings back negative memories), it won’t make us happy, regardless of the quality. <h2>Creating a personal soundscape</h2> Portable listening devices and music streaming platforms have made it possible to choose from an unprecedented selection of musical styles. People can now listen to their favourite music any time, anywhere. This means music can be used to create a personal soundscape. This is common when using public transport, for example, as many passengers use headphones to create an individualised sonic environment as a distraction from the less pleasant aspects of travelling on crowded and noisy transport systems. In a <a href="https://www.prnewsblog.com/news/health-wellbeing/15034/music-psychologist-reveals-the-formula-for-the-happiest-song-ever/">recent survey</a>, 71% of 2,000 participants reported that music was the strongest influence on their mood and almost 75% regularly listened to music to cheer themselves up. In response to these findings, I conducted a review of published research, to find out which musical features tend to be present in “happy” songs. It should be remembered that musical preferences and expectations are culture dependent. For example, some Asian cultures have different associations between positive/negative emotions and major/minor chords, so <a href="https://royalsocietypublishing.org/doi/10.1098/rsos.170952">western “happy songs” may not be globally interpreted as such.</a> Within western cultures, there are certain components of popular music which are commonly linked with positive emotions. Music that is perceived as “happy” is usually written in a major key with a bright tone, featuring instruments with a bright timbre, such as trumpets or electric guitars. “Happy” music usually adds <a href="https://royalsocietypublishing.org/doi/10.1098/rsos.170952">the seventh note of the scale</a> to the main three notes in the chord. This creates a brief feeling of tension – or pleasurable expectation – followed by relief or resolution when the harmonic progression proceeds as our previous listening experience predicts. For many people, listening to music becomes an immersive <a href="https://www.frontiersin.org/articles/10.3389/fpsyg.2015.00906/full">flow experience</a> which can distract from everyday concerns. Active musical participation through dancing or singing along brings additional enjoyment. A simple, consistent rhythm based on two or four beats in a bar increases a song’s “<a href="https://mashable.com/ad/feature/science-of-pop-music">danceability</a>”, while a binary structure – verse-chorus-verse-chorus – helps to establish familiarity so the song quickly becomes “<a href="https://www.york.ac.uk/news-and-events/features/pop-science/">sing-alongable</a>”. People generally <a href="https://mashable.com/ad/feature/science-of-pop-music">prefer familiar music</a>, or music which quickly becomes memorable. The most enjoyable songs are likely to be those which strike a satisfying <a href="https://www.sciencedirect.com/science/article/pii/S0960982219312588">balance between predictability and surprise</a>, providing an experience familiar enough to be pleasurable while avoiding being too simplistic or formulaic. Unexpected changes can intensify emotional responses. Listeners often derive the most pleasure from music when they are fairly sure about what will happen next but then an unexpected chord progression or key change provides a surprise. Based on previous experiences, listeners develop expectations about a piece of music. While familiar music tends to give the most pleasure, it also needs to contain enough “surprise” elements to retain enough interest to create a state of flow. This explains the use of a bridge or the middle eight (a section which is different from the verse and chorus) in many songs. Although “happy songs” are usually written in a <a href="https://www.researchgate.net/publication/301724912_Beyond_Happiness_and_Sadness_Affective_Associations_of_Lyrics_with_Modality_and_Dynamics">major key</a>, they sometimes include a section in a minor key to add interest. Good Vibrations by the Beach Boys begins with a verse in a minor key and then creates a strong emotional uplift as it switches into a bright major key for the chorus. <h2>The speed of happiness</h2> Faster music tends to induce more positive emotions than slower music. Research suggests that music that is perceived as happy is usually performed at a tempo between <a href="https://mymodernmet.com/10-happy-songs/">140 and 150 beats per minute (BPM)</a>. Songs people have said they use to <a href="https://open.spotify.com/playlist/7k00dawKjXgBBuq2nZyHmO">improve their mood</a> include Queen’s Don’t Stop Me Now at 156 BPM. Tempo is a confounding variable because <a href="https://journals.sagepub.com/doi/abs/10.1177/0305735618754688?journalCode=poma">faster music increases arousal/excitement</a>, but this may not always be associated with happiness. There may also be <a href="https://www.anderson.ucla.edu/documents/areas/fac/marketing/mogilner/Mogilner_Shifting_Meaning_of_Happiness_SPPS_2011.pdf">age-related differences</a> in interpretation. What is certain is that music can have a profound effect on our sense of wellbeing. Just stick on <a href="https://www.youtube.com/watch?v=pTdihu-mp90">James Brown’s I Got You</a> (or whatever might tempt you to do a happy dance) and start to feel good. Image credits: Getty Images This article originally appeared on <a href="https://theconversation.com/happy-songs-these-are-the-musical-elements-that-make-us-feel-good-201342" target="_blank" rel="noopener">The Conversation</a>.

