Seize the Weekend!

Welcome to your fourteenth weekend of the year.

What are you going to do with it?

What have you done with your weekends so far this year? Could you do better?

For a lot of people, weekends are sacrosanct. It’s our only chance to sleep late, our only chance to switch off, to meet up with friends for longer than a quick pint.

But it’s also the only chance we get to seize the day for ourselves. The weekend holds no obligations (if you’re lucky…) – no deadlines, no schedules, no timetables. Anything could happen today and tomorrow – anything.

You could find yourself halfway up a mountain by lunchtime.

You could be swimming in that loch in the sunshine.

You could start writing a novel.

You could buy a guitar and sing crazy songs about musical body parts.

You could help your neighbours with their shopping.

You could bake a cake for your nan.

But remember: after this one, you’ve only got another 39 left – and one of those is New Year’s Eve.

Make the most of them. Make the most of this weekend.

Bad Romance: Changes in Pop Lyrics, 1960 – 2010

After inadvertently being exposed to some of this modern “popular” music, I was struck by the lyricists’ choice of words. The subject matter seemed to be quite, er, explicit. There seemed to be an emphasis on going out to parties, getting girls drunk and then having sex with them. Or, if the singer was a female, it seemed to be about going out to parties, getting drunk and then having sex with guys.

I don’t mean to judge this kind of lyric – I’m sure the music back in 1960 was just as boring in its own way – but what interested me was the change in content. I don’t remember listening to Cliff Richard singing about foreplay. So I asked myself how have lyrics changed in the last fifty years?

For this experiment, I took the lyrics of all the #1 hits of 1960 and the lyrics of all the #1 hits of 2010 and compared them.

Changes in the Music Business

Firstly, here’s a note on the change in the music singles business. There has been a trend in recent years for songs to be promoted heavily, hit the #1 spot and then moved on quickly. This explains the difference in sample size between 1960 and 2010.

  • 1960: 16 #1s over 50 weeks at an average of 3.13 weeks at #1. Longest: 8 weeks at #1.
  • 2010: 35 #1s over 53 weeks at an average of 1.49 weeks at #1. Longest: 3 weeks at #1.

With a sample size for 2010 more than double that of 1960, for a fair comparison between the two I refer to word frequencies as a percentage of the total words for that sample. Here we got then.

I, Me, My, Mine

Our lyricists appear to be more selfish these days.

  • In 1960, #1 songs had a balance between “You” and “I”, with “You” just about more popular, appearing as 4.34% of words. 
  • In 2010, 5.76% of words are “I” and only 4.05% “You”.

Does this pronoun switch signal a change in focus for lyrics, putting “I” at the centre, rather than singing songs for “You”. Has the romance of song-writing died?

Love Lost

  • In 1960, the fourth most common word in lyrics was “love”. “Love” was more popular in songs than “the”. [This is what I meant by 1960s songs being boring in their own way!] “Love”, “loved”, “loves”, “lovely” and “lovers” made up 3% of all words in #1 songs from 1960. 
  • But by 2010, “love” had fallen to be only the twenty-sixth most common word, appearing as just 0.72% of the total words.

No kissing!

The collapse of romance in pop songs between 1960 and 2010 is also shown by an even more precipitous fall in the use of the word “kiss”.

  • In 1960, “kisses” and “kiss” made up 0.53% of words. 
  • In 2010, this was down to 0.06%.

Yo, bitch!

I could go on.

  • In 1960, the female protagonist of songs was called “baby”, “dove”, “girl”, “honey”, “dear” – or even “maid”
  • In 2010, the female protagonist is “baby” (or “babe”), “girl” (or “gurl”), “honey”, “lady” or “bitch”

Not altogether romantic.

Shake or sex?

  • In 1960, the most sexual excitement to be found in pop songs were “shaking”, “kissing”, “teasing” – or “marriage”
  • In 2010, we have a bit of “kissing”, but also “fantasies”, “sex”, “foreplay” and straight-out “fucking”.

Lonely or just alone?

There is also an interesting nuanced change to do with loneliness.

