Zeitschriftenartikel zum Thema „Singers/songwriters“

Introduction: Performing rights are rights attached to copyright as an integral part of the creation of a work. In the context of copyrights to songs or music, performing rights relate to the need to pay royalties to songwriters or music for attempts to use songs or music commercially.Purposes of the Research: Implications of performing rights for café singers to continue paying royalties based on statutory regulations and how the performing rights orientation for café singers is ideal in ensuring justice for songwriters or music as well as for café singers.Methods of the Research: Normative legal research with a concept and statutory approach.Results of the Research: The implications of performing rights for café singers to continue paying royalties based on statutory regulations, namely that there is no legal certainty for café singers because there is no specific regulation governing them. The performing rights orientation for café singers is ideal in ensuring justice, namely by excluding royalty payments for café singers because the commercialization impact received by café singers is not large and only sufficient to make ends meet.

For some reason, creators are more likely to die at the age of 27. Several singers and songwriters often fell by the wayside, as consequence of an overdose. Names like Jimmy Hendrix, Amy Weinhouse, Janis Joplin, Jim Morrison and to this list we add Jean-Michel Basquait. What do they have in common? A success that they did not know how to handle? "The Radiant Child" could not escape that curse ...drugs, success and 27 years

Adekunle Kòsọ́kọ́ and Sìmisola Kòsọ́kọ́ (nee Ogunleye) are married singers, both born and bred in Lagos known by the stage names Kunle Gold and Simi respectively. They are among a group of young, popular, and successful songwriters, composers, and singers. Their music has gained the hearts of Nigerian people, especially the youth. The focus of this paper is to examine critically how they make use of code-switching or code-shifting in their respective music as a 'style' in order to differentiate their songs and also to make a unique identity. It is observed that they alternate between two or more languages to pass information to the target audience in order to showcase their fluency in the languages hence showing their level of literacy and flexibility. The data for analysis and discussion are songs from ‘Duduke’, ‘Sade’, ‘No forget me’, 'Selense’, ‘Promise Me’, and ‘Joromi’. Sociology Theory is used to drive home the point of discussion to reflect the effect of the songs on society.

Cambodian modernity was driven by the political agenda of the Sihanouk government beginning in the 1950s, and Cambodian rock and roll emerged in the 1960s in step with Sihanouk's ambitious national modernization project. Urban rockers were primarily upper-class male youths. In. the postcolonial era rock and roll was appropriated from abroad and given a unique Cambodian sound, while today's emerging hard rock music borrows foreign sociocultural references along with the music. Postmodern Cambodia and its diaspora have seen the evolution of a more diverse music subculture of alternative voices of hard rock bands and hip-hop artists, as well as post-bourgeois and post-male singers and songwriters.

Since the Government of Indonesia through President Joko Widodo ratified regulations regarding job creation (ciptaker) in 2020 which is expected to boost the Indonesian economy. However, instead of being supported, this regulation was opposed because it was projected that it would harm some people, especially in terms of Intellectual Property Rights (HaKI). Although basically the Copyright Act itself has reached the protection of intellectual property rights, but not in full. This creates a phenomenon that occurs in the music industry today which is experiencing many problems, including various copyright infringements committed by cover singers through the Youtube application. This research is a normative research using a statutory and conceptual approach. The results of this study show that the Government Regulations that were formed in relation to the ease of doing business have not been able to ensnare business actors on Youtube who plagiarize songs created through national music industry companies. The government should revise Government Regulation Number 56 of 2021 concerning Song and Music Royalties in Indonesia to ensure legal protection for songwriters in Indonesia from piracy of the works of cover singers through the Youtube application.

Singers and songwriters use their music as a platform for communication, using lyrics to express intimate sentiments - often caused by the pressures of the music industry as well as personal matters such as mental health. In this study, we analysed Amy Winehouse’s songs, exploring the explicit and subliminal affective messages using linguistic techniques i.e., metaphors and colour symbolism. Grounded on corpus analysis and stages of grief theory, we looked at linguistic patterns and intensity of word choice related to Amy’s choices of colours and emotive expressions. The findings show that sadness was the most prevalent emotion in her lyrics and its correlation to her mental health issues; the transition of positive sentiments developing into negative emotions was also evident in the data. Her complex relationships and experiences were also infused into her deliberate self-portrayal of catalytic mental deterioration, self-destruction, and torment. This study offers new insights in corpus analysis research on psycholinguistics and mental health in pop culture.

Statistical data suggests that through media like radio, television and streaming, the music listening public engages with the output of singer-songwriters (SSWs) on a daily basis (Surveyspro, 2016). The singer is key to this engagement, yet existing scholarly discussion is focused primarily on industry and non-industry, etic views/perspectives of SSWs as a group (Bentley, 2016; Holman Jones, 2007; Jackson, 2007; King, 2012; Lanksford Jr, 2010; Potter & Sorrell, 2012; Reynolds, 2009; Rogers, 2016; Whiteley, 2000; Williams & Williams, 2016; Zollo, 1958, Zollo, 2016). Beyond the suggestion that for SSWs the process of singing their own original songs is comparable to singing covers of other artists’ compositions, the existing literature offers little discussion on the singer component within the musical product of the singersongwriter craft. In this paper, we propose that, whilst the singers’ process in creating a vocal performance on any song (original or cover) could be considered similar in terms of voice production, there are deeper considerations for SSWs and consequently, for the teachers who oversee their voice training.

Singers, songwriters and musicians create personas and perform the (gendered) role of rock star, punk, heart-throb, crooner, diva, or rock chick. Magazine covers are a key factor in consolidating and marketing that constructed persona. Magazine covers have visual power that is calibrated for maximum impact with a defined audience and a key part of the editor’s role is to decide on the cover image and cover lines. Moreover, there is now an expectation that editors of glossy magazines are recognisable ‘influencers’ who personify the values and commodities that their titles promote. We expect performers to put on a show, but do we expect music magazine editors to adopt a gendered celebrity persona and a public self too? This article examines the persona of the music magazine editor and the construction of music celebrity with a particular focus on Australian Rolling Stone magazine. Interviews with Kathy Bail and Elissa Blake, the first two women to edit the title in magazine format, underscore the self-fashioning of cultural intermediaries and the challenges for women in leadership roles in Australian media workplaces.

This work discusses the mechanisms of popularity generation on the Internet. What we propose here is a model that replicates the statistical distribution profile of popularity. It is a probabilistic model of the number of individuals who read, hear or see, and then replicate a message, and parameterizes an individual’s preference for either new or older messages. Messages can gain in popularity according to a process of paying attention and the resulting popularity distribution has a stretched lognormal configuration. The stretch depends on the degree of attention paid to new messages versus that paid to older messages. We considered three sets of data to test the fit of the model: the American singers/songwriters listed on Wikipedia, videos on YouTube belonging to two different categories, and the number of visits to Wikipedia pages on music albums and film categories. Our main results adjust, with good approximation, to this experimental data. In each of the three case studies, the fit produced by the model is better adjusted to the data than the lognormal standard function.

Afrikaans popular music of a variety of genres and subgenres is currently flourishing. A very productive phenomenon is the re-interpretation of older songs, in particular folk songs. This article gives a short historical overview of the collection and publication of Afrikaans folk songs, followed by a brief description of various ways in which folk songs have previously been utilised. The collection of Afrikaans folk songs known as the FAK (Federation of Afrikaans Cultural Organisations) songbook earned itself an important position in Afrikaans cultural circles, but it was also stigmatised. Since the end of the 1990s, Afrikaans popular songwriters and singers showed a renewed interest in so-called FAK songs and a number of musical arrangements and re-writings of folk song lyrics have been recorded. A number of lyrics that either contain references to folk songs or are re-writings of folk songs, are discussed. Tension between the old, well-known words of the folk songs and the new songs often develops, while the intertextual references to older songs are used to comment on current situations. The importance of popular music in minor cultures is briefly discussed.

Bob Miller is known as one of the most prolific early country songwriters, but it is not as widely known that he was a blues composer in the 1920s whose songs were recorded by several of the classic female blues singers from the early part of that decade—Clara Smith, Viola McCoy, Lizzie Miles, and others. He is also thought to have written leftist political material, but these political songs spoke more to common sentiments during the Great Depression than any true political position. Miller’s diverse songwriting career resulted from his creative output being influenced by the direction of commercial music. His first “hillbilly” song, “Eleven Cent Cotton, Forty Cent Meat,” became a Depression-era hit that was recorded by multiple artists, including himself. While he did not write more than seven thousand songs as he claimed, he did write a high number. Part of what contributed to his large catalog was that he was adept at tweaking preexisting songs, and much of his output was modeled after other songs. This study analyzes and discusses the commercially influenced direction of his career as well as his possibly misascribed political leanings.

This..paper is intended to study and research related. to how to enforce the law against cover singers on the Youtube platform, because basically this activity will invite various opinions related to someone's copyright. In the discussion of this research, the author will use the type of normativ...Legaal. .reesearch. Normative legal reesearch is legal research to..find thee..Ruleof law, legalprinciples,and legaldoctrines in order to answerthe legalissue faced, normativelegal ressearch is carried out to fin,d solutions to existing legal issues. The results of several existing studies explain that one of the events found on online platforms, especially Youtube, is the frequent occurrence of violations related to song copyrights committed by Cover content creators, in this case republishing the copyrighted works of people as songwriters and.not awarre..of the iimportance..of the..ecconomic rights.and mo,ral..rightsof..th,e songwriter. From this incident, it..canbe..conclu,ded that.there is..no awareness and strict regulations regarding copyright of songs sung again on several online platforms, especially Youtube and also the importance of specific government regulations in the use of song copyrighted works on online platforms

Songs can be a means of communication that singers and songwriters want to convey to listeners about what they feel. In songs, there are song lyrics which are part of literary works which contain outpourings of personal feelings, emotions, and expressions of soul experiences in the form of an arrangement of words. One of them is the song lyrics on the album Naura & Genk Juara. The lyrics on the album contain many implied meanings, so analysis is needed using Schleimacher's Hermeneutics theory which is used to understand the meaning of the song from the psychology of the song writer. The aim of the research is to describe, analyze and interpret the psychology of the song lyrics on the album Naura & Genk Juara. The method used in this research is descriptive qualitative. Data collection techniques include (1) listening to the song carefully, (2) noting the song lyrics carefully, (3) understanding the psychological aspects of the song. Data analysis uses Schleirmacher's hermeneutical approach. The results of the research show that Schleilmacher's psychological interpretation on the album song Naura & Genk Juara describes enthusiasm and never giving up on being a champion, parents' anxiety about their children, preserving nature, annoyance with friends, motivation for having dreams, regrets for children who don't listen to their parents' advice, optimism about being a winner, and friendship. At the psychological interpretation stage, it can be seen that the lyrics he wrote were created from phenomena that were occurring at that time, many Indonesian children were not mentally strong enough to face challenges in achieving their dreams, so lyrics emerged that provided motivation, besides that, many Indonesian children who do not want to listen to advice from their parents, causing regret.