Music

“I’ve written some real stinkers”: Billy Joel reveals controversial songs

Singer and songwriter Billy Joel has revealed two non “woke” songs that may not have been written given today’s political climate. The Piano Man singer is one of the best-selling musicians to date, but the 73-year-old admitted in an interview with the LA Times that if he were to do it all over again, he would take away “at least 25 per cent” of his songs. “I’ve written some real stinkers I wish I could take back,” he said, citing ‘When in Rome’ from his 1989 album Storm Front and ‘C’était Toi’ from 1980’s Glass Houses. “I don’t even speak French, so I don’t know what I was doing. Sometimes I’d get six or seven songs I thought were pretty damn good, then there’d be a couple of squeeze-outs at the end just to fill up the album. I realise now I shouldn’t have done that.” Joel released 12 successful pop and rock albums between 1971 and 1993 but then stopped writing new material, save for Fantasies and Delusions, his 2001 album of classical compositions. Joel also told the LA Times that he didn’t make that decision “based on whether it was right or wrong”. “It just felt like it was time for me to stop writing songs,” he said. “I didn’t have the same motivation anymore. You need inspiration to create good new music, and if you don’t have it, don’t bother. Get off the treadmill, for Christ’s sake.” He was asked whether he considered “the current cultural and political climate” when organising a setlist, Joel said that it crossed his mind with a song such as ‘Captain Jack’, which references “the junkies and the closet queens”. “You mean are they woke? It crosses my mind,” he admitted. “But ‘Captain Jack’ has gotten real boring to me. The verse is just two chords over and over again, and it’s this dreary story of some suburban kid jacking off at home. My mind starts to wander during the song, so I don’t do it even though people want to hear it.” He agreed that ‘Only the Good Die Young’ was also a tough sell by ‘modern woke standards’. The song, featured on 1977’s The Stranger, was written from the perspective of a young man determined to have sex with a Catholic girl. The song has not aged well by today’s standards, with lyrics such as, “come out Virginia, don’t let me wait, you Catholic girls start much too late” and “they say there’s a heaven for those who will wait, some say it’s better, but I say it ain’t”. “It’s occurred to me recently that I’m trying to talk some poor innocent woman into losing her virginity because of my lust,” Joel said. “It’s kind of a selfish song — like, who cares what happens to you? What about what I want? But on the other hand, it was of its time. This was written in the mid-‘70s, and I was trying to seduce girls. Why bulls**t about it?” Image credit: Getty

Music

"Writing songs is my therapy": Ed Sheeran reveals further heartbreak

In the wake of the tragic news of the <a href="https://www.oversixty.com.au/news/news/tragedy-strikes-ed-sheeran-tour" target="_blank" rel="noopener">heartbreaking loss</a> suffered by his co-writer and touring partner, Ed Sheeran has taken to Instagram to share his struggle following a series of life-changing events – and how this has altered the course of his new album, Subtract. The singer shared how he “spiralled” into depression last year after his wife, Cherry, was diagnosed with a tumour during her second pregnancy, which couldn’t be treated until after she gave birth. The star explained that he was "trying to sculpt the perfect acoustic album" for almost a decade, when the series of events changed everything. “Writing songs is my therapy. It helps me make sense of my feelings. I wrote without thought of what the songs would be, I just wrote whatever tumbled out. “And in just over a week, I replaced a decade’s worth of work with my deepest darkest thoughts," he captioned. “Within the space of a month, my pregnant wife got told she had a tumour, with no route to treatment until after the birth. “My best friend Jamal [Edwards], a brother to me, died suddenly and I found myself standing in court defending my integrity and career as a songwriter. I was spiralling through fear, depression and anxiety. “I felt like I was drowning, head below the surface, looking up but not being able to break through for air". <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/CpPY7qyI6XB/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/p/CpPY7qyI6XB/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Ed Sheeran (@teddysphotos)</a> </div> </blockquote> The four-time Grammy award winner shared that this album was a "trapdoor" into his soul, and a way for him to make sense of everything he's been through. Sheeran announced the birth of his second daughter, Jupiter, in May of last year. Subtract will be released on the 5th of May 2023, through Asylum/Atlantic. Image: Getty

Caring

Can big data really predict what makes a song popular?

