“I’m Getting Sentimental Over You” Tommy Dorsey;“
“Moon River” Louis Armstrong;
“Stardust” Artie Shaw
“Lord of The Rings”
“How to Train Your Dragon”
“Woodlawn Park” Anime
“Chicago Diner” Kota the Friend
“Wellerman” Nathan Evans
“Drunker Sailor” Irish Rovers
“John Kanaka” Fisherman’s Friends
“Silk Chiffon” MUNA f Phoebe Bridgers
“Furniture” Maude LaTour
“No Sleep” Skepta
“Welcome to the Show” Cody Johnston
“Blown Away” Carrie Underwood
“God’s Country” Blake Shelton
This educational music list brought to you by Pitchfork and Kelefa Sanneh, and his new book “Major Labels”:
Kelefa Sanneh: One of the things that I didn’t quite realize until I started looking at archives was the idea that genre is disappearing. It reoccurs in the history of music, whether it’s Billboard getting rid of the R&B chart in the 1960s for a minute, because R&B records were going pop and they’re thinking, Maybe it’s kind of all one music. There was a similar impulse in disco—the Rolling Stones and the Star Wars soundtrack are now the same genre; everyone’s making disco hits, so maybe disco is going to be universal. And you have bits of that in the ’80s with R&B and pop coming together. You have that in the late-’90s and early 2000s, the TRL era on MTV, when all of a sudden it’s like teen pop, and N-SYNC is a pop group, but they’re making R&B records. And they’re collaborating with hip-hop producers and rappers.
I was also listening to the first 60 minutes of Ethan Iverson on a podcast with Dartmouth solider-writer Phil Klay and someone named Siegel. They were commenting on an essay by Wynton Marsalis from 30 years ago. This is mission creep but it occurs to be that I sometimes confuse Cyrus Chestnut, Cecil Taylor and Cedar Walton. And then Andrew Hill (hipped by Nels Cline). And John Goodman plays Roland Turner in the Coen Brothers movie, which is about Bob Dylan, whose version of “Moon River” sounds more country than jazz. And I thought Adam Driver played Johnny Five, Goodman’s “valet”. And Dayna Stephens likes the Jim Jarmusch movie about Paterson, NJ although I haven’t figured out how to access it. And if you are here from the previous feature that was: Alice Waters, Jello Biafra, Errol Morris himself, Jerry Brown –I was looking for Ken Arrow but don’t know what he looks like. His sons were in school with me, at Gunn, in the early 1980s. He won the Nobel Prize. And my tv — paused from Elwin Davis — says Klay is back. The splash brother not war hero scribe.
I also found an essay by Wynton Marsalis from 1990 Ebony – it’s archived on his site — and captured the closing two paragraphs:
Musically, JoJo is considered to be primarily a pop and R&B artist; however, the majority of her singles tend to lean more towards the former as a marketing tool. Prefix‘s Norman Meyers observed that “As an adolescent white girl singing mainstream R&B, her singles have leaned toward pop to snag sales … But the list of producers on The High Road … shows that Jojo is more concerned with harder beats and soulful sounds.” JoJo is a mezzo-soprano and her singing voice has been widely acclaimed by music critics, one of whom ranked it among “the best in the game”, while her R&B recordings have been compared to the likes of R&B singers Brandy and Monica.Describing her as a “vocal phenom”, Entertainment Weekly‘s Leah Greenblatt enthused that JoJo is “capable of Mariah Carey-style upper-register flourishes”. Vocally, critics frequently draw comparisons between JoJo and singers Kelly Clarkson and Beyoncé, while Slant Magazine‘s Sal Cinquemani remarked that the singer “could very well be the next Teena Marie“.
At times some of her material and use of melismahas been criticized for being overproduced and overused, respectively