The article discusses the key features and trends of the repertoire of Catholic funeral hymns, functioning in Lithuania in both Polish and Lithuanian; at the same time attempts are made to grasp the possible causes of mutual interactions and influences. In combining literary and ethnological approaches, field research data, historical sources, printed and manuscript hymns are analysed and interpreted, related scientific literature is examined. The conclusion is reached that the similarity and commonalities of the Lithuanian and Vilnius Region Poles’ folk piety funeral repertoire were, and still are, a result of similar cultural conditions. The basis of the old repertoire is primarily determined by trends, influences, and themes coming from Poland, while the areas of the modern repertoire’s influence are much broader: both general international trends and a broad mutual influence can be noted.In Lithuania’s villages and cities it is still common practice to invite a group of hymn-singers to a funeral wake and burial ceremony. Singing of funeral hymns is an old tradition, likely coming from the 17th c., from Poland, slowly covering also the territory of modern-day Lithuania and gradually settling down, gaining distinct regional features. However, we do not have any accounts as to whether a folk piety funeral repertoire existed in Lithuanian – it likely formed later.The texts of funeral songs can be divided into several groups according to their origin and function: some are adapted from church liturgies and are traditional church hymns, while others were created at different times by either anonymous local authors or well-known songwriters. Some hymns, for a long time, functioned as part of the liturgy of death and funerals, they established themselves in the practice of folk piety, while others became part of the funeral repertoire when they came into it from various thematically-fitting church calendar holidays or they were created by known or (more often) anonymous songwriters, then spreading among the people.The similarities of the repertoire of Lithuanian and Polish funeral songs are first of all a result of close cultural conditions. The texts of the oldest repertoire of funeral hymns were usually translated from Polish to Lithuanian, with the former taking root in the practices of folk piety much earlier. The melodies of hymns also mostly came from Poland; many are of liturgical origin, although over the centuries they grew into the local musical environment and gained a distinctive tone.The trends of the formation of the new hymns (from the beginning of 20th c. until now), on the one hand, are a continuation of the previous ones; however, on the other hand, local (Lithuanian) features, resulting from the faster and wider spread of information, become clearer, as well as various international influences. A certain group of hymns exists only in Lithuania, we can clearly see the influence of the Lithuanian environment on the poetry and melodics of Polish-language funeral hymns. This repertoire spreads only through writing down by hand the texts, while melodies are learned by ear; they are not published in any hymnals approved by the Church.

This Singer-songwriter is a compound word of singer and songwriter, meaning 'a singer who lyrics and composes songs to sing.' Singer-songwriter, known as a minstrel poet, plays the role of a producer who is in charge of writing and composing lyrics and the role of a performer who sings and plays songs directly. Therefore, compared to ordinary professional singers, they have a more independent attitude and authoristic attitude, and their works contain creativity, authenticity and identity. In this paper, a study was conducted on the music of Korean singer-songwriter in the 1970s, when the value system was embodied with a sense of writing. Singer-songwriter in the 1970s studied what they tried to sing, how they conveyed meaning to the audience, and how they listened to their songs and responded. This paper is meaningful in re-establishing the concept of singer-songwriter terms that were used inconsistently and analyzing musical works along with singer-songwriter activities in Korean popular music history.

<p>Resumen</p><p>Zully Murillo, cantadora tradicional del Atrato, compositora y mujer de vanguardia, recrea a través de esta entrevista la cotidianidad de su vida, desde su niñez hasta la edad adulta, en un viaje de la memoria donde es posible leer la cultura del Pacífico colombiano de los últimos 70 años. La vida del río, la música de las orillas, los rituales y las fiestas, los romances y alabaos, la educación secundaria, la docencia, la creación e interpretación musical, y la música como eje de su vida son los principales temas que se abordan en este diálogo.</p><p>Palabras claves</p><p>Músicas del Pacífico, músicas tradicionales de Colombia, músicas del Chocó, músicas del Atrato, cantadoras, cantautoras, romances, alabaos.</p><p> </p><p>Zully Murillo, iacu Patapi Virsiadur Sugllapi Virsiadura Zully Murillo Ñugpatamanda Paikikin iuiarispa willa imasami pai iachaikurka uchullamandata atun kankuna chasa wiñarka atun kankuna chasa wiñarla atun iaku patapata imasa Colombiano 70 watakuna chara kawsagta iakumanda parlu patapata virsiaskamanda imasa iuiarispa virsiagta. Ima suti Rimai Simi: Virsiai, piciticopi, ñugpamanda, virsiaikuna Colombiamanta chocomanta virsiaikuna atratomanta virsiagkuna, kuri warmi.</p><p> </p><p>Zully Murillo, cantadora of many riversides. Abstract</p><p>Zully Murillo, traditional folksinger (cantadora) of the Atrato river, songwriter and woman at the forefront, has recreated in this interview the everyday of her life, from childhood to adulthood, in a journey of the memory where the culture of the Pacific region of Colombia during the last 70 years is also to be witnessed. River life, the music of the riversides, rituals and feasts, romances and alabaos, secondary education, teaching, creating and performing music, and music as the centerpiece of her life are the main topics covered in this dialogue.</p><p>Keywords</p><p>Music of the Pacific Ocean, traditional music of Colombia, music of Choco, music of the Atrato river, singers, songwriters, romances, alabaos.</p><p>Zully Murillo, chanteuse de plusieurs rives. Résumé</p><p>Zully Murillo, chanteuse traditionnelle de l’Atrato, compositrice et femme d’avant-garde, recrée à travers cette entrevue le quotidien de sa vie, depuis son enfance jusqu’à l’âge adulte, dans un voyage de la mémoire où il est possible de lire la culture du Pacifique colombien des 70 dernières années. La vie de la rivière, la musique des rives, les cérémonials et les festivités, les musiques romantiques et les louanges, l’éducation secondaire, l’enseignement, la création et l’interprétation musicale, et la musique comme axe de sa vie sont les principaux sujets qui sont abordés dans ce dialogue.</p><p>Mots clés</p><p>Musiques du Pacifique, musiques traditionnelles de Colombie, musiques de l’Atrato, chanteuses, musiques romantiques, louanges.</p><p>Zully Murillo, folksinger de muitas beiras .Resumo</p><p>Zully Murillo, folksinger tradicional do Atrato, compositora e mulher vanguarda, recriado através desta entrevista a rotina da sua vida, desde a infância até a idade adulta, uma jornada de memória onde é possível ler a cultura do Pacífico colombiano nos últimos 70 anos. Vida do rio, a música dos bancos, rituais e festas, romances e alabaos, ensino médio, ensino, criando e executando a música, e a música como a peça central de sua vida são os principais temas abordados neste diálogo.</p><p>Palavras chaves</p><p>Música Pacífico, música tradicional da Colômbia, Música do Chocó, Música dos Atrato, cantores, compositores, romances, alabaos.</p>

In the era of disruption, digitalization has replaced traditional culture due to technological developments. One form is distributing music or songs which was all on cassettes or CDs (compact discs) to digital music platforms. Currently, there are many digital music platforms such as Apple Music. One of the problems outlined in this paper is regarding the moral rights of songwriters on Apple Music, while moral rights are rights inherent in the Creator. This paper aims to: (1) find out the protection of the moral rights of songwriters in Indonesian positive Law; (2) discuss how to protect and fulfill the moral rights of songwriters on the Apple Music digital music platform. Through legal research with a normative juridical approach, research results that there is an imbalance in the moral rights of songwriters in Apple Music where their moral rights are not evenly accommodated for all songwriters and tend only to accommodate certain groups (singers, songs, songwriters, and/or big music labels only).

Folk songs of the people of Appalachia reflect how the people who settled in that region experienced life. This large body of musical literature provides a cultural history from which there is a considerable store of songs about conflict. This paper will focus on some of the most influential songs of the coal miners’ rebellion and labor movements of the early twentieth century, and will provide an analysis of the origins of the tunes, as well as discuss the continuing influence of songwriters and singers of the twenty-first century to continue to rouse the people of Appalachia to action to protect themselves from unwanted influence and coercion.

ABSTRACT In the United States, sing-along radio programmes became common in the 1930s. These programmes aired locally, regionally, and nationally, and they took various approaches to audience participation. Although categorized as radio participation shows, sing-along programmes were unique in that they prompted scripted musical participation by home listeners during the course of the broadcast. This article examines the most successful sing-along programme, Gillette Original Community Sing, which broadcast on the CBS network in 1936 and 1937. Participants were encouraged to imagine themselves as part of a numberless mediated community that included both audible singers in the studio audience and unheard singers spread across the continent. This community, however, was clearly bounded in terms of race. A detailed analysis of the Community Sing repertory reveals that the African American experience—as imagined primarily by white songwriters and often using blackface dialect—was the third most common song topic. By singing these songs, especially in the proximity of minstrel sketches, home listeners participated in mediated blackface performances that addressed racial anxieties and constructed white identity.