Music is part of our lives in different ways. We listen to it on our commutes and it resounds through shopping centres. Some of us seek live music at concerts, festivals and shows or rely on music to set the tone and mood of our days. While we might understand the genres or songs we appreciate, it’s not clear precisely why a certain song is more appealing or popular. Perhaps the lyrics speak to an experience? Perhaps the energy makes it appealing? These questions are important to answer for music industry professionals, and <a href="https://theconversation.com/how-data-is-transforming-the-music-industry-70940">analyzing data</a> is a key part of this. At Carleton University, a group of data science researchers sought to answer the question: “What descriptive features of a song make it popular on music/online platforms?” <h2>Revenue in the music industry</h2> Revenue in the music industry <a href="https://doi.org/10.1509/jm.14.0473">is derived from two sources that are affected by different factors: live music and recorded music</a>. During the pandemic, although live music income dropped due to the cancellation of in-person performances, the <a href="https://doi.org/10.1371/journal.pone.0267640">income from streaming</a> rose. As digital platforms like Spotify and TikTok have grown, <a href="https://doi.org/10.5753/sbcm.2019.10436">the majority of music revenue has come to be contributed by digital media, mostly music streaming</a>. How and whether this <a href="https://theconversation.com/artists-spotify-criticisms-point-to-larger-ways-musicians-lose-with-streaming-heres-3-changes-to-help-in-canada-176526">revenue reaches singers and songwriters at large</a> is another matter. <h2>Popularity on digital platforms</h2> The popularity of a song on digital platforms is considered a measure of the revenue the song may generate. As such, producers seek to answer questions like “<a href="https://doi.org/10.1098/rsos.171274">How can we make the song more popular?</a>” and “<a href="https://doi.org/10.1109/ICMLA.2019.00149">What are the characteristics of songs that make it the top charts?</a>” With collaborators <a href="https://www.linkedin.com/in/laura-colley/">Laura Colley</a>, <a href="https://www.linkedin.com/in/andrew-dybka/">Andrew Dybka</a>, Adam Gauthier, Jacob Laboissonniere, Alexandre Mougeot and Nayeeb Mowla, we produced a systematic study that collected data from YouTube, Twitter, TikTok, Spotify and Billboard (<a href="https://www.billboard.com/charts/hot-100">Billboard Hot-100</a>, sometimes also denoted by data researchers as “<a href="https://data.world/bigml/association-discovery">Billboard hot top</a>” or in our work and others’ work, “Billboard Top-100”). We linked the datasets from the different platforms with Spotify’s acoustic descriptive metric or “descriptive features” for songs. These features have been derived <a href="https://www.billboard.com/music/music-news/echo-nest-columbia-university-launch-million-song-dataset-1178990/">from a dataset which yielded categories for measuring and analyzing qualities of songs</a>. Spotify’s <a href="https://www.theguardian.com/technology/2014/mar/06/spotify-echo-nest-streaming-music-deal">metrics capture</a> <a href="https://doi.org/10.1098/rsos.171274">descriptive features such as</a>acousticness, energy, danceability and instrumentalness (the collection of instruments and voices in a given piece). We sought to find trends and analyze the relationship between songs’ descriptive features and their popularity. The rankings on the weekly <a href="https://www.billboard.com/charts/hot-100/">Billboard Hot-100</a> are based on sales, online streams and radio plays in the United States. The analysis we performed by looking at Spotify and Billboard revealed insights that are useful for the music industry. <h2>What predicts a Billboard hit?</h2> To perform <a href="https://ieeexplore.ieee.org/document/9842568">this study</a>, we used two different data sets pertaining to songs that <a href="https://www.npr.org/sections/therecord/2013/08/16/207879695/how-the-hot-100-became-americas-hit-barometer">were Billboard hits</a> <a href="https://data.world/kcmillersean/billboard-hot-100-1958-2017">from the early 1940s to 2020</a> and Spotify data related to over 600,000 tracks and over one million artists. Interestingly, we found no substantial correlations between the number of weeks a song remained on the charts, as a measure of popularity, and the acoustic features included in the study. Our analysis determined that newer songs tend to last longer on the charts and that a song’s popularity affects how long it stays on the charts. In a related study, researchers collected data for Billboard’s Hot 100 from 1958 to 2013 and found that <a href="https://doi.org/10.1007/978-3-319-13734-6_36">songs with a higher tempo and danceability often get a higher peak position on the Billboard charts</a>. <h2>Predicting Spotify song popularity</h2> We also used the songs’ features to generate machine learning models to predict Spotify song popularity. Preliminary results concluded that features are not linearly correlated, with some expected exceptions including songs’ energy. This indicated that the Spotify metrics we studied — including acousticness, danceability, duration, energy, explicitness, instrumentalness, liveness, speechiness (a measure of the presence of spoken words in a song), tempo and release year — were not strong predictors of the song’s popularity. The majority of songs in the Spotify dataset were not listed as explicit, tended to have low instrumentalness and speechiness, and were typically recent songs. Although one may think that some features that are innate to certain songs make them more popular, our study revealed that popularity can not be attributed solely to quantifiable acoustic elements. This means that song makers and consumers must consider other contextual factors beyond the musical features, as captured by Spotify’s measurables, that may contribute to the song’s success. <h2>Elements affecting popularity shift</h2> Our study reinforces that elements affecting the popularity of songs change over time and should be continuously explored. For example, <a href="https://doi.org/10.1098%2Frsos.171274">in songs produced between 1985 and 2015 in the United Kingdom, songs produced by female artists were more successful</a>. Other aspects may substantially contribute to the success of a song. Data scientists have proposed <a href="https://doi.org/10.1371/journal.pone.0244576">simplicity of the lyrics</a>, the advertising and <a href="https://www.ipr.edu/blogs/audio-production/what-are-the-elements-of-popular-music/">distribution plans</a> as potential predictors of songs’ popularity. <h2>Attached listeners</h2> Many musicians and producers make use of popular events and marketing strategies to advertise songs. Such events create social engagements and <a href="https://doi.org/10.3389/fpsyg.2018.02682">audience involvement</a> which attaches the listener to the song being performed. For the public, <a href="https://www.osheaga.com/en">live music events</a>, following long lockdowns, have been opportune for reuniting friends, and <a href="https://ottawabluesfest.ca/">enjoying live artistry and</a> entertainment. While attending a music event or listening to a song, we invite you to reflect on what it is about the song that makes you enjoy it. Image credits: Getty Images This arctic originally appeared on <a href="https://theconversation.com/can-big-data-really-predict-what-makes-a-song-popular-189052" target="_blank" rel="noopener">The Conversation</a>.