  • In 1960, the protagonists were occasionally “lonely”
  • In 2010, however, they are never “lonely”, but only “alone”

It seems to me that this implies a temporary condition that could be corrected by a visit to the local “disco” for some “bitches”, rather than the 1960s long-term loneliness of “devotion” that led to “heartache” for the hero.

Disappearing up its own…

And it’s these discos that represent the most fascinating change between pop songs of the 1960s and the pop songs of today. It’s a change that has come about in lyrical “plots”.

In 1960, there were scarcely any mentions of singing or songs (0.0006%) – or anything else to do with music, but in 2010 an astonishing 1.47% of words are to do with clubs or discos, dancefloors or DJs, clubbing or raving and raves, singing or songs. That’s twice as frequent as references to love in these songs.

  • Does this mean we are a more sexualised culture, interested only in the lust that can be found on a pounding dancefloor? 
  • Or does it just mean that our lyricists can’t think of anything better to sing about? – perhaps because it’s all been sung before, by the singers of the sixties. 
  • Or is it something to do with the rise of the music video? Singing about romance, devotion and marriage just isn’t that exciting. You can’t really make a compelling music video with that, can you? It’s much easier to hire some hip-hop honeys, pack them into a sweat-stained nightclub and wheel out the disco lights. 

Sex sells.

Touring with Dinosaurs

This is a list of the top grossing worldwide ‘tours’ of 2010, according to Pollstar.

1. Bon Jovi

  • Gross Takings: $201.1m (£130.7m) 
  • Average Ticket Price: $105.35
  • Number of Shows: 80
  • Gross Takings per Show: $2.5m
  • Got Famous: 1980s
  • Age Now: 48

2. AC/DC

  • Gross Takings: $177m (£115m)
  • Average Ticket Price: $97.21
  • Number of Shows: 40
  • Gross Takings per Show: $4.4m
  • Got Famous: 1980s
  • Age Now: 57

3. U2

  • Gross Takings: $160.9m (£104.6m)
  • Average Ticket Price: $100.17
  • Number of Shows: 32
  • Gross Takings per Show: $5m
  • Got Famous: 1980s
  • Age Now: 50

4. Lady Gaga

  • Gross Takings: $133.6m (£86.8m) 
  • Average Ticket Price: $88.22
  • Number of Shows: 138
  • Gross Takings per Show: 0.97m
  • Got Famous: 2000s
  • Age Now: 24

5. Metallica

  • Gross Takings: $110.1m (£71.5m)
  • Average Ticket Price: $98.72
  • Number of Shows: 60
  • Gross Takings per Show: $1.8m
  • Got Famous: 1980s
  • Age Now: 47

6. Michael Buble

  • Gross Takings: $104.2m (£67.7m)
  • Average Ticket Price: $83.81
  • Number of Shows: 111
  • Gross Takings per Show: $0.94m
  • Got Famous: 2000s
  • Age Now: 35

7. Walking with Dinosaurs

  • Gross Takings: $104.1m (£67.7m)
  • Average Ticket Price: $50.56
  • Number of Shows: 485
  • Gross Takings per Show: $0.21m
  • Got Famous: Late Triassic Period
  • Age Now: 230m years

8. Paul McCartney

  • Gross Takings: $93m (£60m)
  • Average Ticket Price: $138.35
  • Number of Shows: 31
  • Gross Takings per Show: $3m
  • Got Famous: 1960s
  • Age Now: 68

9. Eagles

  • Gross Takings: $92.3m (£59.9m)
  • Average Ticket Price: $121.85
  • Number of Shows: 54
  • Gross Takings per Show: $1.7m
  • Got Famous: 1970s
  • Age Now: 62

10. Roger Waters (ex-Pink Floyd)

  • Gross Takings: $89.5m (£58.1m) 
  • Average Ticket Price: $126.14
  • Number of Shows: 56
  • Gross Takings per Show: $1.6m
  • Got Famous: 1970s
  • Age Now: 67

Dinosaurs

With the exception of Lady Gaga and Michael Bublé, I would contend that none of the things touring actually exist any more. Or shouldn’t.

It is highly appropriate that the show ‘Walking with Dinosaurs’ is at number 7. Arguably Dinosaurs fill most of the other spots as well.

Bands that were big in the 60s, 70s and 80s should not still be massive today. It goes against all the impulses of Rock – and against the very definition of Pop.