Abstract This article examines how the Nuovo Canzoniere Italiano (NCI) – a leftist collective founded in Milan in 1962 by Gianni Bosio and Roberto Leydi – used their journal to theorize oral cultures as instruments of class consciousness. By doing so, they contributed to the political movements of the 1960s in Italy. The NCI worked to construct a culture of protest through recorded albums, live performances and field research into oral practices. Despite their prominence as the ‘music of 1968’ in Italy, the NCI first came together as a journal. The ten issues of the group’s journal, Il Nuovo Canzoniere Italiano, published between 1962 and 1968, provided materialist and ethnomusicological analysis of oral cultures, as well as the repertoires of rural singers like Giovanna Daffini, and nourished the work of young songwriters. I argue that this journal fostered new militant approaches to culture, documented the artistic vitality of the labouring classes and helped foment the revolutionary sentiments of 1968.

The objective of this research is to analyze and interpret the entertainment section of the most important media in Peru, concentrated on two private companies: Grupo La República and Grupo El Comercio, with great journalistic dominance of national information. The entertainment section is as old as the foundation of the newspapers themselves. The method of analysis with qualitative documents has allowed us to reach the conclusion that the fight for gender equality promoted by the government is a spectacle for the national press. The entertainment section of the Peruvian press has exposed the private lives of representative characters such as the singers Marisol, “La Faraona de la Cumbia” and Tony Rosado, “El Ruiseñor de la Cumbia”, from there the differences in feminism tolerated in Marisol and machismo censored in Rosado are popularized. It is concluded that the exposure of the struggle for gender equality is entertainment news where machismo and feminism are underhandedly justified with the parameter established with these public figures, that is, Peruvian cumbia singer–songwriters, and that offers evidence of the tolerance to the feminine voice that incites machismo, justifies the mistreatment of men and makes the male complaint a synonym of cowardice.

Dangdut music is a highly popular genre in Indonesia. It serves not only as entertainment but also reflects the social reality of Indonesia through its lyrics, often depicting everyday life stories. Some Indonesian Dangdut song lyrics frequently exhibit gender inequality, perpetuating stereotypical views on gender roles by portraying women as sexual objects or passive, while men are often depicted as dominant figures. This research aims to explain gender inequality in the lyrics of well-known Dangdut songs in Indonesia. The research methodology employed is qualitative descriptive research. Data collection techniques include observation and note-taking. The research data consists of lyrics containing words, phrases, and sentences that represent gender inequality. Data analysis techniques involve content analysis and focus group discussions. The findings of this research contribute to the fields of linguistics, gender equality, and language use in song lyrics. The results indicate that explicit Dangdut song lyrics convey gender inequality between men and women. The subject-object and writer-reader positions are evident in portraying actors in the lyrics. Men are characterized powerful and actively engaged, while women are portrayed as sexual objects, obedient, passive, and accepting anything. The writer's position is that of a song creator observing societal phenomena, while the reader's position is that of music listeners, representing society. Ultimately, this research can provide insights for songwriters, singers, and stakeholders in the music industry regarding the potential impact of lyrics that create or reinforce gender inequality. This may encourage the adoption of more inclusive and gender-aware creation practices.

The purpose of the article is to determine the stages of development of music broadcasting and to reveal their features in the context of the evolution of audio recording means. The methodology consists of the application of general scientific and special methods, namely: information and system approaches, terminological and historical methods, as well as methods of analysis and generalization of source information, comparison and interrelation of theory and practice. Scientific novelty. The significance of musical resources has been brought to the development of radio communications and the early stages of development of musical radio communications have been clarified in the context of the evolution by means of audio recording. Conclusions. Radio has played one of the leading roles in the field of music and, conversely, without music, radio broadcasting has not received the appropriate technical development and, accordingly, would not have had such an impact on society. Clusters of music radio recordings on the rights of subsystems are connected to the metasystem of information communications. Music publishers, who were then the most influential part of the industry, allied with the musicians. At the time of birth, radio notes were the main musical product, and songwriters were real stars. However, when the whole world began to buy records instead of music, the power from publishers and singers passed to record companies and cooperated with them performers. In the early stages of its existence, musical radio broadcasting underwent an evolutionary path from the musical telegraph (1876), the first radio shows with magnetic recording (1914), the rapid development of radio engineering and recording technology (1920–1940), and 3-minute rock ‘n’ roll from artisanal records (1950s) to «pirate music», which was broadcast from ships (1960s). The study of the historical and cultural preconditions for the formation and development of musical radio broadcasting at an early stage in the context of the evolution of audio recording allowed to identify three main stages: «search» (1870–1920), 2) «competitive» (early 1920s – second half of the 1940s). .), 3) «vinyl-tape» (first half of the 1950s – 1970s). The term «music broadcasting» is proposed to mean technological means of sound transmission to an unlimited number of listeners of musical compositions and / or other musical information on the radio, as well as wired radio networks or packet-switched networks, classifying them as «active phonograms». , broadcast) and «passive phonograms» (performed a functional role and transferred to the archive). Key words: Archive, Records, Storage, Music, Digitization, Radio.

Song lyrics are one of the historical sources that historians have not adequately utilized. Such historical sources are considered to contain information on historical events. So far, song lyrics are considered the product of the songwriter's imagination, so they have no valid information. Song lyrics are similar to literary works such as poetry or prose. Literary experts argue that most literary works have references to actual events. Thus, both song lyrics and literary works can be used as alternative historical sources to complement official sources. The purpose of this study is to explore songs in Indonesia whose lyrics refer to actual events in history, even though the song is the product of the songwriter's imagination. The method used in this study is the historical method by selecting song lyrics that are considered to tell events and are associated with historical narratives in the context of a certain place and time. Most of those songs are ballads which are used as data sources. The results show several songwriters and ballad singers in Indonesia whose songs refer to actual events include Iwan Fals, Ebiet G. Ade, Rhoma Irama, and Benyamin Sueb. Their songs contain information about the reality of lower-class people living in Jakarta from 1950s to 1980s. Using song lyrics as a historical source will enrich historical narratives written by historians to contain psychological aspects as when the event occurred as written by the songwriters.Lirik lagu merupakan salah satu sumber sejarah yang belum dimanfaatkan dengan baik oleh para ahli sejarah. Sumber sejarah semacam itu dianggap mengandung informasi tentang peristiwa sejarah. Selama ini lirik lagu dianggap sebagai hasil imajinasi pencipta lagu, sehingga dianggap tidak memiliki informasi yang valid. Lirik lagu sebenarnya mirip dengan karya sastra seperti puisi atau prosa. Pakar sastra berpendapat bahwa sebagian besar karya sastra memiliki rujukan pada peristiwa aktual. Dengan demikian, baik lirik lagu maupun karya sastra dapat dijadikan sumber sejarah alternatif untuk melengkapi sumber resmi. Tujuan dari penelitian ini adalah untuk mengeksplorasi lagu-lagu di Indonesia yang liriknya mengacu pada peristiwa aktual dalam sejarah, meskipun lagu tersebut merupakan hasil imajinasi penulis lagu. Metode yang digunakan dalam penelitian ini adalah metode sejarah dengan memilih lirik lagu yang dianggap menceritakan peristiwa dan dikaitkan dengan narasi sejarah dalam konteks tempat dan waktu tertentu. Sebagian besar dari lagu-lagu tersebut adalah balada yang digunakan sebagai sumber data. Hasil penelitian menunjukkan bahwa beberapa pencipta lagu dan penyanyi ballad di Indonesia yang lagunya mengacu pada kejadian sebenarnya antara lain Iwan Fals, Ebiet G. Ade, Rhoma Irama, dan Benyamin Sueb. Lagu-lagu mereka berisi informasi tentang realitas masyarakat kelas bawah yang tinggal di Jakarta pada tahun 1950-an hingga 1980-an. Penggunaan lirik lagu sebagai sumber sejarah akan memperkaya narasi sejarah yang ditulis oleh para sejarawan agar mengandung aspek-aspek psikologis seperti saat terjadinya peristiwa yang ditulis oleh para pencipta lagu.

