These are the sources and citations used to research CRP - Authenticity and Layers of Meaning. This bibliography was generated on Cite This For Me on
In-text: (Ainscoe and Ainscoe, 2017)
Your Bibliography: Ainscoe, M. and Ainscoe, M. (2017). Chris Wood: So Much To Defend – album review - Louder Than War. [online] Louder Than War. Available at: http://louderthanwar.com/chris-wood-much-defend-album-review/ [Accessed 26 Apr. 2018].
Discusses 'vocal authorship,' and how songs can become 'about' personal experience even when written by someone else or at a different time. This could be relevant to the discussion about Skeleton Tree, how many of the songs were written before Arthur Cave's death yet still the album is wrapped up in meanings of grief as the songs were recorded during Nick Cave's grieving. This challenges the relationship between emotional honesty and the cold, hard facts of a situation.
In-text: (Apolloni, 2017)
Your Bibliography: Apolloni, A. (2017). Vocal authorship: Marianne Fauthfull and "Sister Morphine." In: J. Williams and K. Williams, ed., The Singer-Songwriter Handbook. London: Bloomsbury, pp.213-222.
Discusses a number of important issues for the singer-songwriter - the need to be "poetic, personal, confessional, unmediated" and also the importance of autership to the perception of the singer-songwriter as being authentic, as well as discussing the soundworld of the singer-songwriter and the role of "sincerity, as opposed to irony or cynicism," which could be applied interestingly in opposition to the example of Father John Misty.
In-text: (Appel, 2017)
Your Bibliography: Appel, N. (2017). The singer-songwriter disposition. In: J. Williams and K. Williams, ed., The Singer-Songwriter Handbook. London: Bloomsbury, pp.7-16.
This book will be used to discuss how concepts of authenticity exist in genres outside the 'singer-songwriter' acoustic world, many ideas of which concern anti-commercialisation etc.
In-text: (Barker and Taylor, 2007)
Your Bibliography: Barker, H. and Taylor, Y. (2007). Faking it: the quest for authenticity in popular music. New York: W.W. Norton.
"To judge the honesty of artists is to consider their candor and openness in treating others without dissembling or deceit" - this is a really important point relating to emotional honesty - not just telling the truth about ones feelings, but telling the whole truth, which is a much more difficult thing, and probably one that is done less - although of course it is impossible to tell.
In-text: (Berleant, 1977)
Your Bibliography: Berleant, A. (1977). Artists and Morality: Toward an Ethics of Art. Leonardo, [online] 10(3), p.195. Available at: http://www.jstor.org/stable/1573422 [Accessed 4 Feb. 2018].
In-text: (DeVille, 2014)
Your Bibliography: DeVille, C. (2014). Sun Kil Moon – “Ben’s My Friend”. [online] Stereogum. Available at: https://www.stereogum.com/1624722/sun-kil-moon-bens-my-friend/mp3s/ [Accessed 30 Apr. 2018].
Discusses the value that artists put on honesty in their work
In-text: (Doyle, 1973)
Your Bibliography: Doyle, C. (1973). Honesty and the Creative Process. Journal of Aesthetic Education, [online] 7(3), pp.49-50. Available at: http://www.jstor.org/stable/pdf/3331883.pdf.
"A concept album about a guy named Josh Tillman," touted as a very authentic album because of the fact that Josh Tillman writes the way as he supposedly speaks, and pours that into the container of the persona of Father John Misty. The concept behind the album is essentially a 'warts and all' view of his marriage.
In-text: (Father John Misty, 2015)
Your Bibliography: Father John Misty (2015). I Love You, Honeybear. [Online] Los Angeles: Sub Pop. Available at: https://open.spotify.com/album/7buEcyw6fJF3WPgr06BomH [Accessed 7 Feb. 2018].
Father John Misty's most recent album, which is very self-referential and takes a cynical look at his own place within the music industry, and criticises how successful the FJM character is in being what he wanted to be - an authentic figure - especially in the song Leaving LA.
In-text: (Father John Misty, 2017)
Your Bibliography: Father John Misty (2017). Pure Comedy. [Online] Seattle: Sub Pop. Available at: https://open.spotify.com/album/2QgZA6t1oFOjiJ59x7jrEI [Accessed 7 Feb. 2018].
Joni Mitchell is one of the most prominent singer-songwriters, often conceived of as writing personally, confessionally etc. This chapter discusses her use of persona, specifically that of 'Claude'. As my research has developed, this has probably lost relevance to my final arguments and so may not be used in the final essay.
In-text: (Fellezs, 2016)
Your Bibliography: Fellezs, K. (2016). Gender, race, and the ma(s)king of 'Joni Mitchell'. In: K. Williams and J. Williams, ed., The Cambridge Companion to the Singer-Songwriter. Cambridge: Cambridge University Press, pp.201-214.
Talks about 'the grain of the voice,' and how we perceive the voice and the messages that it delivers. This has relevance to my argument as it discusses how in popular music singers are viewed as doing something "personally expressive," which links to the kinds of things I'm using to define authenticity, as something direct and emotionally honest.
