The universal language of music has united generations of lovers since the beginning of time. Falling in and out of love, grasping at unrequited love, mourning love lost and succumbing to deep love are central to the human experience. Love peels back emotions, incorporating complex feelings that come across powerfully in the common language of music. With endless love songs to describe matters of the heart, the top love songs according to music lovers of all ages connect the past with the present.
Frank Sinatra and daughter Nancy deliver this duet with unmatched melodies and the sort of calmness that love can sometimes bring. The almost country-esque wobble of the strumming guitar and drum patterns contrasted with a cinematic string section feel almost embarrassingly romantic, like young love.
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This beautiful country ballad is so sad that its relatable to anyone who has lost love and gained a hole in their heart. An under-the-radar song, many discovered this lonely hit via popular 1993 rags-to-riches movie, The Beverly Hillbillies.
Burt Bacharach, one of the most influential songwriters and composers in modern music history delivers the timeless message of love for one another through the political and social realities of the 1960s making What The World Needs Now Is Love" a staple in community building and a reminder of humanity. Bacharach received three Academy Awards, two Golden Globe Awards, six Grammy Awards, an Primetime Emmy Award and over 1,000 artists have recorded his songs.
One of the most versatile soul singers of all time, Sam Cooke, brings deep emotion to music through his ability to oscillate between disparate music genres and styles. "Bring It On Home To Me" is a call-and-response love song with Lou Rawls on backup vocals as Cooke longs for his lover to come back home.
Jill Scott is powerful, candid and curious in her writing and performance. In "He Loves Me (Lyzel in E Flat)," Scott recounts the ways her partner loves her in the most descriptive and intricate details and settings. The song sounds and feels like love.
The running joke within the band is that each album Dylan writes ends up being sadder than the one before it. So when it came time to write the songs for their upcoming release, No Joy, Dylan faced a quandary over what ground he could possibly cover.
A group show conceived as a mixtape of songs gifted to a lover, Love Songs features photographic projects about love and intimacy from 16 contemporary photographers, including Nobuyoshi Araki, Ergin avuolu, Motoyuki Daifu, Fouad Elkoury, Aikaterini Gegisian, Nan Goldin, Ren Groebli, Herv Guibert, Sheree Hovsepian, Clifford Prince King, Leigh Ledare, Lin Zhipeng (No. 223), Sally Mann, RongRong&inri, Collier Schorr, and Karla Hiraldo Voleau.
Through the myriad lens of intimate relationships, Love Songs brings together series dating from 1952 to 2022 by some of the leading photographers of our time that explore love, desire and intimacy in all their most complex and contradictory ways. The exhibition is the U.S. museum debut for work by Aikaterini Gegisian and Lin Zhipeng (aka no. 223), the first New York City museum presentation of the work of Sheree Hovsepian and Motoyuki Daifu, and the U.S. debut of the work of Karla Hiraldo Voleau.
The New York presentation of Love Songs is organized by curator and writer Sara Raza, formerly of the Solomon R. Guggenheim Museum and Tate Modern, London. This spring 2023 exhibition is organized in collaboration with the Maison Europenne de la Photographie (MEP), Paris, based upon an original idea by Simon Baker, and was curated at MEP by Frdrique Dolivet and Pascal Hol. The English-language catalogue for the exhibition is published by ICP and DAP and available in ICP's shop.
Sara Raza is an award-winning curator and writer specializing in global art and visual cultures from a post-colonial, post-Soviet perspective. She is the author of Punk Orientalism: The Art of Rebellion (Black Dog Press, London 2022). Raza has curated for the Solomon R. Guggenheim Museum (New York), Mathaf: Modern Arab Art Museum (Doha, Qatar), and the 55th Venice Biennale, among others. Formerly, she was the Guggenheim UBS MAP Curator for the Middle East and North Africa at the Solomon R. Guggenheim Museum, and Curator of Public Programs at Tate Modern, London. Sara holds a BA and an MA, both from Goldsmiths College, University of London, and pursued studies towards her PhD at the Royal College of Art, London. She lives and works in New York City, where she teaches at the School of Visual Arts and New York University.
Melina Duterte, best known for her project Jay Som, and Michelle Zauner of Japanese Breakfast felt like the perfect choice to talk to us this week: They both know how to write about love, and they're both playfully entertaining on social media. They each sent me a list of love songs, with neither aware of what the other had picked.
This conversation took place in three cities: Melina was at NPR West in Culver City, California, while Michelle was at our NPR bureau in New York City. In fact, they'd begun the conversation before I arrived at NPR's studio in Washington, D.C.