If thinking about home necessitates thinking about “place, space, scale, identity and power,” as Alison Blunt and Robyn Dowling (2) suggest, then thinking about home themes in popular music makes no less a conceptual demand. Song lyrics and titles most often invoke dominant readings such as intimacy, privacy, nurture, refuge, connectedness and shared belonging, all issues found within Blunt and Dowling’s analysis. The spatial imaginary to which these authors refer takes vivid shape through repertoires of songs dealing with houses and other specific sites, vast and distant homelands, communities or, less tangibly, geographical or cultural settings where particular relationships can be found, supporting Blunt and Dowling’s major claim that home is complex, multi-scalar and multi-layered. Shelley Mallett’s claim that the term home “functions as a repository for complex, inter-related and at times contradictory socio-cultural ideas about people’s relationships with one another…and with places, spaces and things” (84) is borne out heavily by popular music where, for almost every sentiment that the term home evokes, it seems an opposite sentiment is evoked elsewhere: familiarity versus alienation, acceptance versus rejection, love versus loneliness. Making use of conceptual groundwork by Blunt and Dowling and by Mallett and others, the following discussion canvasses a range of meanings that home has had for a variety of songwriters, singers and audiences over the years. Intended as merely partial and exploratory rather than exhaustive, it provides some insights into contrasts, ironies and relationships between home and gender, diaspora and loss. While it cannot cover all the themes, it gives prominence to the major recurring themes and a variety of important contexts that give rise to these home themes. Most prominent among those songs dealing with home has been a nostalgia and yearning, while issues of how women may have viewed the home within which they have often been restricted to a narrowly defined private sphere are almost entirely absent. This serves as a reminder that, while some themes can be conducive to the medium of popular music, others may be significantly less so. Songs may speak directly of experience but not necessarily of all experiences and certainly not of all experiences equally. B. Lee Cooper claims “most popular culture ventures rely upon formula-oriented settings and phrasings to attract interest, to spur mental or emotional involvement” (93). Notions of home have generally proved both formulaic and emotionally-charged. Commonly understood patterns of meaning and other hegemonic references generally operate more successfully than alternative reference points. Those notions with the strongest cultural currency can be conveyed succinctly and denote widely agreed upon meanings. Lyrics can seldom afford to be deeply analytical but generally must be concise and immediately evocative. Despite that, this discussion will point to diverse meanings carried by songs about home. Blunt and Dowling point out that “a house is not necessarily nor automatically a home” (3). The differences are strongly apparent in music, with only a few songs relating to houses compared with homes. When Malvina Reynolds wrote in 1962 of “little boxes, on the hillside, little boxes made of ticky-tacky,” she was certainly referring to houses, not homes, thus making it easier to bypass the relationships which might have vested the inhabitants with more warmth and individuality than their houses, in this song about conformity and homogeneity. The more complex though elusive concept of home, however, is more likely to feature in love songs and to emanate from diasporal songs. Certainly these two genres are not mutually exclusive. Irish songs are particularly noteworthy for adding to the array of music written by, or representational of, those who have been forced away from home by war, poverty, strife or other circumstances. They manifest identities of displacement rather than of placement, as studied by Bronwen Walter, looking back at rather than from within their spatial imaginary. Phil Eva claims that during the 19th Century Irish émigrés sang songs of exile in Manchester’s streets. Since many in England’s industrial towns had been uprooted from their homes, the songs found rapport with street audiences and entered popular culture. For example, the song Killarney, of hazy origins but thought to date back to as early as 1850, tells of Killarney’s lakes and fells, Emerald isles and winding bays; Mountain paths and woodland dells… ...her [nature’s] home is surely there. As well as anthropomorphising nature and giving it a home, the song suggests a specifically geographic sense of home. Galway Bay, written by A. Fahy, does likewise, as do many other Irish songs of exile which link geography with family, kin and sometimes culture to evoke a sense of home. The final verse of Cliffs of Doneen gives a sense of both people and place making up home: Fare thee well to Doneen, fare thee well for a while And to all the kind people I’m leaving behind To the streams and the meadows where late I have been And the high rocky slopes round the cliffs of Doneen. Earlier Irish songs intertwine home with political issues. For example, Tho’ the Last Glimpse of Erin vows to Erin that “In exile thy bosum shall still be my home.” Such exile resulted from a preference of fleeing Ireland rather than bowing to English oppression, which then included a prohibition on Irish having moustaches or certain hairstyles. Thomas Moore is said to have set the words of the song to the air Coulin which itself referred to an Irish woman’s preference for her “Coulin” (a long-haired Irish youth) to the English (Nelson-Burns). Diasporal songs have continued, as has their political edge, as evidenced by global recognition of songs such as Bayan Ko (My Country), written by José Corazon de Jesus in 1929, out of love and concern for the Philippines and sung among Filipinos worldwide. Robin Cohen outlines a set of criteria for diaspora that includes a shared belief in the possibility of return to home, evident in songs such as the 1943 Welsh song A Welcome in the Hillside, in which a Welsh word translating roughly as a yearning to return home, hiraeth, is used: We’ll kiss away each hour of hiraeth When you come home again to Wales. However, the immensely popular I’ll Take You Home Again, Kathleen, not of Irish origin but written by Thomas Westendorf of Illinois in 1875, suggests that such emotions can have a resonance beyond the diaspora. Anti-colonial sentiments about home can also be expressed by long-time inhabitants, as Harry Belafonte demonstrated in Island in the Sun: This is my island in the sun Where my people have toiled since time begun. Though I may sail on many a sea, Her shores will always be home to me. War brought a deluge of sentimental songs lamenting separation from home and loved ones, just as likely to be parents and siblings as sweethearts. Radios allowed wider audiences and greater popularity for these songs. If separation had brought a longing previously, the added horrors of war presented a stronger contrast between that which the young soldiers were missing and that which they were experiencing. Both the First and Second World Wars gave rise to songs long since sung which originated in such separations, but these also had a strong sense of home as defined by the nationalism that has for over a century given the contours of expectations of soldiers. Focusing on home, these songs seldom speak of the details of war. Rather they are specific about what the singers have left behind and what they hope to return to. Songs of home did not have to be written specifically for the war effort nor for overseas troops. Irving Berlin’s 1942 White Christmas, written for a film, became extremely popular with US troops during WWII, instilling a sense of home that related to familiarities and festivities. Expressing a sense of home could be specific and relate to regions or towns, as did I’m Goin’ Back Again to Yarrawonga, or it could refer to any home, anywhere where there were sons away fighting. Indeed the American Civil War song When Johnny Comes Marching Home, written by Patrick Sarsfield Gilmour, was sung by both Northerners and Southerners, so adaptable was it, with home remarkably unspecified and undescribed. The 1914 British song Keep the Home Fires Burning by Ivor Novello and Lena Ford was among those that evoked a connection between home and the military effort and helped establish a responsibility on those at home to remain optimistic: Keep the Homes fires burning While your hearts are yearning, Though your lads are far away They dream of home, There’s a silver lining Through the dark clouds shining, Turn the dark clouds inside out, Till the boys come Home. No space exists in this song for critique of the reasons for war, nor of a role for women other than that of homemaker and moral guardian. It was women’s duty to ensure men enlisted and home was rendered a private site for emotional enlistment for a presumed public good, though ironically also a point of personal hope where the light of love burned for the enlistees’ safe return. Later songs about home and war challenged these traditional notions. Two serve as examples. One is Pink Floyd’s brief musical piece of the 1970s, Bring the Boys Back Home, whose words of protest against the American war on Viet Nam present home, again, as a site of safety but within a less conservative context. Home becomes implicated in a challenge to the prevailing foreign policy and the interests that influence it, undermining the normal public sphere/private sphere distinction. The other more complex song is Judy Small’s Mothers, Daughters, Wives, from 1982, set against a backdrop of home. Small eloquently describes the dynamics of the domestic space and how women understood their roles in relation to the First and Second World Wars and the Viet Nam War. Reinforcing that “The materialities and imaginaries of home are closely connected” (Blunt and Dowling 188), Small sings of how the gold frames held the photographs that mothers kissed each night And the doorframe held the shocked and silent strangers from the fight. Small provides a rare musical insight into the disjuncture between the men who left the domestic space and those who return to it, and we sense that women may have borne much of the brunt of those awful changes. The idea of domestic bliss is also challenged, though from the returned soldier’s point of view, in Redgum’s 1983 song I Was Only Nineteen, written by group member John Schuman. It touches on the tragedy of young men thrust into war situations and the horrific after-affects for them, which cannot be shrugged off on return to home. The nurturing of home has limits but the privacy associated with the domestic sphere has often concealed the violence and mental anguish that happens away from public view. But by this time most of the songs referring to home were dominated once more by sentimental love, often borne of travel as mobility rose. Journeys help “establish the thresholds and boundaries of home” and can give rise to “an idealized, ideological and ethnocentric view of home” (Mallett 78). Where previously songsters had sung of leaving home in exile or for escape from poverty, lyrics from the 1960s onwards often suggested that work had removed people from loved ones. It could be work on a day-by-day basis, as in A Hard Day’s Night from the 1964 film of the same name, where the Beatles illuminate differences between the public sphere of work and the private sphere to which they return: When I’m home, everything seems to be alright, When I’m home feeling you holding me tight, tight, yeah and reiterated by Paul McCartney in Every Night: And every night that day is through But tonight I just want to stay in And be with you. Lyrics such as these and McCartney’s call to be taken “...home to the Mull of Kintyre,” singled him out for his home-and-hearth messages (Dempsey). But work might involve longer absences and thus more deepfelt loneliness. Simon and Garfunkel’s exemplary Homeward Bound starkly portrays a site of “away-ness”: I’m sittin’ in the railway station, got a ticket for my destination… Mundaneness, monotony and predictability contrast with the home to which the singer’s thoughts are constantly escaping. The routine is familiar but the faces are those of strangers. Home here is, again, not simply a domicile but the warmth of those we know and love. Written at a railway station, Homeward Bound echoes sentiments almost identical to those of (Leaving on a) Jet Plane, written by John Denver at an airport in 1967. Denver also co-wrote (Take Me Home) Country Roads, where, in another example of anthropomorphism as a tool of establishing a strong link, he asks to be taken home to the place I belong West Virginia, mountain momma, Take me home, Country Roads. The theme has recurred in numerous songs since, spawning examples such as Darin and Alquist’s