In-text: (Frith, 2002)
Your Bibliography: Frith, S. (2002). Performing Rites. Oxford: Oxford university press, pp.183-202.
Discusses the 'virtues' of art, including the virtue of honesty, and how it is valued.
In-text: (Goldie, 2008)
Your Bibliography: Goldie, P. (2008). Virtues of art and Human Well-Being. Aristotelian Society Supplementary Volume, [online] 82(1), p.192. Available at: http://www.jstor.org/stable/pdf/3331883.pdf.
In-text: (Harper, 2014)
Your Bibliography: Harper, A. (2014). Lo-Fi Aesthetics in Popular Music Discourse. DPhil. University of Oxford.
In-text: (Horner, 2014)
Your Bibliography: Horner, A. (2014). Sun Kil Moon – ‘Benji’. [online] Nme.com. Available at: http://www.nme.com/reviews/album/reviews-various-artists-15097 [Accessed 30 Apr. 2018].
George Harrison talks about how difficult it would be to have performed Tomorrow Never Knows on stage, emphasising how there is less 'liveness' in this recording than in their earlier work. This is used in the context of defining the 'highly produced' as a concept.
In-text: (jagatinho, 2017)
Your Bibliography: jagatinho (2017). Making of "Tomorrow Never Knows" (Beatles). [video] Available at: https://www.youtube.com/watch?v=Nf3eZ_WRWYg [Accessed 7 Feb. 2018].
Also discusses the idea of authenticity as being related to being "genuine, truthful, undisguised, unmediated". Quote from Sherman talking specifically about musical performances being authentic if they have "emotional honesty"
In-text: (Knaller, 2012)
Your Bibliography: Knaller, S. (2012). Authenticity as an Aesthetic Notion. In: W. Funk, F. Gross and I. Huber, ed., The Aesthetics of Authenticity. London: Transaction Publishers, pp.25-40.
Discusses the ambitious recording of Tomorrow Never Knows, used to help define the 'highly produced' as a concept
In-text: (Lewisohn, 2005)
Your Bibliography: Lewisohn, M. (2005). The complete Beatles recording sessions. London: Bounty books, p.72.
In-text: (Lockheart, 2003)
Your Bibliography: Lockheart, P. (2003). A History of Early Microphone Singing, 1925–1939: American Mainstream Popular Singing at the Advent of Electronic Microphone Amplification. Popular Music and Society, 26(3), pp.367-385.
Father John Misty talking about his transition from his practice as J Tillman, which was a more typical singer-songwriter based practice with "impressionistic," aesthetically authentic lyrics and sound world. "So the thing about listening to it for the first time… I’m well accustomed to the way that peoples eyes glaze over when they see a white guy with an acoustic guitar. 9 times out of 10 you know what you’re in for, you’re gonna get something that’s sentimental, confessional, the assumption is that its innately personal by virtue of the fact that its one guy with a song that he writes."
In-text: (Maron, 2018)
Your Bibliography: Maron, M. (2018). WTF Podcast - FATHER JOHN MISTY. [video] Available at: https://youtu.be/P4ZnXzCfxpI?t=1321 [Accessed 30 Jan. 2018].
In-text: (May It Last: A Portrait of the Avett Brothers, 2017)
Your Bibliography: May It Last: A Portrait of the Avett Brothers. (2017). [film] Directed by J. Apatow and M. Bonfiglio. Los Angeles: Apatow Productions.
See One More Time With Feeling
In-text: (Nick Cave & The Bad Seeds, 2016)
Your Bibliography: Nick Cave & The Bad Seeds (2016). Skeleton Tree. [Online] Bad Seed Ltd. Available at: https://open.spotify.com/album/34xaLN7rDecGEK5UGIVbeJ [Accessed 31 Jan. 2018].
Use of 'surrealist' or 'impressionist' lyrics that complicate the meaning of the song
In-text: (Nick Cave and The Bad Seeds, 2013)
Your Bibliography: Nick Cave and The Bad Seeds (2013). Higgs Boson Blues. [Online] London: Bad Seed Ltd. Available at: https://open.spotify.com/track/5iZcoTR04zBUw9Bk8zKhtT [Accessed 8 Feb. 2018].
One More Time With Feeling acted as a way to provide context for the album it accompanied, Skeleton Tree, by presenting Nick Cave discussing the loss of his son and the effect it had on him.
In-text: (One More Time With Feeling, 2016)
Your Bibliography: One More Time With Feeling. (2016). [DVD] Directed by A. Dominik. London: Iconoclast.
Father John Misty talking about protecting his relationship with his wife from the exposure that singing about it in the public eye brings.
In-text: (q on cbc, 2016)
Your Bibliography: q on cbc (2016). Father John Misty - Interview. [image] Available at: https://www.youtube.com/watch?v=mRpq6pxDJao [Accessed 30 Jan. 2018].
In-text: (Radiohead, 2018)
Your Bibliography: Radiohead (2018). Paranoid Android. [Online] London: XL Recordings. Available at: https://open.spotify.com/track/4qHbyjzm4qczBQM8zWRMuJ?si=mYiLLDdYRd6TmdMeysoTbw [Accessed 2 May 2018].