The old Rock ‘n’ Roll attitude of ‘live fast, die young’ has been forgotten (or at least part of it) – and from the looks of those box office takings it seems these guys (note: all men) prefer filling their pensionable pockets to dying.

Fair enough – I suppose it’s not their fault that healthcare has advanced to the point where even rockers living fast can still survive to a ripe old age.

And I suppose it’s not their fault that they are top of these charts: it’s just that their fans are the ones with the money, baby-boomers all grown up, cashing in their own pensions.

And why not?

Well you’ve got to ask why the money in music is still with acts that hit the big time thirty years ago? What does that mean for the industry? What does that mean for innovation and new music? Do we really have to wait until we’re retired before we can afford to go and see top-line shows? What price nostalgia?

I guess you can make a parallel with books. On the Road by Jack Kerouac is still wildly popular with young kids looking for their first taste of freedom, just as it was in the 1950s and 1960s. It’s our job, writing today, to be better than that.

Otherwise, why bother at all?

Bryanology: The Semantics of Seduction in the Lyrics of Bryan Adams

Bryan Adams, Canadian Poet Laureate, three-time Oscar nominee and true heir to the song-writing legacy of Bob Dylan, is also a prime proponent of cock rock.

In this article I examine some of his poetry for their florid description, astute observation and sound love-making advice.

Bryan Adams and the Physical Act

Bryan doesn’t like to leave much to the imagination. He wants to demonstrate to us, not just his lyrical virtuosity, but also his experience in the bedroom.

This, from Tonight We Have The Stars (2008), explains how we might progress from the dinner date to the bedroom, Adams-style:

We’ll save ourselves a bottle
Of California red
We’ll drink it on a Tuesday
Let it go straight to our heads

And we’ll eat from good china
And make love on linen sheets

Once in the bedroom, Adams is a master of seduction. His ability to describe the Act in words of rhyme is unparalleled, take these couplets from his 1996 smash hit (UK #9) Let’s Make It A Night To Remember:

I love the way you move tonight,
Beads of sweat drippin’ down your skin,
Me lying here ‘n’ you lyin’ there,
Our shadows on the wall and our hands everywhere.

Can’t you just picture it?

However, his experience can be intimidating to us mere mortals. In Have You Ever Really Loved A Woman? (1995, UK #3) he mocks the listener’s sexual prowess. His sneering ‘really’ implying that, while we may believe that we have indeed performed the Act, the woman was not truly satisfied. Luckily, Adams gives us quite a detailed lyrical sex manual:

To really love a woman,
To understand her,
You gotta know her deep inside…

He follows this with an explanation of how the woman can teach the male to arouse the sexual organs:

To really love a woman,
Let her hold you,
Till you know how she needs to be touched.

Then Adams takes it to the next level with an exhortation to extreme oral sex:

You’ve gotta breathe her – really taste her,
Till you can feel her in your blood.

This may seem a little gruesome to the inexperienced, but it reveals Adams’ dedication to the pleasure of the opposite sex.

Bryan Adams and Invitations to Infidelity

In the 1980s, Adams wrote a string of material about sexual infidelity, starting in 1984 with Run To You (UK #11):

She says her love for me could never die,
But that’d change if she ever found out about you and I,
Oh – but her love is cold,
Would it hurt her if she didn’t know?

The question is rhetorical of course. It is unclear if the subject of Run To You was also the subject of his next song, Princess Diana, in Diana (1984):

Oh the first time I saw you was in a magazine,
The next time you was walking ‘cross my television screen,
I knew right then and there that I had to make you mine,
The day that he married you I nearly lost my mind.

Diana whatcha doin’ with a guy like him,
Diana I’d die for you, please let me in.

Just in case Adams’ intentions were even slightly opaque, like a real man, he makes them quite clear in a later stanza:

Since I saw that picture of you,
Nothing matters I just wanna lay ya.

But Adams was also realistic about his conquests. In One Night Love Affair (1985, Canada #19), Adams is clearly cognisant that love affairs are fleeting, transitory experiences:

The night was made for love, it ain’t for keeps.