When I Get Home, Chris Daughtry’s Home, Michael Bublé’s Home and Will Smith’s Ain’t No Place Like Home, where, in an opening reminiscent of Homeward Bound, the singer is Sitting in a hotel room A thousand miles away from nowhere Sloped over a chair as I stare… Furniture from home, on the other hand, can be used to evoke contentment and bliss, as demonstrated by George Weiss and Bob Thiele’s song The Home Fire, in which both kin and the objects of home become charged with meaning: All of the folks that I love are there I got a date with my favourite chair Of course, in regard to earlier songs especially, while the traveller associates home with love, security and tenderness, back at home the waiting one may have had feelings more of frustration and oppression. One is desperate to get back home, but for all we know the other may be desperate to get out of home or to develop a life more meaningful than that which was then offered to women. If the lot of homemakers was invisible to national economies (Waring), it seemed equally invisible to mainstream songwriters. This reflects the tradition that “Despite home being generally considered a feminine, nurturing space created by women themselves, they often lack both authority and a space of their own within this realm” (Mallett 75). Few songs have offered the perspective of the one at home awaiting the return of the traveller. One exception is the Seekers’ 1965 A World of Our Own but, written by Tom Springfield, the words trilled by Judith Durham may have been more of a projection of the traveller’s hopes and expectations than a true reflection of the full experiences of housebound women of the day. Certainly, the song reinforces connections between home and intimacy and privacy: Close the door, light the lights. We’re stayin’ home tonight, Far away from the bustle and the bright city lights. Let them all fade away, just leave us alone And we’ll live in a world of our own. This also strongly supports Gaston Bachelard’s claim that one’s house in the sense of a home is one’s “first universe, a real cosmos” (qtd. in Blunt and Dowling 12). But privacy can also be a loneliness when home is not inhabited by loved ones, as in the lyrics of Don Gibson’s 1958 Oh, Lonesome Me, where Everybody’s going out and having fun I’m a fool for staying home and having none. Similar sentiments emerge in Debbie Boone’s You Light up My Life: So many nights I’d sit by my window Waiting for someone to sing me his song. Home in these situations can be just as alienating as the “away” depicted as so unfriendly by Homeward Bound’s strangers’ faces and the “million people” who still leave Michael Bublé feeling alone. Yet there are other songs that depict “away” as a prison made of freedom, insinuating that the lack of a home and consequently of the stable love and commitment presumably found there is a sad situation indeed. This is suggested by the lilting tune, if not by the lyrics themselves, in songs such as Wandrin’ Star from the musical Paint Your Wagon and Ron Miller’s I’ve Never Been to Me, which has both a male and female version with different words, reinforcing gendered experiences. The somewhat conservative lyrics in the female version made it a perfect send-up song in the 1994 film Priscilla: Queen of the Desert. In some songs the absentee is not a traveller but has been in jail. In Tie a Yellow Ribbon round the Ole Oak Tree, an ex-inmate states “I’m comin’ home. I’ve done my time.” Home here is contingent upon the availability and forgivingness of his old girl friend. Another song juxtaposing home with prison is Tom Jones’ The Green, Green Grass of Home in which the singer dreams he is returning to his home, to his parents, girlfriend and, once again, an old oak tree. However, he awakes to find he was dreaming and is about to be executed. His body will be taken home and placed under the oak tree, suggesting some resigned sense of satisfaction that he will, after all, be going home, albeit in different circumstances. Death and home are thus sometimes linked, with home a euphemism for the former, as suggested in many spirituals, with heaven or an afterlife being considered “going home”. The reverse is the case in the haunting Bring Him Home of the musical Les Misérables. With Marius going off to the barricades and the danger involved, Jean Valjean prays for the young man’s safe return and that he might live. Home is connected here with life, safety and ongoing love. In a number of songs about home and absence there is a sense of home being a place where morality is gently enforced, presumably by women who keep men on the straight and narrow, in line with one of the women’s roles of colonial Australia, researched by Anne Summers. These songs imply that when men wander from home, their morals also go astray. Wild Rover bemoans Oh, I’ve been a wild rover for many a year, and I’ve spent all my money on whiskey and beer… There is the resolve in the chorus, however, that home will have a reforming influence. Gene Pitney’s Twenty-Four Hours from Tulsa poses the dangers of distance from a wife’s influence, while displaying opposition to the sentimental yearning of so many other songs: Dearest darlin’, I have to write to say that I won’t be home anymore ‘cause something happened to me while I was drivin’ home And I’m not the same anymore Class as well as gender can be a debated issue in meanings attached to home, as evident in several songs that take a more jaundiced view of home, seeing it as a place from which to escape. The Animals’ powerful We Gotta Get Outta This Place clearly suggests a life of drudgery in a home town or region. Protectively, the lyrics insist “Girl, there’s a better life for me and you” but it has to be elsewhere. This runs against the grain of other British songs addressing poverty or a working class existence as something that comes with its own blessings, all to do with an area identified as home. These traits may be loyalty, familiarity or a refusal to judge and involve identities of placement rather than of displacement in, for instance, Gerry and the Pacemakers’ Ferry Cross the Mersey: People around every corner, they seem to smile and say “We don’t care what your name is, boy. We’ll never send you away.” This bears out Blunt and Dowling’s claim that “people’s senses of themselves are related to and produced through lived and metaphorical experiences of home” (252). It also resonates with some of the region-based identity and solidarity issues explored a short time later by Paul Willis in his study of working class youth in Britain, which help to inform how a sense of home can operate to constrict consciousness, ideas and aspirations. Identity features strongly in other songs about home. Several years after Neil Young recorded his 1970 song Southern Man about racism in the south of the USA, the group Lynyrd Skynyrd, responded with Sweet Home Alabama. While the meaning of its lyrics are still debated, there is no debate about the way in which the song has been embraced, as I recently discovered first-hand in Tennessee. A banjo-and-fiddle band performing the song during a gig virtually brought down the house as the predominantly southern audience clapped, whopped and stamped its feet. The real meanings of home were found not in the lyrics but in the audience’s response. Wally Johnson and Bob Brown’s 1975 Home Among the Gum Trees is a more straightforward ode to home, with lyrics that prescribe a set of non-commodified values. It is about simplicity and the right to embrace a lifestyle that includes companionship, leisure and an enjoyment of and appreciation of nature, all threatened seriously in the three decades since the song’s writing. The second verse in which large shopping complexes – and implicitly the consumerism they encourage – are eschewed (“I’d trade it all tomorrow for a little bush retreat where the kookaburras call”), is a challenge to notions of progress and reflects social movements of the day, The Green Bans Movement, for instance, took a broader and more socially conscientious attitude towards home and community, putting forward alternative sets of values and insisting people should have a say in the social and aesthetic construction of their neighbourhoods as well as the impacts of their labour (Mundey). Ironically, the song has gone on to become the theme song for a TV show about home gardens. With a strong yet more vague notion of home, Peter Allen’s I Still Call Australia Home, was more prone to commodification and has been adopted as a promotional song for Qantas. Nominating only the desire to travel and the love of freedom as Australian values, both politically and socially innocuous within the song’s context, this catchy and uplifting song, when not being used as an advertisement, paradoxically works for a “diaspora” of Australians who are not in exile but have mostly travelled for reasons of pleasure or professional or financial gain. Another paradox arises from the song Home on the Range, dating back to the 19th century at a time when the frontier was still a strong concept in the USA and people were simultaneously leaving homes and reminiscing about home (Mechem). Although it was written in Kansas, the lyrics – again vague and adaptable – were changed by other travellers so that versions such as Colorado Home and My Arizona Home soon abounded. In 1947 Kansas made Home on the Range its state song, despite there being very few buffalo left there, thus highlighting a disjuncture between the modern Kansas and “a home where the buffalo roam” as described in the song. These themes, paradoxes and oppositional understandings of home only scratch the surface of the wide range of claims that are made on home throughout popular music. It has been shown that home is a flexible concept, referring to homelands, regions, communities and private houses. While predominantly used to evoke positive feelings, mostly with traditional views of the relationships that lie within homes, songs also raise challenges to notions of domesticity, the rights of those inhabiting the private sphere and the demarcation between the private and public spheres. Songs about home reflect contexts and challenges of their respective eras and remind us that vigorous discussion takes place about and within homes. The challenges are changing. Where many women once felt restrictively tied to the home – and no doubt many continue to do so – many women and men are now struggling to rediscover spatial boundaries, with production and consumption increasingly impinging upon relationships that have so frequently given the term home its meaning. With evidence that we are working longer hours and that home life, in whatever form, is frequently suffering (Beder, Hochschild), the discussion should continue. In the words of Sam Cooke, Bring it on home to me! References Bacheland, Gaston. The Poetics of Space. Boston, MA: Beacon Press, 1994. Beder, Sharon. Selling the Work Ethic: From Puritan Pulpit to Corporate PR. London: Zed Books, 2000. Blunt, Alison, and Robyn Dowling. Home. London: Routledge, 2006. Cohen, Robin. Global Diasporas: An Introduction. London: UCL Press, 1997. Cooper, B. Lee. “Good Timin’: Searching for Meaning in Clock Songs.” Popular Music and Society 30.1 (Feb. 2007): 93-106. Dempsey, J.M. “McCartney at 60: A Body of Work Celebrating Home and Hearth.” Popular Music and Society 27.1 (Feb. 2004): 27-40. Eva, Phil. “Home Sweet Home? The Culture of ‘Exile’ in Mid-Victorian Popular Song.” Popular Music 16.2 (May 1997): 131-150. Hochschild, Arlie. The Time Bind: When Work Becomes Home and Home Becomes Work. New York: Metropolitan/Holt, 1997. Mallett, Sonia. “Understanding Home: A Critical Review of the Literature.” The Sociological Review 52.1 (2004): 62-89. Mechem, Kirke, “The Story of ‘Home on the Range’.” Reprint from the Kansas Historical Quarterly (Nov. 1949). Topeka, Kansas: Kansas State Historical Society. 28 May 2007 http://www.emporia.edu/cgps/tales/nov2003.html>. Mundey, Jack. Green Bans and Beyond. Sydney: Angus & Robertson, 1981. Nelson-Burns, Lesley. Folk Music of England, Ireland, Scotland, Wales and America. 29 May 2007 http://www.contemplator.com/ireland/thoerin.html>. Summers, Anne. Damned Whores and God’s Police: The Colonization of Women in Australia. Harmondsworth: Penguin, 1975. Walter, Bronwen. Outsiders Inside: Whiteness, Place and Irish Women. London: Routledge, 2001. Waring, Marilyn. Counting for Nothing: What Men Value and What Women Are Worth. Wellington, NZ: Allen & Unwin, 1988. Willis, Paul. Learning to Labor: How Working Class Kids Get Working Class Jobs. New York: Columbia UP, 1977. Citation reference for this article MLA Style Varney, Wendy. "Homeward Bound or Housebound?: Themes of Home in Popular Music." M/C Journal 10.4 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0708/16-varney.php>. APA Style Varney, W. (Aug. 2007) "Homeward Bound or Housebound?: Themes of Home in Popular Music," M/C Journal, 10(4). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0708/16-varney.php>.