Music

How Bob Dylan used the ancient practice of ‘imitatio’ to craft some of the most original songs of his time

Over the course of six decades, Bob Dylan steadily brought together popular music and poetic excellence. Yet the guardians of literary culture have only rarely accepted Dylan’s legitimacy. His <a href="https://www.nytimes.com/2016/10/14/arts/music/bob-dylan-nobel-prize-literature.html">2016 Nobel Prize in Literature</a> undermined his outsider status, challenging scholars, fans and critics to think of Dylan as an integral part of international literary heritage. My new book, “<a href="https://www.amazon.com/No-One-Meet-Imitation-Originality/dp/0817321411">No One to Meet: Imitation and Originality in the Songs of Bob Dylan</a>,” takes this challenge seriously and places Dylan within a literary tradition that extends all the way back to the ancients. <a href="https://english.umbc.edu/core-faculty/raphael-falco/">I am a professor of early modern literature</a>, with a special interest in the Renaissance. But I am also a longtime Dylan enthusiast and the co-editor of the open-access <a href="https://thedylanreview.org/">Dylan Review</a>, the only scholarly journal on Bob Dylan. After teaching and <a href="https://www.researchgate.net/profile/Raphael-Falco">writing about</a> early modern poetry for 30 years, I couldn’t help but recognize a similarity between the way Dylan composes his songs and the ancient practice known as “<a href="http://www.artandpopularculture.com/Dionysian_imitatio">imitatio</a>.” <h2>Poetic honey-making</h2> Although the Latin word imitatio would translate to “imitation” in English, it doesn’t mean simply producing a mirror image of something. The term instead describes a practice or a methodology of composing poetry. The classical author Seneca <a href="https://en.wikisource.org/wiki/Moral_letters_to_Lucilius/Letter_84">used bees</a> as a metaphor for writing poetry using imitatio. Just as a bee samples and digests the nectar from a whole field of flowers to produce a new kind of honey – which is part flower and part bee – a poet produces a poem by sampling and digesting the best authors of the past. Dylan’s imitations follow this pattern: His best work is always part flower, part Dylan. Consider a song like “<a href="https://www.bobdylan.com/songs/hard-rains-gonna-fall/">A Hard Rain’s A-Gonna Fall</a>.” To write it, Dylan repurposed the familiar Old English ballad “<a href="https://www.poetrybyheart.org.uk/poems/lord-randall/">Lord Randal</a>,” retaining the call-and-response framework. In the original, a worried mother asks, “O where ha’ you been, Lord Randal, my son? / And where ha’ you been, my handsome young man?” and her son tells of being poisoned by his true love. In Dylan’s version, the nominal son responds to the same questions with a brilliant mixture of public and private experiences, conjuring violent images such as a newborn baby surrounded by wolves, black branches dripping blood, the broken tongues of a thousand talkers and pellets poisoning the water. At the end, a young girl hands the speaker – a son in name only – a rainbow, and he promises to know his song well before he’ll stand on the mountain to sing it. “A Hard Rain’s A-Gonna Fall” resounds with the original Old English ballad, which would have been very familiar to Dylan’s original audiences of Greenwich Village folk singers. He first sang the song in 1962 at <a href="https://bedfordandbowery.com/2016/12/the-story-of-the-gaslight-cafe-where-dylan-premiered-a-hard-rains-a-gonna-fall/">the Gaslight Cafe</a> on MacDougal Street, a hangout of folk revival stalwarts. To their ears, Dylan’s indictment of American culture – its racism, militarism and reckless destruction of the environment – would have echoed that poisoning in the earlier poem and added force to the repurposed lyrics. <h2>Drawing from the source</h2> Because Dylan “samples and digests” songs from the past, <a href="https://thedylanreview.org/2022/08/04/interview-with-scott-warmuth/">he has been accused of plagiarism</a>. This charge underestimates Dylan’s complex creative process, which closely resembles that