Later in the same song, he gives one of the most heart-rendering accounts ever put into rhyme of the vacuous lust that is a one night love affair:

One night love affair,
Trying’ to make like we don’t care,
We were both reachin’ out for somethin’,
One night love affair,
Sometimes life ain’t fair,
Oh – and not we’re left with nothin’.

Please note: whether this poem describes an affair with Princess Diana (dearly departed) or not is never made clear in the poem.

Bryan Adams and Sexual Rejection

Bryan Adams is not always a stallion in the stable of love it would seem – unless, as appears likely, he writes the following verses not from experience, but out of pity for lesser men. This theory is given greater credence by the fact that they are all album tracks, rather than one of those selected for smash hit status.

This verse from If You Wanna Leave Me (1991) mocks the desperation of the dumped and Adams shows his sensitivity to the plight of others by capturing the anguish in words of tearful power:

If you wanna leave me, can I come too?
If you wanna leave me, gonna go with you.
If you say no – I’m still gonna go!
If you wanna leave me – can I come too?

(I Wanna Be) Your Underwear (1996) satirises the desperate lengths that some men will go to in order to become close to the object of their desire. Not a problem I imagine Bryan has:

I wanna be your t-shirt when it’s wet,
Wanna be the shower when you sweat …

Wanna be your sleepin’ bag, baby slip inside,
Let me be your motorcycle n’ take ya for a ride.

But even in the face of rejection, Adams will still insist I Ain’t Losing The Fight (2008):

Bring it on, bring it on I was born ready,
I’m a son of a strong man – I’m rock steady,
Everything you throw I can see it coming,
Ain’t gonna be no TKO just a lot of lovin’.

Bryan Adams and Sexual Malfunction

Fascinatingly, Adams also shows us how to deal with premature ejaculation, in this verse from Hearts On Fire (1987).

First he apologises, as a gentleman:

You know I can’t help,
the way I feel inside…

Then he takes control, as a man, requesting his lady-friend’s immediate presence, telling it straight:

So come on over,
I ain’t hard to please.
Oh baby – what you get ain’t,
always what you need.

No, indeed. Not always what you need; it’s all about what Adams needs. The description of the actual ejaculation is poetic as ever:

Risin’ to my feet I can feel the heat,
It’s tryin’ to pull me under,
Runnin’ through the night,
we can make it right,
It’s comin’ on like thunder.

So the next time you find yourself coming on like thunder, take a deep breath and think of Bryan.

Bob Dylan and William Shakespeare: A Reference Guide Part I

Two popular poets and story-tellers. It would be incredible if Dylan hadn’t referenced Shakespeare. Here’s a selection (by no means exhaustive) of references, some obvious, some oblique, to Shakespeare in the lyrics of Bob Dylan.

Straight References

These are the ones that even I can catch. Blatant hello mum’s from Dylan to the great bard.

Highway 61 Revisited, Highway 61 Revisited (1965)

Now the fifth daughter on the twelfth night
Told the first father that things weren’t right

Twelfth Night (1601-2) is a play by Shakespeare, innit.

Desolation Row, Highway 61 Revisited (1965)

Now Ophelia, she’s ’neath the window
For her I feel so afraid
On her twenty-second birthday
She already is an old maid
To her, death is quite romantic
She wears an iron vest
Her profession’s her religion
Her sin is her lifelessness
And though her eyes are fixed upon
Noah’s great rainbow
She spends her time peeking
Into Desolation Row

Ophelia is a tragic character in Shakespeare’s Hamlet (1599-1601).

Stuck Inside Of Mobile With The Memphis Blues Again, Blonde on Blonde (1966)

Well, Shakespeare, he’s in the alley
With his pointed shoes and his bells
Speaking to some French girl
Who says she knows me well

That’s my boy!

Time Out of Mind (1997)

The phrase ‘Time out of mind’ is from Act 1, Scene 4 of Romeo and Juliet:

Her chariot is an empty hazel-nut
Made by the joiner squirrel or old grub,
Time out o’ mind the fairies’ coachmakers.