"Love Will Tear Us Apart" When routine bites hard, And ambitions are low, And resentment rides high, But emotions won't grow, And we're changing our ways, taking different roads. Then love, love will tear us apart, again. Love, love will tear us apart again. Why is the bedroom so cold? You've turned away on your side. Is my timing that flawed? Our respect runs so dry. Yet there's still this appeal that we've kept through our lives But love, love will tear us apart, again. Love, love will tear us apart, again. You cry out in your sleep, All my failings exposed. And there's a taste in my mouth, As desperation takes hold. Just that something so good just can't function no more But love, love will tear us apart again. Love, love will tear us apart again. Love, love will tear us apart again. Love, love will tear us apart again. Ian Curtis (1980) [in Curtis 1995:170-71] Watching the film 24 Hour Party People (2002), I remembered how much I used to love the bleak and danceable music that came from Manchester, England in the 1970s and 1980s. The early part of the film focuses on the aftermath of the Sex Pistols’ first visit to Manchester in 1976 and depicts the creation of Factory Records by Tony Wilson and the formation of Joy Division, one of the label’s most promising bands. Most of the band members were part a small group of people who were present at the Sex Pistols’ concert. The film shows the rise of the band and the strange allure of singer Ian Curtis, who killed himself in 1980 days before the band was set to embark on its first tour of the United States. After his death, Curtis became a figure of cult adoration and fascination. He remains so today. One of Joy Division’s most popular songs is “Love Will Tear Us Apart” (1980), reputedly about the dissolution of Curtis’s marriage (for more on this relationship, see the memoir of Curtis’s wife [1995]). In his brief life, Curtis’s recorded vocals were more announced than sung. In a dark, distant baritone, his lyrics sounded almost android-like, hinting at melody without indulging in the maudlin excess of the pop song. His distance from love song sentimentality often moved to a near yell that revealed painful sadness instead of irony (as in the lyrics and style of Morrissey of The Smiths, for example). Unlike the angry manic vocals that had already become a cliché in punk following Sex Pistols Johnny Lydon’s nasal wailing, Curtis offered the disturbing chest voice of melancholia. The band’s sound, as it began to evolve from three-chord punk to a more complicated and innovative collaboration of elements, included syncopated drum beats, a prominent bass line that flirted with funk rhythm, and a dirge-like guitar. In some songs, such as “Love Will Tear Us Apart,” a synthesizer was included, repeating and harmonizing to the repeated chorus. Such an embellishment was unheard of in guitar-oriented rock music at the time. Thus “Love” succeeds on three levels: it is an anthem of the “doom element” in relationships; it is musically adventuresome, and at the same time it is a dance song, played ad infinitum in the new wave dance halls of the 1980s. (Later, New Order, a band created in the wake of Curtis’s death and also on Factory Records, had an even bigger dance hit with the song “Blue Monday,” depicting another kind of failed romance.) To suggest an interpretation of the song lyrics: the couple’s love is all but doomed. Set in a depressing Northern England, there is no way for love to succeed: there is no room for “something so good”. Curtis doesn’t blame the failure of the relationship on either himself or the beloved in the song; there are traditions at work that cause the closeness of the relationship to dissolve into distance. In the song, it is suggested that the protagonist is unable to satisfy his lover, and yet the couple are unable to speak about it and the beloved turns away. Thus, he and his lover inherit a scenario that sets a mechanism to work against them. They cannot conquer their silences. Romeo and Juliet had the visible force of warring clans to defeat their love. In Curtis’s song, however, there are invisible social forces and the inadequacy of communication itself working against the couple. That their love is doomed is not so new. What makes the song sad is not that love tears them apart; the sadness is that love tears them apart again. Even though they have been through this torment before, there is no way to avoid its return. Without knowing it, they have called upon Love to bring it back. Of course, romantic love is often – if not usually – the province of popular song, from the ballad to the contemporary dance song. Disco, for example, perpetuated two sides of this fixation on love. One was the declaration of the ecstasy and spirituality of sexual love heard in Donna Summer’s “I Feel Love” (1977) or Sylvester’s “You Make Me Feel Mighty Real” (1979); the other was the manifesto of outliving the heartbreak caused by a deceitful lover (Gloria Gaynor’s “I Will Survive” [1978] or more recently, Whitney Houston’s “Its Not Right But Its Okay” [1999]). Love could be a savior to a lonely soul, providing the singer (and by extension, the dancing listener) with bodily pleasure. When disco singers, (usually female, usually black) sang of love’s demise, it was due to a lowly, no-good man revealing his true self. Yet in these tales, the failure of love sparked the ability of a smart, able woman to live an honorable life – even if she must do it on her own and find a divinity in herself. In disco, Love flirted with religion. Punk rock, at its inception, turned away from love as subject matter. For example, John Lydon, lead singer of the Sex Pistols (then known as Johnny Rotten) was quoted as saying that love was something felt for a cat or a dog. In a setting squeezed dry of spirituality and sexual bliss, for him love was illusionary and diversionary. Punk seemed to invest itself in other emotions, such as anger, and screamed about institutions, leaders, traditions—including the traditions of pop music itself. Yet love quickly returned as subject matter to punk music. The Buzzcocks, unlike the polemically political band The Clash, turned to romance and sex as subject matter. They debuted as the opening act at the Sex Pistols’ second visit to Manchester, and became known for bittersweet, uptempo love songs such as “What Do I Get?” (1978) and “Ever Fallen In Love With Someone (You Shouldn't've Fallen In Love With)?” (1978). Even “Orgasm Addict” (1977) tells the tale of a Casanova of sorts. The beloved in a Buzzcocks’ song was gender ambiguous, and the lyrics’ tone was ironic – if not sarcastic – about love’s misery. The band matched buzzsaw guitar with catchy melodies; the Buzzcocks wrote breakneck love songs you could dance to, even if the dancing was a bit of a flail. Singer Pete Shelley may seem to suffer from near-abject rejection, but he did so with abundant energy. Even John Lydon, in his later incarnation as the singer of Public Image Limited (PiL), penned the lyrics to the song “This is Not a Love Song (1983).” He screeched the words in the title over and over, and hence suggested that as much as the song was anti-romance, there was no way around Love. It returns endlessly, even if love was – as concept, as reality – to be rejected as part of a political conspiracy to turn one into a duped consumer of sounds, images, and stories. Love was inevitable. You are just going to end up feeling something for somebody. To rephrase a million pop songs (as done in the film Moulin Rouge (2001) in its medley of “silly love songs”): love is going to get you, it lifts you up where you belong, but it doesn’t live here anymore, although it may come back when you least expect it, you can’t hurry it… We, as listeners, let the song’s sentiment substitute for what we cannot say. Songs are emotional surrogates for the couple as well as the single in recovery. Regardless, we search the airwaves for our song. “Love Will Tear Us Apart” was this song in 1980, perfect for the failed romantic who dressed in dark colors, drew up lists of things s/he hated, and was prone to mourn a relationship even as it was beginning. As such this song was perfect for me back then, especially since it had a good beat and I could dance to its timely and timeless sadness. The pop song, then, is a site of endless, popular philosophizing on the nature of Love. Many of these songs, when they don’t blame the world for not letting love last, depict Love as if were a force, or an entity out there in the universe. When it enters our atmosphere (via Cupid?), it wreaks havoc and produces harmony, however fleeting. This metaphysical story of love, however, is far from the psychoanalytic tale of the origins of love. For psychoanalyst Melanie Klein, love is no mystery. It’s a production process. The baby learns to love through its relationship with the mother and, in particular – at least at first – with the mother’s breast. The mother’s breast provides nourishment for the hungry infant as well as sensuality and security. Through this activity the infant learns to love, for love is made through these intimate connections. Also for Klein, the ability to hate is created when the mother does not provide for her child. The dynamics of this relationship enable fantasy on the part of the child. Melanie Klein writes in “Love, Guilt, and Reparation” that “the baby who feels a craving for his mother’s breast when it is not there may imagine it to be there, i.e. he may imagine the satisfaction which he derives from it” (60). Thus, even as an infant, one is given to flights of fantasy, imagining all sorts of sources of nourishment and sensuality. One can surmise that since every child has to grow up and lose the intensity of this first connection, one can see that love becomes affiliated with loss. All sorts of complaints toward parents, and later, lovers, are unavoidable – blame it on our psyches which are factories of fantasy and embedded remembrances. We have to grow up and move from a succession of psychic and real homes. No wonder everyone worries about the beloved leaving, for each of us has been left before. The story of love that Klein tells does, though, have a tentative happy ending, for we are not entirely prisoners of our experiences: “If we have become able, deep in our unconscious minds, to clear our feelings to some extent towards our parents of grievances, and have forgiven them for the frustrations we had to bear, then we can be at peace with ourselves and are able to love others in the true sense of the word” (119). But no doubt, it is a big “if” that begins her sentence. Importantly, in Klein’s view, love is not an external, or otherworldly force; it is made via the needs and interactions of the infantile and maternal body. Equally importantly, though, this process necessitates separation and hence the psychoanalytic love story is one in which the protagonist is taught to love and lose in rapid succession – and requires reparation. Love is both inescapable and impossible. With such a sad narrative lodged in our unconscious, one can understand the reasons why songwriters resort to the metaphysics and divinity of love. Even though love hurts in its endings, as Curtis suggests, we have a history of trying it all over again. No listener ever believed Dionne Warwick when she sang the Burt Bacharach/Hal David song “I’ll Never Fall in Love Again” (1969). Dionne probably picked up the pieces of her broken heart and found the next guy who she knew in the back of her mind was all wrong for her. As Freud insists, we are compelled to repeat behavior patterns that do not always result in pleasure. This is not because all humans are born masochists. Rather, as Freud argues in Beyond the Pleasure Principle (1961), humans have “an instinct for mastery” that requires repetition. (10). Freud discovered this “instinct” through observing a child playing a game with a wooden reel and a piece of string when his mother leaves him alone. In the game, the child holds onto the string and throws the reel over the edge of the bed. He narrates his action by saying “fort” (gone) and then “da” (there). Freud reads this game as a kind of allegory for the loss he feels with his mother’s sporadic disappearances. The good doctor wonders why a child would replicate such a hurtful experience. He suggests that this game gives the child a compensatory sense of power over the inability to control the actions of his mother. Freud deems the child’s game “a cultural achievement” and an “instinctual renunciation” (of satisfaction). Contemporary readers may well be wary of Freud’s use of the word “instinct.” But I suggest that the will to continue to find love is not only due to a desire to find’s one soul-mate (or to put it more mundanely, “life partner”) although this desire is indeed a crucial impetus for the renewed search. We persevere in this almost futile endeavor to find the perfect romantic love in part due to a compulsion to repeat. The love song, even when it pontificates about remorse and pain in pseudo-abstract terms, is often a grown up version of the child’s “fort-da” game. The sad love song is a social device for coping with pain by restating it in a narrated and sung form. That’s why some of the best tunes are the most woeful ones. And “Love Will Tear Us Apart” is one of the best—it provokes many a listener to sing along with the song’s sorrow while dancing in brooding near-abandon. Works Cited Curtis, Deborah. Touching from a Distance: Ian Curtis and Joy Division. London: Faber, 1995. Freud, Sigmund. Beyond the Pleasure Principle. New York: Norton, 1961. Klein, Melanie. “Love, Guilt and Reparation.” Love, Hate and Reparation. Eds. Melanie Klein and Joan Riviere. New York: Norton, 1964. Citation reference for this article Substitute your date of access for Dn Month Year etc... MLA Style Miller, Edward D.. "Why Does Love Tear Us Apart? " M/C: A Journal of Media and Culture 5.6 (2002). Dn Month Year < http://www.media-culture.org.au/0211/whydoeslovetearusapartagain.php>. APA Style Miller, E. D., (2002, Nov 20). Why Does Love Tear Us Apart? . M/C: A Journal of Media and Culture, 5,(6). Retrieved Month Dn, Year, from http://www.media-culture.org.au/0211/whydoeslovetearusapartagain.html