of early modern poets who had a different concept of originality – a concept Dylan intuitively understands. For Renaissance authors, “originality” meant not creating something out of nothing, but <a href="https://www.google.com/books/edition/Origin_and_Originality_in_Renaissance_Li/1OmCQgAACAAJ?hl=en">going back to what had come before</a>. They literally returned to the “origin.” Writers first searched outside themselves to find models to imitate, and then they transformed what they imitated – that is, what they found, sampled and digested – into something new. Achieving originality depended on the successful imitation and repurposing of an admired author from a much earlier era. They did not imitate each other, or contemporary authors from a different national tradition. Instead, they found their models among authors and works from earlier centuries. In his book “<a href="https://archive.org/details/lightintroyimita0000gree/page/n5/mode/2up">The Light in Troy</a>,” literary scholar Thomas Greene points to a 1513 letter written by poet Pietro Bembo to Giovanfrancesco Pico della Mirandola. “Imitation,” Bembo writes, “since it is wholly concerned with a model, must be drawn from the model … the activity of imitating is nothing other than translating the likeness of some other’s style into one’s own writings.” The act of translation was largely stylistic and involved a transformation of the model. <h2>Romantics devise a new definition of originality</h2> However, the Romantics of the late 18th century wished to change, and supersede, that understanding of poetic originality. For them, and the writers who came after them, creative originality meant going inside oneself to find a connection to nature. <a href="https://www.google.com/books/edition/Natural_Supernaturalism/-ygCZmrJ2E4C?hl=en&gbpv=1&dq=natural+supernaturalism&printsec=frontcover">As scholar of Romantic literature M.H. Abrams explains</a> in his renowned study “Natural Supernaturalism,” “the poet will proclaim how exquisitely an individual mind … is fitted to the external world, and the external world to the mind, and how the two in union are able to beget a new world.” Instead of the world wrought by imitating the ancients, the new Romantic theories envisioned the union of nature and the mind as the ideal creative process. Abrams quotes the 18th-century German Romantic <a href="https://plato.stanford.edu/entries/novalis/">Novalis</a>: “The higher philosophy is concerned with the marriage of Nature and Mind.” The Romantics believed that through this connection of nature and mind, poets would discover something new and produce an original creation. To borrow from past “original” models, rather than producing a supposedly new work or “new world,” could seem like theft, despite the fact, obvious to anyone paging through an anthology, that poets have always responded to one another and to earlier works. Unfortunately – as Dylan’s critics too often demonstrate – this bias favoring supposedly “natural” originality over imitation continues to color views of the creative process today. For six decades now, Dylan has turned that Romantic idea of originality on its head. With his own idiosyncratic method of composing songs and his creative reinvention of the Renaissance practice of imitatio, he has written and performed – yes, imitation functions in performance too – <a href="https://en.wikipedia.org/wiki/List_of_songs_written_by_Bob_Dylan">over 600 songs</a>, many of which are the most significant and most significantly original songs of his time. To me, there is a firm historical and theoretical rationale for what these audiences have long known – and the Nobel Prize committee made official in 2016 – that Bob Dylan is both a modern voice entirely unique and, at the same time, the product of ancient, time-honoured ways of practicing and thinking about creativity. Image credits: Getty Images This article originally appeared on <a href="https://theconversation.com/how-bob-dylan-used-the-ancient-practice-of-imitatio-to-craft-some-of-the-most-original-songs-of-his-time-187052" target="_blank" rel="noopener">The Conversation</a>.