Bye and Bye, ‘Love and Theft’ (2001)

Well, I’m scuffling, and I’m shuffling
And I’m walking on briars
I’m not even acquainted
with my own desires

As You Like It, Act 1, Scene 2 (found and submitted by Nick Dorman to Dylan Chords):

ROSALIND
O, how full of briers is this working-day world!
CELIA
They are but burs, cousin, thrown upon thee in
holiday foolery: if we walk not in the trodden
paths our very petticoats will catch them.

And later in the same scene:

ROSALIND
I do beseech your grace,
Let me the knowledge of my fault bear with me:
If with myself I hold intelligence
Or have acquaintance with mine own desires

Po’ boy, ‘Love and Theft’ (2001)

Othello told Desdemona, “I’m cold, cover me with a blanket,
By the way, what happened to that poisoned wine?”
She said, “I gave it to you, you drank it.”
Po’ boy, layin’ him straight,
Pickin’ up the cherries fallin’ off the plate.

Othello and Desdemona are characters in Shakespeare’s Othello (1603). Interestingly, it looks like Dylan has confused or (being generous) deliberately conflated the plot of Othello, in which Othello dies by stabbing himself, with the plot of Romeo and Juliet, in which Romeo dies after drinking a fatal poison.

That’s it for the obvious references (that I can find anyway) – now here’s some more obscure ones.

More Oblique References

You’d only spot these if you’d spent far too much time playing Shakespeare and reading Dylan. I didn’t find these.

You’re Gonna Make Me Lonesome When You Go, Blood on the Tracks (1975)

Dragon clouds so high above
I’ve only known careless love
It’s always hit me from below
This time around it’s more correct
Right on target, so direct
Yer gonna make me lonesome when you go

And in Antony and Cleopatra, Act 4, Scene 14:

ANTONY
Sometimes we see a cloud that’s dragonish

Thanks to Ellis Sharp for this stupidly obscure reference!

This reference is given greater credence by the later literary reference in the song to Verlaine and Rimbaud, two other poets.

Mississippi, ‘Love and Theft’ (2001)

My clothes are wet, tight on my skin
Not as tight as the corner that I painted myself in
I know that fortune is waiting to be kind
So give me your hand and say you’ll be mine

And in Measure for Measure, Act 5, Scene 1 (submitted by Mike Conley to Dylan Chords):

DUKE VINCENTIO
If he be like your brother, for his sake
Is he pardon’d; and, for your lovely sake,
Give me your hand and say you will be mine.

Other Parallels

Dylan doesn’t just quote Shakespeare, he also uses the same kind of scripting techniques and has even suffered some of the same traps of fame.

Measure for Measure (1604) and Seven Curses (1963)

The folk narrative of the lecherous and unjust judge in Dylan’s Seven Curses parallels the premise of Measure for Measure, when Isabella pleads for mercy to the nasty judge Angelo for her brother, Claudio, who is to be executed for fornication. Over the course of two scenes between Angelo and Isabella, it becomes clear that Angelo harbours lustful thoughts about the novice nun, and he eventually offers her a deal: Angelo will spare Claudio’s life if Isabella will yield him her virginity.

I could have saved myself the trouble of copying that from Wikipedia by just making a few edits to the Bob Dylan lyrics:

Old Reilly’s daughter got a message
That her father was goin’ to hang.
She rode by night and came by morning
With gold and silver in her hand

When the judge he saw Reilly’s daughter
His old eyes deepened in his head,
Sayin’, “Gold will never free your father,
The price, my dear, is you instead.”

I got the inspiration for this parallel from Bardfilm.

Bootlegs

Apparently, Shakespeare didn’t want his sonnets published: they were circulated among fans as – what can only be described as – bootlegs.

The parallels with Dylan’s Basement Tapes, recorded in private in 1967 and never intended for release, but widely bought and sold among fans, are obvious. Like Shakespeare, Dylan has bowed to the inevitability of popularity and now regularly releases out-takes from his album recordings and live performances as his very own ‘Bootleg Sessions.’

I picked up this story from NPR.


This is Part I because there is no way that I’ve found all of them, just from searching the internet and my own brain-ears. Maybe one day I’ll throw a corpus-analysis at the entirety of Dylan’s lyrical output and the whole of the first folio of Shakespeare. Probably not though.

If you can spot any more references, please do add them in the comments below. Thanks!