Introduction This paper offers a survey of familiar popular music performers and songwriters who reference coffee in their work. It examines three areas of discourse: the psychoactive effects of caffeine, coffee and courtship rituals, and the politics of coffee consumption. I claim that coffee carries a cultural and musicological significance comparable to that of the chemical stimulants and consumer goods more readily associated with popular music. Songs about coffee may not be as potent as those featuring drugs and alcohol (Primack; Schapiro), or as common as those referencing commodities like clothes and cars (Englis; McCracken), but they do feature across a wide range of genres, some of which enjoy archetypal associations with this beverage. m.o.m.m.y. Needs c.o.f.f.e.e.: The Psychoactive Effect of Coffee The act of performing and listening to popular music involves psychological elements comparable to the overwhelming sensory experience of drug taking: altered perceptions, repetitive grooves, improvisation, self-expression, and psychological empathy—such as that between musician and audience (Curry). Most popular music genres are, as a result, culturally and sociologically identified with the consumption of at least one mind-altering substance (Lyttle; Primack; Schapiro). While the analysis of lyrics referring to this theme has hitherto focused on illegal drugs and alcoholic beverages (Cooper), coffee and its psychoactive ingredient caffeine have been almost entirely overlooked (Summer). The most recent study of drugs in popular music, for example, defined substance use as “tobacco, alcohol, marijuana, cocaine and other stimulants, heroin and other opiates, hallucinogens, inhalants, prescription drugs, over-the-counter drugs, and nonspecific substances” (Primack 172), thereby ignoring a chemical stimulant consumed by 90 per cent of adult Americans every day (Lovett). The wide availability of coffee and the comparatively mild effect of caffeine means that its consumption rarely causes harm. One researcher has described it as a ubiquitous and unobtrusive “generalised public activity […] ‘invisible’ to analysts seeking distinctive social events” (Cooper 92). Coffee may provide only a relatively mild “buzz”—but it is now accepted that caffeine is an addictive substance (Juliano) and, due to its universal legality, coffee is also the world’s most extensively traded and enthusiastically consumed psychoactive consumer product (Juliano 1). The musical genre of jazz has a longstanding relationship with marijuana and narcotics (Curry; Singer; Tolson; Winick). Unsurprisingly, given its Round Midnight connotations, jazz standards also celebrate the restorative impact of coffee. Exemplary compositions include Burke/Webster’s insomniac torch song Black Coffee, which provided hits for Sarah Vaughan (1949), Ella Fitzgerald (1953), and Peggy Lee (1960); and Frank Sinatra’s recordings of Hilliard/Dick’s The Coffee Song (1946, 1960), which satirised the coffee surplus in Brazil at a time when this nation enjoyed a near monopoly on production. Sinatra joked that this ubiquitous drink was that country’s only means of liquid refreshment, in a refrain that has since become a headline writer’s phrasal template: “There’s an Awful Lot of Coffee in Vietnam,” “An Awful Lot of Coffee in the Bin,” and “There’s an Awful Lot of Taxes in Brazil.” Ethnographer Aaron Fox has shown how country music gives expression to the lived social experience of blue-collar and agrarian workers (Real 29). Coffee’s role in energising working class America (Cooper) is featured in such recordings as Dolly Parton’s Nine To Five (1980), which describes her morning routine using a memorable “kitchen/cup of ambition” rhyme, and Don't Forget the Coffee Billy Joe (1973) by Tom T. Hall which laments the hardship of unemployment, hunger, cold, and lack of healthcare. Country music’s “tired truck driver” is the most enduring blue-collar trope celebrating coffee’s analeptic powers. Versions include Truck Drivin' Man by Buck Owens (1964), host of the country TV show Hee Haw and pioneer of the Bakersfield sound, and Driving My Life Away from pop-country crossover star Eddie Rabbitt (1980). Both feature characteristically gendered stereotypes of male truck drivers pushing on through the night with the help of a truck stop waitress who has fuelled them with caffeine. Johnny Cash’s A Cup of Coffee (1966), recorded at the nadir of his addiction to pills and alcohol, has an incoherent improvised lyric on this subject; while Jerry Reed even prescribed amphetamines to keep drivers awake in Caffein [sic], Nicotine, Benzedrine (And Wish Me Luck) (1980). Doye O’Dell’s Diesel Smoke, Dangerous Curves (1952) is the archetypal “truck drivin’ country” song and the most exciting track of its type. It subsequently became a hit for the doyen of the subgenre, Red Simpson (1966). An exhausted driver, having spent the night with a woman whose name he cannot now recall, is fighting fatigue and wrestling his hot-rod low-loader around hairpin mountain curves in an attempt to rendezvous with a pretty truck stop waitress. The song’s palpable energy comes from its frenetic guitar picking and the danger implicit in trailing a heavy load downhill while falling asleep at the wheel. Tommy Faile’s Phantom 309, a hit for Red Sovine (1967) that was later covered by Tom Waits (Big Joe and the Phantom 309, 1975), elevates the “tired truck driver” narrative to gothic literary form. Reflecting country music’s moral code of citizenship and its culture of performative storytelling (Fox, Real 23), it tells of a drenched and exhausted young hitchhiker picked up by Big Joe—the driver of a handsome eighteen-wheeler. On arriving at a truck stop, Joe drops the traveller off, giving him money for a restorative coffee. The diner falls silent as the hitchhiker orders up his “cup of mud”. Big Joe, it transpires, is a phantom trucker. After running off the road to avoid a school bus, his distinctive ghost rig now only reappears to rescue stranded travellers. Punk rock, a genre closely associated with recreational amphetamines (McNeil 76, 87), also features a number of caffeine-as-stimulant songs. Californian punk band, Descendents, identified caffeine as their drug of choice in two 1996 releases, Coffee Mug and Kids on Coffee. These songs describe chugging the drink with much the same relish and energy that others might pull at the neck of a beer bottle, and vividly compare the effects of the drug to the intense rush of speed. The host of “New Music News” (a segment of MTV’s 120 Minutes) references this correlation in 1986 while introducing the band’s video—in which they literally bounce off the walls: “You know, while everybody is cracking down on crack, what about that most respectable of toxic substances or stimulants, the good old cup of coffee? That is the preferred high, actually, of California’s own Descendents—it is also the subject of their brand new video” (“New Music News”). Descendents’s Sessions EP (1997) featured an overflowing cup of coffee on the sleeve, while punk’s caffeine-as-amphetamine trope is also promulgated by Hellbender (Caffeinated 1996), Lagwagon (Mr. Coffee 1997), and Regatta 69 (Addicted to Coffee 2005). Coffee in the Morning and Kisses in the Night: Coffee and Courtship Coffee as romantic metaphor in song corroborates the findings of early researchers who examined courtship rituals in popular music. Donald Horton’s 1957 study found that hit songs codified the socially constructed self-image and limited life expectations of young people during the 1950s by depicting conservative, idealised, and traditional relationship scenarios. He summarised these as initial courtship, honeymoon period, uncertainty, and parting (570-4). Eleven years after this landmark analysis, James Carey replicated Horton’s method. His results revealed that pop lyrics had become more realistic and less bound by convention during the 1960s. They incorporated a wider variety of discourse including the temporariness of romantic commitment, the importance of individual autonomy in relationships, more liberal attitudes, and increasingly unconventional courtship behaviours (725). Socially conservative coffee songs include Coffee in the Morning and Kisses in the Night by The Boswell Sisters (1933) in which the protagonist swears fidelity to her partner on condition that this desire is expressed strictly in the appropriate social context of marriage. It encapsulates the restrictions Horton identified on courtship discourse in popular song prior to the arrival of rock and roll. The Henderson/DeSylva/Brown composition You're the Cream in My Coffee, recorded by Annette Hanshaw (1928) and by Nat King Cole (1946), also celebrates the social ideal of monogamous devotion. The persistence of such idealised traditional themes continued into the 1960s. American pop singer Don Cherry had a hit with Then You Can Tell Me Goodbye (1962) that used coffee as a metaphor for undying and everlasting love. Otis Redding’s version of Butler/Thomas/Walker’s Cigarettes and Coffee (1966)—arguably soul music’s exemplary romantic coffee song—carries a similar message as a couple proclaim their devotion in a late night conversation over coffee. Like much of the Stax catalogue, Cigarettes and Coffee, has a distinctly “down home” feel and timbre. The lovers are simply content with each other; they don’t need “cream” or “sugar.” Horton found 1950s blues and R&B lyrics much more sexually explicit than pop songs (567). Dawson (1994) subsequently characterised black popular music as a distinct public sphere, and Squires (2002) argued that it displayed elements of what she defined as “enclave” and “counterpublic” traits. Lawson (2010) has argued that marginalised and/or subversive blues artists offered a form of countercultural resistance against prevailing social norms. Indeed, several blues and R&B coffee songs disregard established courtship ideals and associate the product with non-normative and even transgressive relationship circumstances—including infidelity, divorce, and domestic violence. Lightnin’ Hopkins’s Coffee Blues (1950) references child neglect and spousal abuse, while the narrative of Muddy Waters’s scorching Iodine in my Coffee (1952) tells of an attempted poisoning by his Waters’s partner. In 40 Cups of Coffee (1953) Ella Mae Morse is waiting for her husband to return home, fuelling her anger and anxiety with caffeine. This song does eventually comply with traditional courtship ideals: when her lover eventually returns home at five in the morning, he is greeted with a relieved kiss. In Keep That Coffee Hot (1955), Scatman Crothers supplies a counterpoint to Morse’s