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.
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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 comic shows an xy-chart of various love songs, graphed according to how the subjects of the song feel. The x-axis represents the narrator/singer's feelings for whomever they are singing to or about, from "No!!" to "Yes!!", while the y-axis represents the other person's feelings for the one singing the song.
Love Songs is the Bee Gees' third compilation album in four years, though the first to cover a specific musical style. A proposed album of love songs was in the works around 1995 when the Bee Gees recorded their own versions of "Heartbreaker" and "Emotion", but that project was soon shelved and those recordings remained unavailable until the release of Their Greatest Hits: The Record in 2001.
The singer and guitarist of LA-based punk quintet SPANISH LOVE SONGS is referencing his band, but he could just as easily be talking about himself. Since forming in 2014, Spanish Love Songs certainly have been heard, from legions of underground audiences at The Fest and South By Southwest to outlets like NPR, who hailed the group's 2018 album, Schmaltz, as a "wellspring of big ideas, bigger riffs and the biggest possible feelings about love, war, fear and existential crisis."
Schmaltz was an album colored by guilt and self-doubt, an insular collection of soul- searching songs that found the singer amplifying his grief while kicking back at a world that seemed to be doing its best to keep knocking him down. It was a cathartic album, one that admittedly took a lot of Slocum's soul to create. ("I don't want to be the band where each album is me complaining about myself for 40 minutes," he says.)
Following up on the success of their two previous projects (The Song Project and Songs for Petra) composer John Zorn and lyricist Jesse Harris have created sixteen new songs fashioned in the form of an Off-Broadway musical. Love Songs tells the story of a young woman, her friends, their relationships both past and ongoing, and struggles with identity and trauma.
From the fragile first chords, this song is an invitation to fall completely into the world of someone who loves you. It has the same energy as a new partner eking out a few handwritten chords and lyrics to a new-ish love from a chair at the kitchen table.
Spanning two hundred years, it takes an intimate look at race, feminism, love, and family as told by a line of unforgettable Black women from America's South. It focuses on a fictional African American family in Georgia, beginning before the state was Georgia. Specifically, we travel to Chicasetta, a rural town that once upon a time was a plantation, and before that a Creek village.
For the new study, published Sept. 7 in the journal Proceedings of the National Academy of Sciences, Yale researchers played 14-second snippets of vocals from a bank of songs that originated from a host of cultures to more than 5,000 people from 49 countries. The research team included subjects not only from the industrialized world, but more than 100 individuals who live in three small, relatively isolated groups of no more than 100.
Unlike most psychology experiments, which are conducted in one language, this experiment was performed in 31 languages. Yet regardless of the language used in the survey, people from all cultures could easily identify dance music, lullabies, and, to a lesser extent, even music created to heal. Recognition of what the researchers identified as love songs, however, lagged these other categories.
For instance, when they analyzed responses based on language groupings, they found that 27 of the 28 groups correctly rated dance songs as more appropriate for dancing than other songs. All 28 of the groups were able to identify lullabies. But only 12 of the 28 groups were able to identify love songs.
Among ancient Egypt manuscripts, love songs survive from only one time and place: the Ramesside Period community of elite craftsmen working on the tomb of the king (Deir el-Medina, 13th-12th centuries BC). The contents of the songs have been taken to indicate an even more elite setting, the palace and court of the king: the centres of power of Ramesside Egypt were all in the north, at Per-Ramses, Memphis and the palace of the court women at Gurob. These may be the places where the songs were composed and sung originally. Although no manuscripts survive from the palace sites themselves, the songs seem to echo the figures of singing women on late Eighteenth Dynasty and Nineteenth Dynasty cosmetic equipment and vessels produced for the highest level of society.
There are three papyri with sets of long songs, and one fragmentary pottery jar covered in another set; in addition there are about twenty ostraca that bear compositions that have been identified as love songs (Mathieu 1996: 27, with list and reference to different opinions of modern commentators). The songs are written in the Late Egyptian phase of the Egyptian language, a formal version of the spoken language of New Kingdom Egypt. No Middle Egyptian equivalent survives, although parts of the Middle Egyptian composition now known as Kemyt seem to present a man justifying his absence to a griefstruck woman. There are no later manuscripts containing love songs, but other written sources indicate that the genre continued in use or was revived; the inscription on a stela of about 700 BC describes the owner, a woman named Mutirdis, in terms close to the Ramesside love songs (Mathieu 1996: 36 n.34, 87 n.276).
Perhaps the most elaborate series of songs is the cycle of seven stanze on the back of a papyrus roll now preserved in the Chester Beatty Library and Gallery, Dublin (Papyrus Chester Beatty I, verso, column 1 to column 5, line 2: other love songs follow the cycle). In alternate stanze, a young man and a young woman sing of their love in separation. As in many cultures, they call one another 'brother' and 'sister' (Mathieu 1996: 26):
To explore the effect of the songs on their hearers, listen to the readings of stanze 1 and 7 (male voice) and 2 and 6 (female voice); for the female voice, two different readers were recorded, as a reminder of the variable of different speakers. These recordings were arranged for this website by Kenneth John, Outreach Officer for the Petrie Museum: the voices are those of Merlyn Gaye, Natalie Wright and Kenneth John.
Second stanza
My brother overwhelms my heart with his words,
he has made sickness seize hold of me.
Now he is near the house of my mother,
and I cannot even tell that he has been.
It is good of my mother to order me like this,
'Give it up out of your sights';
see how my heart is torn by the memory of him,
love of him has stolen me.
Look what a senseless man he is
- but I am just like him.
He does not realise how I wish to embrace him,
or he would write to my mother.
Brother, yes! I am destined to be yours,
by the Gold Goddess of women.
Come to me, let your beauty be seen,
let father and mother be glad.
Call all my people together in one place,
let them shout out for you, brother.
Fourth stanza
My heart bares itself instantly,
at the memory of your love.
It does not let me walk like a person,
it has strayed from its shelter.
It does not let me put on a dress,
I cannot even wrap my scarf,
No kohl can be put no my eye,
I am not anointed with oil.
'Don't stand there - go in to him'
it tells me at each memory of him.
Don't, my heart, be stupid at me:
why are you acting the fool?
Sit, be cool, the sister has come to you'
but my eye is just as troubled.
Don't make people say of me
'she is a woman fallen by love'
Be firm each time you remember him,
My heart, do not stray.
Fifth stanza
I worship the Gold Goddess, I sing of her Presence,
I raise up the lady of heaven,
I give adoration to Hathor,
Praise to the Mistress.
I reported to her, and she heard my pleas,
she ordered a Mistress for me,
and she is come herself to see me.
What a great thing has happened to me!
(I felt) overjoyed, ecstatic, great
when told 'Hey, she is there,
look, she has come, the amorous are bowed,
so great is the love of her.
I send my prayers to my goddess,
she gave me the sister as a gift.
Three days to yesterday since my pleas
in her name; since she left me is day five. 2351a5e196
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