This article begs the question as to what “skim writing” might entail. Academic research and writing seem like an awful lot of trouble, given that it takes a long time to produce with almost no-one encountering it after all that. Also, Malcolm Gladwell and others are just going to reorganize selected parts of it, anyhow. Why not skip the middle man? Why shouldn’t we try to get to “deep digital” parallels to writing and reading?
The Eagles’ 1976 album Their Greatest Hits 1971-1975 (with 38 million copies sold) has once again supplanted Michael Jackson’s 1982 album Thriller (with 33 million copies sold) as the top-selling album of all time, at least in the US. Who cares?
Amanda Petrusich, in her New Yorker article about the situation, accomplishes very little other than to reveal she finds that the Jackson album “provokes” (without once specifying how or why), whereas the Eagles’ greatest hits collection “placates” (though also somehow imbuing “dread” and/or a “swirling beige inertia”).
Given the existence of Hardcore Punk, Death Metal, New Age, Smooth Jazz, and various other musical genres not explored by Michael Jackson or by the Eagles, I find it extremely difficult to consider either of those artists to be particularly provocative or placating. Also, none of this takes into account the fact that both artists uniquely arrived at their mainstream pop successes by merging other styles. The Eagles combined singer-songwriter and country-rock approaches into a kind of rock super-group aesthetic (and certainly with rather less “major chord ubiquity” after 1975), whereas Jackson combined R&B, urban/dance pop, and rock elements into a compelling amalgam.
Do any of the details about music sales actually matter, though, when tens of millions of people now listen to most of the music they encounter–and frequently without buying anything–on such streaming services such as Spotify and YouTube? Probably not. Could music writers please get around to discussing music in more useful ways? Same answer, unfortunately.
Here’s my bio for a forthcoming book about The Simpsons (McFarland, 2018, edit: actually 2019), in which I have a chapter called “Be Sharp: The Simpsons & Music.” [I also have a semi-related journal article coming out in MUSICultures in 2020.]
Durrell Bowman has a Ph.D. in Musicology (UCLA, 2003), a Certificate in Computer Applications Development (2010), and a Master of Library and Information Science (2018). For about a decade, he developed and taught music history courses as an adjunct or visiting instructor at seven institutions all across North America. He has also worked as a semi-professional choral singer, built websites, and presented numerous conference papers, including several on music in The Simpsons. In addition, he has written books, book chapters, journal articles, media and book reviews, reference entries, and program notes. His books are: Experiencing Peter Gabriel: A Listener’s Companion (Rowman & Littlefield, 2016), Experiencing Rush: A Listener’s Companion (Rowman & Littlefield, 2014), and Rush and Philosophy: Heart and Mind United (co-editor and three chapters, Open Court Publishing, 2011). He hails from what Homer refers to as “America Junior” and agrees with Marge that “grad students just made a terrible life choice.”
Rob Bowman quoted me about Rush’s song “Cygnus X-1” in his liner notes for the 40th anniversary edition of the band’s 1977 album A Farewell to Kings. http://cygnus-x1.net/…/rush/albums-afarewelltokings-40th.php. Thanks, Rob!
As Durrell Bowman (no relation) has noted, the piece “features a substantial amount of electronically generated sounds and sound effects, frequent metrical complexities (28% in asymmetrical meters alone), a large number of tonal areas (eight), a high degree of unison playing (35%), and one of the smallest sung proportions on Rush’s first five studio albums (16%).”
It’s nice to know that someone got as far as page 130 of my 318-page dissertation! I say pretty much the same thing in Experiencing Rush: A Listener’s Companion, but without such nerdy things as percentages and words like “asymmetrical.”
I’m working on a chapter about music in The Simpsons for a book that the independent publisher McFarlane has requested. I presented six conference papers on the topic between 2006 and 2013 and also completed about half of a book on it, so it shouldn’t take take too long! The editor in 2010 co-authored a book for the same press, called: The Simpsons in the Classroom: Embiggening the Learning Experience with the Wisdom of Springfield. The new book is intended for undergraduate students and the general public, so it’s a good opportunity to get some more “public music history” out there.
I’ve recently been accepted into Western University’s American-Library-Association-accredited Master of Library and Information Science (MLIS) program. I will be doing my required courses from May through August this summer, hopefully a co-op work term (paid internship) in a library from September to December, and my electives and major research project (probably on online music delivery) from January through August of 2017. I’m getting student loans lined up for the summer of 2016 and will hopefully also be able to get some in 2017.
I just made an inquiry re Western’s Master of Library and Information Science (MLIS) program, in order to introduce myself and to ask about whether they have any preliminary scheduling information for the next several semesters. I’m interested to know what they’ll say, although I expect they’ll mostly just encourage me to apply.
I explained that after my BA in Music and Applied Studies Co-op at the U. of Waterloo and my MA in Musicology at the U. of Toronto, I completed my PhD in Musicology at UCLA and then more recently also a Co-op Certificate in Computer Applications Development at Conestoga College. I also said that in addition to my background in academia (research, teaching), music (e.g., choral singing), and my current work in public music history (books, articles, and conference papers), I have had several part-time jobs involving libraries, including a recordings’ research position at UCLA’s Music Library Special Collections, serving as the choral librarian of the Elora Festival & Singers, and my current volunteering in holds shelving and missing-item traces at the Waterloo Public Library. I also let them know that I once taught a course in popular music & culture for their faculty (FIMS), have developed a number of websites, took a pair of small-business/self-employment courses, and am currently a Visiting Scholar at Conrad Grebel University College at UW.
I wondered if there is an expected schedule yet for the five required courses in Summer 2016 and/or a list of what is expected to be offered in 2016-17? I said that I’m thinking of starting the program this coming summer, doing my second term in Fall 2016 (including some courses online, as I live in Waterloo), then doing a co-op term in Winter 2017 (taking one more course, possibly online, during that term), and completing the program in Summer 2017.
Experiencing Peter Gabriel: A Listener’s Companion mostly focuses on the songs found on his four primary studio albums: III/Melt (Chapter 4), IV/Security (Chapter 5), So (Chapter 6), and Us (Chapter 7). Chapters 1-2 cover his early years with Genesis (three studio albums per chapter), and Chapter 3 covers his first two solo albums: I/Car and II/Scratch. I’ve covered tours, film scores, other collaborations, cover versions, biographical details, etc. more briefly along the way. Thus, I think I can probably manage to include 2010’s Scratch My Back covers of other people’s songs, 2011’s New Blood orchestral reworkings of his own songs, and 2013’s And I’ll Scratch Yours covers of his songs in the same chapter (Chapter 8) that mainly covers 2002’s Up.
I have often used the 15th-century Franco-Flemish composer Johannes Ockeghem as a whipping boy to underscore my field’s lingering, unrepentent obscurity. For example, I found it hilarious when I had an internship at the American Musicological Society’s office in Brunswick, Maine in the summer of 2010 that there was nothing much there other than this huge, unsold stack of Vol. 3 of Ockeghem’s collected works from 1992. The fancy, expensive books had obviously been sitting there since the AMS office moved there from Philadelphia in 2006. Now, in 2016 the office will be moving to New York City, and they’re trying to pawn the books off for just the cost of shipping and handling. It occurred to me that they might actually get rid of a few of them if they included some free Slap Chops!