late-night-abandonment narrative, asking his partner to keep his favourite drink warm during his adulterous absence. Brook Benton’s Another Cup of Coffee (1964) expresses acute feelings of regret and loneliness after a failed relationship. More obliquely, in Coffee Blues (1966) Mississippi John Hurt sings affectionately about his favourite brand, a “lovin’ spoonful” of Maxwell House. In this, he bequeathed the moniker of folk-rock band The Lovin’ Spoonful, whose hits included Do You Believe in Magic (1965) and Summer in the City (1966). However, an alternative reading of Hurt’s lyric suggests that this particular phrase is a metaphorical device proclaiming the author’s sexual potency. Hurt’s “lovin’ spoonful” may actually be a portion of his seminal emission. In the 1950s, Horton identified country as particularly “doleful” (570), and coffee provides a common metaphor for failed romance in a genre dominated by “metanarratives of loss and desire” (Fox, Jukebox 54). Claude Gray’s I'll Have Another Cup of Coffee (Then I’ll Go) (1961) tells of a protagonist delivering child support payments according to his divorce lawyer’s instructions. The couple share late night coffee as their children sleep through the conversation. This song was subsequently recorded by seventeen-year-old Bob Marley (One Cup of Coffee, 1962) under the pseudonym Bobby Martell, a decade prior to his breakthrough as an international reggae star. Marley’s youngest son Damian has also performed the track while, interestingly in the context of this discussion, his older sibling Rohan co-founded Marley Coffee, an organic farm in the Jamaican Blue Mountains. Following Carey’s demonstration of mainstream pop’s increasingly realistic depiction of courtship behaviours during the 1960s, songwriters continued to draw on coffee as a metaphor for failed romance. In Carly Simon’s You’re So Vain (1972), she dreams of clouds in her coffee while contemplating an ostentatious ex-lover. Squeeze’s Black Coffee In Bed (1982) uses a coffee stain metaphor to describe the end of what appears to be yet another dead-end relationship for the protagonist. Sarah Harmer’s Coffee Stain (1998) expands on this device by reworking the familiar “lipstick on your collar” trope, while Sexsmith & Kerr’s duet Raindrops in my Coffee (2005) superimposes teardrops in coffee and raindrops on the pavement with compelling effect. Kate Bush’s Coffee Homeground (1978) provides the most extreme narrative of relationship breakdown: the true story of Cora Henrietta Crippin’s poisoning. Researchers who replicated Horton’s and Carey’s methodology in the late 1970s (Bridges; Denisoff) were surprised to find their results dominated by traditional courtship ideals. The new liberal values unearthed by Carey in the late 1960s simply failed to materialise in subsequent decades. In this context, it is interesting to observe how romantic coffee songs in contemporary soul and jazz continue to disavow the post-1960s trend towards realistic social narratives, adopting instead a conspicuously consumerist outlook accompanied by smooth musical timbres. This phenomenon possibly betrays the influence of contemporary coffee advertising. From the 1980s, television commercials have sought to establish coffee as a desirable high end product, enjoyed by bohemian lovers in a conspicuously up-market environment (Werder). All Saints’s Black Coffee (2000) and Lebrado’s Coffee (2006) identify strongly with the culture industry’s image of coffee as a luxurious beverage whose consumption signifies prominent social status. All Saints’s promotional video is set in a opulent location (although its visuals emphasise the lyric’s romantic disharmony), while Natalie Cole’s Coffee Time (2008) might have been itself written as a commercial. Busting Up a Starbucks: The Politics of Coffee Politics and coffee meet most palpably at the coffee shop. This conjunction has a well-documented history beginning with the establishment of coffee houses in Europe and the birth of the public sphere (Habermas; Love; Pincus). The first popular songs to reference coffee shops include Jaybird Coleman’s Coffee Grinder Blues (1930), which boasts of skills that precede the contemporary notion of a barista by four decades; and Let's Have Another Cup of Coffee (1932) from Irving Berlin’s depression-era musical Face The Music, where the protagonists decide to stay in a restaurant drinking coffee and eating pie until the economy improves. Coffee in a Cardboard Cup (1971) from the Broadway musical 70 Girls 70 is an unambiguous condemnation of consumerism, however, it was written, recorded and produced a generation before Starbucks’ aggressive expansion and rapid dominance of the coffee house market during the 1990s. The growth of this company caused significant criticism and protest against what seemed to be a ruthless homogenising force that sought to overwhelm local competition (Holt; Thomson). In response, Starbucks has sought to be defined as a more responsive and interactive brand that encourages “glocalisation” (de Larios; Thompson). Koller, however, has characterised glocalisation as the manipulative fabrication of an “imagined community”—whose heterogeneity is in fact maintained by the aesthetics and purchasing choices of consumers who make distinctive and conscious anti-brand statements (114). Neat Capitalism is a more useful concept here, one that intercedes between corporate ideology and postmodern cultural logic, where such notions as community relations and customer satisfaction are deliberately and perhaps somewhat cynically conflated with the goal of profit maximisation (Rojek). As the world’s largest chain of coffee houses with over 19,400 stores in March 2012 (Loxcel), Starbucks is an exemplar of this phenomenon. Their apparent commitment to environmental stewardship, community relations, and ethical sourcing is outlined in the company’s annual “Global Responsibility Report” (Vimac). It is also demonstrated in their engagement with charitable and environmental non-governmental organisations such as Fairtrade and Co-operative for Assistance and Relief Everywhere (CARE). By emphasising this, Starbucks are able to interpellate (that is, “call forth”, “summon”, or “hail” in Althusserian terms) those consumers who value environmental protection, social justice and ethical business practices (Rojek 117). Bob Dylan and Sheryl Crow provide interesting case studies of the persuasive cultural influence evoked by Neat Capitalism. Dylan’s 1962 song Talkin’ New York satirised his formative experiences as an impoverished performer in Greenwich Village’s coffee houses. In 1995, however, his decision to distribute the Bob Dylan: Live At The Gaslight 1962 CD exclusively via Starbucks generated significant media controversy. Prominent commentators expressed their disapproval (Wilson Harris) and HMV Canada withdrew Dylan’s product from their shelves (Lynskey). Despite this, the success of this and other projects resulted in the launch of Starbucks’s in-house record company, Hear Music, which released entirely new recordings from major artists such as Ray Charles, Paul McCartney, Joni Mitchell, Carly Simon and Elvis Costello—although the company has recently announced a restructuring of their involvement in this venture (O’Neil). Sheryl Crow disparaged her former life as a waitress in Coffee Shop (1995), a song recorded for her second album. “Yes, I was a waitress. I was a waitress not so long ago; then I won a Grammy” she affirmed in a YouTube clip of a live performance from the same year. More recently, however, Crow has become an avowed self-proclaimed “Starbucks groupie” (Tickle), releasing an Artist’s Choice (2003) compilation album exclusively via Hear Music and performing at the company’s 2010 Annual Shareholders’s Meeting. Songs voicing more unequivocal dissatisfaction with Starbucks’s particular variant of Neat Capitalism include Busting Up a Starbucks (Mike Doughty, 2005), and Starbucks Takes All My Money (KJ-52, 2008). The most successful of these is undoubtedly Ron Sexsmith’s Jazz at the Bookstore (2006). Sexsmith bemoans the irony of intense original blues artists such as Leadbelly being drowned out by the cacophony of coffee grinding machines while customers queue up to purchase expensive coffees whose names they can’t pronounce. In this, he juxtaposes the progressive patina of corporate culture against the circumstances of African-American labour conditions in the deep South, the shocking incongruity of which eventually cause the old bluesman to turn in his grave. Fredric Jameson may have good reason to lament the depthless a-historical pastiche of postmodern popular culture, but this is no “nostalgia film”: Sexsmith articulates an artfully framed set of subtle, sensitive, and carefully contextualised observations. Songs about coffee also intersect with politics via lyrics that play on the mid-brown colour of the beverage, by employing it as a metaphor for the sociological meta-narratives of acculturation and assimilation. First popularised in Israel Zangwill’s 1905 stage play, The Melting Pot, this term is more commonly associated with Americanisation rather than miscegenation in the United States—a nuanced distinction that British band Blue Mink failed to grasp with their memorable invocation of “coffee-coloured people” in Melting Pot (1969). Re-titled in the US as People Are Together (Mickey Murray, 1970) the song was considered too extreme for mainstream radio airplay (Thompson). Ike and Tina Turner’s Black Coffee (1972) provided a more accomplished articulation of coffee as a signifier of racial identity; first by associating it with the history of slavery and the post-Civil Rights discourse of African-American autonomy, then by celebrating its role as an energising force for African-American workers seeking economic self-determination. Anyone familiar with the re-casting of black popular music in an industry dominated by Caucasian interests and aesthetics (Cashmore; Garofalo) will be unsurprised to find British super-group Humble Pie’s (1973) version of this song more recognisable. Conclusion Coffee-flavoured popular songs celebrate the stimulant effects of caffeine, provide metaphors for courtship rituals, and offer critiques of Neat Capitalism. Harold Love and Guthrie Ramsey have each argued (from different perspectives) that the cultural micro-narratives of small social groups allow us to identify important “ethnographic truths” (Ramsey 22). Aesthetically satisfying and intellectually stimulating coffee songs are found where these micro-narratives intersect with the ethnographic truths of coffee culture. 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