Music

Dissecting Stevie Wonder’s Superstition, 50 years after we first heard its infectious grooves

On October 24 1972, Stevie Wonder released his 15th album Talking Book and the world heard the infectious grooves and seamless vocal delivery of the song Superstition for the very first time. Superstition reached number one in the Billboard Hot 100 and on the soul singles chart. The song has been covered by an astounding number of artists, from <a href="https://www.youtube.com/watch?v=dbxmmFsofA4">Mel Torme</a>to <a href="https://www.youtube.com/watch?v=0dNNl79_2Yc">Stevie Ray Vaughan and Macy Gray</a>, French musician <a href="https://www.youtube.com/watch?v=NzwiyeLvZwg">Tété</a> and a unique mashup from <a href="https://www.youtube.com/watch?v=7QLSNwFBFyI">Pomplamoose</a>. Superstition is frequently played at gigs and gatherings all over the globe because the bass riff and driving drum groove have so much <a href="https://www.youtube.com/watch?v=DUIpSe7lcto">dance appeal</a> – a mix of the unexpected syncopation and repetition of the chorus hook. The song feels alive. <h2>A simple structure</h2> The listener can’t help but respond directly to the infectious opening groove played by Wonder. Three key instruments forge the captivating and carefully arranged funk groove in the introduction: the <a href="https://en.wikipedia.org/wiki/Clavinet">Hohner Clavinet</a> (an electronic harpsichord – more on this later), drums and the <a href="https://en.wikipedia.org/wiki/Moog_synthesizer">Moog bass</a>. The cohesion is musical magic. Superstition’s recording engineer Malcolm Cecil <a href="https://openvault.wgbh.org/catalog/V_D5482985134149A5927DED9849248EF">recalled</a> how Wonder recorded the entire song on drums first, with no reference other than the song in his head, then the keyboard bass part, and then the Clavinet. This illustrates how complete his conceptualisation of the song was prior to recording. The song’s structure is simple. The introduction sets up the familiar groove with its static harmony, pulsing bass and keyboard riff. The verse proceeds over the same static harmony, with a new bass riff introduced halfway through, effecting a shift to a higher dynamic level. The chorus releases the tension with a sophisticated cadence, reflecting jazz sensibilities and revealing the breadth of Wonder’s musical knowledge. This structure is repeated, followed by an instrumental version of the chorus. Then there’s a final verse and chorus before a long instrumental section built on the verse riff leads to the final fade out. <h2>Unexpected instruments</h2> One of the most memorable parts of the song is the signature played on the Hohner Clavinet. A <a href="https://www.youtube.com/watch?v=c7CY6aJtegc">Clavinet</a> looks like an electric keyboard, but it is an electro-mechanical string instrument originally developed for the performance of classical harpsichord and clavichord music. Like the <a href="https://en.wikipedia.org/wiki/Hammond_organ">Hammond organ</a> of the 1930s, it was soon discovered and adopted by many contemporary musicians. Wonder had already used the instrument on I Was Made to Love Her (1967), Shoo-Be-Doo-Be-Doo-Da-Day (1968) and I Don’t Know Why (1969). According to music journalist <a href="https://www.goodreads.com/book/show/2722025-innervisions">Martin Horn</a>, Wonder wanted to use the Clavinet on Superstition to “full effect” to “show off”. Wonder had described the instrument as “funky, dirty, stinky”. In some ways, the Clavinet is doing the job a guitarist might normally do. It plays the single note riff at the core of Wonder’s song, and chord parts similar to what you would hear from a strummed guitar. But there