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Bundy Trumpet List Serial Number LookupAnd of course there were the minstrel shows, in which people with mocking, cork-painted faces sang what they pretended were the songs of Southern former slaves. Some were sung in a spirit of abuse others were written or performed by members of those groups themselves. Vaudeville acts, for instance, had tunes for just about every major immigrant group: the Italian number, the Yiddish number, the Irish one, the Chinese. How else do you create a situation in which, after decades of hip-hop’s being the main engine of pop music, it can still be a little complicated when nonblack people rap? That vexed thing we call “identity” leans its considerable weight on all kinds of questions: which sounds comfort us or excite us where and how we listen to them how we move our bodies as they play. Then all of this changed, and we decided to start thinking of pop music not as a folk tradition but as an art we started to picture musicians as people who invented sounds and styles, making intellectual decisions about their work.But music is still, pretty obviously, tied to people. Even when it was played in a condescending ethnic-joke burlesque of who those people actually were — even when it was pretty aggressively racist — the notion remained: Different styles sprang from different people. You had your “Latin” numbers, your Hawaiian ones, your “Asian” songs — light ethnic pastiches laid out cheerily, like an international buffet that serves falafel one day and schnitzel the next, never too bothered about how accurate the recipes are.There was a simple notion behind all this stuff, and it was the belief that music, like food, came from someplace, and from some people. A nation that considered itself very space-age and worldly enjoyed quaint spins on sentimental Italian music (“That’s Amore” and its pizza pies) and Trinidadian calypso songs about hard, simple labor (“Day-O” and its bananas). Activists sing a country song for a restaurant chain that once fired gay employees, when Leonard Cohen revisits his childhood religious inheritance?This is what we talk about now, the music-makers and the music-listeners both. Singer titles one “F.U.B.U.” — or, “for us, by us.” Are you part of her “us”? The house music in Kanye West’s “Fade”: Does it make you picture the black Chicagoans who helped invent it or the club-going Europeans who embraced it? How does it work when a queer woman matches the sexual braggadocio of male rappers, when L.G.B.T. The other is that they’re doing this because the musicians are, too.A Japanese-American musician writes a song called “Your Best American Girl.” An R.&B. One is that, unbidden and according to no plan, they find themselves continually reckoning with questions of identity. There may be times when this fact grates at us, when it feels as though there must be other dimensions of the world to attend to “surely,” you moan, “there are songs that speak to basic human emotions in ways that transcend the particulars of who we are!” But if you look through the essays in this magazine, you may notice two things. Install a mod for total war 2 rome on steam for macThe rest of us do the same. Artists have to figure out whom they’re speaking to and where they’re speaking from. Maybe decades ago you could aim your songs at a mass market, but music does not really have one of those anymore. “Send My Love (to Your New Lover),” the second track on “25,” makes you mad that we live in a world where what happens at the Grammys can’t not matter. But when it’s just me and Adele — very good Adele, catchy-as-hell Adele — the triggers lock. And isn’t whaling pop’s whole point?Yes, certain cultural institutions have a habit of setting traps that trigger trauma. Some of the hooks, though, could catch a whale. That’s the future of music: recognizing, in the present, that you’re permanently indentured to the past.Setting aside its enormous sales, “25” is not the artistically catholic landmark that “Lemonade” is but an old-fashioned record, built around the bloom and flare of Adele’s singing. But it has become obligatory for white artists who do (and who win prizes for it) to pay a public contrition tax to their black peers, whether it’s Adele to Beyoncé or, three years earlier, Macklemore texting (then publicizing) an apology to Kendrick Lamar for having won (with Ryan Lewis) the Grammys in the rap category. It’s in the pews, the rafters and the aisles. And the voice itself has what can be only called soul. The swelling repetitions are chillingly churchy. Treat her better,” she sings, going up a note and adding an extra, addictive breath to “lover.”Is this a black song? It moves in dance-hall time. All I want to do when I hear it is call her Ishmael.♦Wesley Morris is a critic at large for The Times and a staff writer for the magazine.It wasn’t an email from God, but it was close. This song makes me feel ridiculous for reacting to institutional biases that pressure us into calling Adele a trespasser. In other words, “Send My Love” sets out to catch a whale. The other is the High Holy Days prayer Hineni — literally, “Here I am” — a personal entreaty to God, the worshiper asking plaintively for mercy. One is the Kaddish, recited by mourners after the death of a loved one. Some of the words Cohen had given them to work with were familiar they were borrowed from two of Judaism’s holiest prayers.
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