What I wanted to do here was to talk a bit about the Love Song, to speak about my own personal approach to this genre of songwriting which I believe has been at the very heart of my particular artistic quest. I want to look at some other works, that, for whatever reason, I think are sublime achievements in this most noble of artistic pursuits: the creation of the great Love Song.
The Love Song is a sad song, it is the sound of sorrow itself. We all experience within us what the Portuguese call Saudade, which translates as an inexplicable sense of longing, an unnamed and enigmatic yearning of the soul. And it is this feeling that lives in the realms of imagination and inspiration and is the breeding ground for the sad song, for the Love Song is the light of God, deep down, blasting through our wounds.
The Song of Solomon is an extraordinary Love Song but it was the remarkable series of love song/poems known as the Psalms that truly held me. I found the Psalms, which deal directly with the relationship between man and God, teeming with all the clamorous desperation, longing, exultation, erotic violence and brutality that I could hope for. The Psalms are soaked in saudade, drenched in duende and bathed in bloody minded violence. In many ways these songs became the blueprint for many of my more sadistic love songs. Psalm 137, a particular favourite of mine which was turned into a chart hit by the fab little band Boney M is a perfect example of all I have been talking about.
By the rivers of Babylon, there we sat down / Yea, we wept when we remembered Zion / We hanged our harps upon the willows in the midst thereof / For there they that carried us away captive required of us a song / And they that wasted us required of us mirth saying / Sing us one of the songs of Zion / How shall we sing the Lord's song in a strange land? / If I forget thee, O Jerusalem / Let my right hand forget her cunning / If I do not remember thee, let my tongue cleave to the roof ofmy mouth / If I prefer not Jerusalem above my chief joy / Remember, O lord, the children of Edom in the day of Jerusalem / Who said Rase it, rase it, even to the foundation thereof / O daughter of Babylon, who art to be destroyed / Happy shall he be, that rewardeth thee as thou hast served us / Happy shall he be, that taketh and dasheth thy little ones against the stones.
Pretty words, innocent words, unaware that any day the bottom would drop out of the whole thing. Love Songs that attach themselves to actual experiences, that are a poeticising of real events have a peculiar beauty unto themselves. They stay alive in the same way that memories do and being alive, they grow up and undergo changes and develop. A Love Song such as Far From Me has found a personality beyond the one that I originally gave it. With the power to influence my own feelings around the actual event itself. This is an extraordinary thing and one of the truly wondrous benefits of songwriting. The songs that I have written that deal with past relationships have become the relationships themselves. Through these songs I have been able to mythologise the ordinary events of my life, lifting them from the temporal plane and hurling them way into the stars. The relationship described in Far From Me has been and gone but the song itself lives on, keeping a pulse running through my past. Such is the singular beauty of songwriting.
Quincy Jones almost nabbed this slice of loved-up electrofunk for Michael Jackson, but it ended up becoming a signature tune for R&B diva Khan when she sang it with her old band Rufus in 1983. When Frankie Knuckles gave it a piano house remix in 1989, a new generation went crazy for the song: now artists ranging from Mary J. Blige to KT Tunstall have recorded versions, but none of them reach the thrilling heights of Chaka as she hits the final chorus.
The biggest challenge was how to merge the contemporary story with the historical story. The historical story, as you know, is called the songs and the songs are woven through the contemporary story. For several years, probably about 4 or 5 years, I was very confused about how I was going to intersect these stories. Once I figured that out and how these contemporary characters would mirror what was going on in history then it became a bit easier, but that was around year eight.
One of the things that I loved about your novel, especially as somebody who grew up in the South, is the food, especially the love language of dessert, which might be one of the reasons why Uncle Root is one of the favorite characters in this book.
Honore Fanonne Jeffers is a fiction writer, poet, and essayist. She is the author of five poetry collections, including the 2020 collection The Age of Phillis, which won the NAACP Image Award for Outstanding Literary Work in Poetry and was longlisted for the National Book Award for Poetry and the PEN/Voelcker Award. She was a contributor to The Fire This Time: A New Generation Speaks About Race, edited by Jesmyn Ward, and has been published in the Kenyon Review, Iowa Review, and other literary publications. Jeffers was elected into the American Antiquarian Society, whose members include fourteen U.S. presidents, and is Critic at Large for Kenyon Review. She teaches creative writing and literature at University of Oklahoma. 152ee80cbc