are also several other barely audible tracks of clavinet, which subtly add to the texture. Superstition’s bass line is played on an analog synthesiser called <a href="https://www.youtube.com/watch?v=YX0XPdmSfXI">TONTO</a> (The Original New Timbral Orchestra). This is an extraordinary collection of electronics which filled an entire room, adding to the song with a totally unique sonic palette – akin to a PVC pipe hit with a thong. <h2>Standing the test of time</h2> The contributions from the horn parts are also integral, played by Steve Madaio on trumpet and Trevor Lawrence on the tenor saxophone. The horns first appear playing in unison with the bass line in the second half of the verse, emphasising the lift in energy. They play long notes in the chorus emphasising the melody, then reinforce the rhythmic figure at the crest of resolution. Their part culminates in a powerful instrumental hook answering the vocal hook, “superstition ain’t the way”. These parts are repeated in the ensuing verses and choruses. After the final chorus the horns cycle through a sequence containing the verse riff, the chorus hook and a short passage of long notes adapted from the chorus melody. The melody of Superstition is very singable. Wonder’s delivery is fluid and highly expressive. He sings relatively short phrases, allowing the keyboard riffs to fill the space at the end of each phrase. It isn’t until the chorus that Wonder delivers the first effortless vocal lick on “suffer”. His vocal delivery remains understated, with occasional punctuated phrases, gravel tones and a scream within the horn part. The song ends with a long 50 second fade out, reinforcing the riff. Superstition and Wonder’s vocal delivery is so dependable, groovy and secure musically. The listener feels free to give themselves over fully, to trust Wonder completely and lose themselves for a moment. Superstition stands the test of time. Image credits: Getty Images This article originally appeared on <a href="https://theconversation.com/dissecting-stevie-wonders-superstition-50-years-after-we-first-heard-its-infectious-grooves-189551" target="_blank" rel="noopener">The Conversation</a>.

Music

Lost Freddie Mercury song released by Queen

Queen has released a lost song that was originally recorded in 1988, which features the late frontman Freddie Mercury. The track, titled Face It Alone, was written and recorded for the band’s album called The Miracle, but didn’t make it onto the final track listing and was shelved. The song was later rediscovered when the band’s production and archive team returned to the sessions to work on the upcoming reissue of the album. Face It Alone is the first new song released featuring Freddie Mercury since 2014’s Queen Forever album. The 2014 album included three previously unheard tracks with the singer: Let Me In Your Heart Again, Love Kills and There Must Be More to Life Than This. Speaking of the rediscovered track, Queen guitarist Brian May said: “I’m happy that our team were able to find this track.” “After all these years, it’s great to hear all four of us, yes, (former bass player) Deacy is there too, working in the studio on a great song idea which never quite got completed... until now.” Drummer Roger Taylor added, “We’d kind of forgotten about this track but there it was, this little gem.” “It’s wonderful, a real discovery. It’s a very passionate piece.” The song’s resurgence comes ahead of the reissue of the band’s 13th album The Miracle, which was first released in 1989. The album - which included tracks I Want It All, Breakthru and The Invisible Man - reached number one in the UK at the time of its initial release. Image credits: Getty Images

Music

Why Chumbawumba’s hit 90s song still resonates

The man behind one of the most iconic songs of the 1990s has opened up about the song’s longevity. Speaking with <a href="https://9now.nine.com.au/today/chumbawumba-tubthumping-90s-hit-song-still-popular-with-younger-generations-dunstan-bruce/4600e40a-a664-46af-9438-69bbd008e8af">Today Extra</a>, Dunstan Bruce, the lead singer of British rock band Chumbawumba, has shared how much the world embraced the message of Tubthumping when it was released 25 years ago. "I'm really proud of the life span that song has had and the fact that it has this universal message," Bruce said. "It seems to transcend time and that's a wonderful feeling that you can become part of popular culture in a way that is like that and that it has such a life." With the iconic music video being set in an unassuming local pub, Bruce said the song is about resilience and people being able to fight against all the things that are going wrong in their lives and "that there's always a way to find solidarity with other people". "It's about community and sharing those moments with other people," he said. "So it's like it was inspired by just going to the local pub and seeing people who have had a really hard week at work but would be out and have a really good time and make the best out of a bad situation I suppose." The 59-year-old musician said following the success of Tubthumping, the band wanted to use their newfound fame to “try and change the world” for the better. Which is why, 25 years after the song’s release, Dunstan is involved in a new documentary titled I Get Knocked Down which addresses those messages he wanted to share when he was younger. "It asks questions about what you do when you enter middle age and can you still have an influence on the world and where do you fit into the world as you get older," he said. "A lot of the time we come to feel invisible in the world and this sounds really cheesy - but it did help me get back up again in a way." Image credits: Getty Images

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Young musician dies weeks after writing final song

Top 80s songs to get you moving

"It breaks my heart": Robbie Williams' dedication to fallen Sydney fan

Mariah Carey slapped with multi-million dollar lawsuit over hit festive song

“Deeply disappointed”: The Wiggles hit out at council’s “harsh” use of iconic song

It was written for nuclear disarmament – but today You’re The Voice is the perfect song for the ‘yes’ campaign

Backlash for John Farnham over use of iconic song in Voice campaign

Censorship or sensible: is it bad to listen to Fat Bottomed Girls with your kids?

Country music star's "racist" song divides audience

6 classic songs involved in lawsuits

Readers respond: What's a song that is so beautiful it makes you cry?

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Happy songs: these are the musical elements that make us feel good

“I’ve written some real stinkers”: Billy Joel reveals controversial songs

"Writing songs is my therapy": Ed Sheeran reveals further heartbreak

Can big data really predict what makes a song popular?

How Bob Dylan used the ancient practice of ‘imitatio’ to craft some of the most original songs of his time

Dissecting Stevie Wonder’s Superstition, 50 years after we first heard its infectious grooves

Lost Freddie Mercury song released by Queen

Why Chumbawumba’s hit 90s song still resonates

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Young musician dies weeks after writing final song

Top 80s songs to get you moving

"It breaks my heart": Robbie Williams' dedication to fallen Sydney fan

Mariah Carey slapped with multi-million dollar lawsuit over hit festive song

“Deeply disappointed”: The Wiggles hit out at council’s “harsh” use of iconic song

It was written for nuclear disarmament – but today You’re The Voice is the perfect song for the ‘yes’ campaign

Backlash for John Farnham over use of iconic song in Voice campaign

Censorship or sensible: is it bad to listen to Fat Bottomed Girls with your kids?

Country music star's "racist" song divides audience

6 classic songs involved in lawsuits

Readers respond: What's a song that is so beautiful it makes you cry?

Readers respond: What's a cover song that's better than the original?

Happy songs: these are the musical elements that make us feel good

“I’ve written some real stinkers”: Billy Joel reveals controversial songs

"Writing songs is my therapy": Ed Sheeran reveals further heartbreak

Can big data really predict what makes a song popular?

How Bob Dylan used the ancient practice of ‘imitatio’ to craft some of the most original songs of his time

Dissecting Stevie Wonder’s Superstition, 50 years after we first heard its infectious grooves

Lost Freddie Mercury song released by Queen

Why Chumbawumba’s hit 90s song still resonates

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