In-text: (Sawyer, 2018)
Your Bibliography: Sawyer, S. (2018). Father John Misty's 'I Love You, Honeybear' Out February 10th. [online] Sub Pop Records. Available at: https://www.subpop.com/news/2014/11/04/father_john_mistys_i_love_you_honeybear_out_february_10th [Accessed 2 May 2018].
In-text: (Shumway, 2016)
Your Bibliography: Shumway, D. (2016). The Emergence of the Singer-Songwriter. In: K. Williams and J. Williams, ed., The Cambridge Companion to the Singer-Songwriter, 1st ed. Cambridge: Cambridge University Press, pp.11-20.
In-text: (Spice and May, 2015)
Your Bibliography: Spice, A. and May, C. (2015). The dangers of digital: Brian Eno on technology and modern music. [online] The Vinyl Factory. Available at: https://thevinylfactory.com/features/the-dangers-of-digital-brian-eno-on-technology-and-modern-music/ [Accessed 30 Apr. 2018].
Sun Kil Moon's approach to lyrics on this album is like a diary. This relates to the idea of 'directness' as a marker of authenticity. But is it possible to go too far with this, as I think Sun Kil Moon has?
In-text: (Sun Kil Moon, 2014)
Your Bibliography: Sun Kil Moon (2014). Benji. [Online] Caldo Verde. Available at: https://open.spotify.com/album/4pC2URLdvle8V6Um4qxh46 [Accessed 8 Feb. 2018].
In-text: (Supper, 2018)
Your Bibliography: Supper, A. (2018). Listening for the hiss: lo-fi liner notes as curatorial practices. Popular Music, 37(02), pp.253-270.
In-text: (The Avett Brothers, 2016)
Your Bibliography: The Avett Brothers (2016). Divorce Seperation Blues. [Online] Los Angeles: American Recordings. Available at: https://open.spotify.com/track/6L2X0CuWhGCrVbAwN8jXhb?si=OmwqJhskTqOBnV2WU5eBZA [Accessed 2 May 2018].
An album that uses elements of the sound worlds of the folky, acoustic, stripped back on the one hand, and the ultra-studio produced, electronic on the other hand. Eg, contrast I Wish I Was with Satan Pulls the Strings or Fisher Road to Hollywood with You Are Mine.
In-text: (The Avett Brothers, 2016)
Your Bibliography: The Avett Brothers (2016). True Sadness. [Online] American Recordings. Available at: https://open.spotify.com/album/2HfoJf1mjE1QGZRBre5Yk5 [Accessed 31 Jan. 2018].
In-text: (The Avett Brothers, 2016)
Your Bibliography: The Avett Brothers (2016). True Sadness. [Online] Los Angeles: American Recordings. Available at: https://open.spotify.com/album/2HfoJf1mjE1QGZRBre5Yk5?si=1_HLDw0ITFqFh417b0Bt5A [Accessed 2 May 2018].
An album that exemplifies an extreme of the 'studio produced' label. Especially take the example of 'Tomorrow Never Knows'
In-text: (The Beatles, 1966)
Your Bibliography: The Beatles (1966). Tomorrow Never Knows. [Online] London: Apple Corps Ltd. Available at: https://open.spotify.com/track/0agoaPIy92gPZ6zRhqXarE?si=Vx0DY-0TTn2N6cTEzMYzvg [Accessed 31 Jan. 2018].
Discusses singer-songwriters as being people that perform and record songs that appear stripped down and are focussed on the voice. Directness and sincerity in singer-songwriter music, "as opposed to artifice"
In-text: (Till, 2016)
Your Bibliography: Till, R. (2016). Singer-songwriter authenticity, the unconscious and emotions (feat. Adele's 'Someone Like You'). In: K. Williams and J. Williams, ed., The Cambridge Companion to the Singer-Songwriter, 1st ed. Cambridge: Cambridge University Press, pp.291-304.
A song from Father John Misty's previous incarnation as J Tillman, his (almost) real name. Stripped back, guitar, vocals and harmonica, with a warm, aspirate voice and a 'poetic' feel to the lyrics.
In-text: (Tillman, 2008)
Your Bibliography: Tillman, J. (2008). Visions of a Troubled Mind. [Online] Calgary: Yer Bird Records. Available at: https://open.spotify.com/track/7l78yN25Zik8fsCoD42AQe [Accessed 7 Feb. 2018].
Talks about Josh Tillman's transformation from the "dark, brooding J Tillman figure" to Father John Misty, and how he aims to 'be himself' in his writing and performance
In-text: (Totty, 2015)
Your Bibliography: Totty, L. (2015). A Serious Man: Father John Misty's Transformation In Progress Listen· 4:49. [podcast] NPR Music. Available at: https://www.npr.org/2015/02/12/385255873/a-serious-man-father-john-mistys-ongoing-transformation [Accessed 6 Feb. 2018].
One of the singer-songwriters I most revere, Chris Wood inherits the traditions of English folk music well and combines them with sharp criticisms of Cameron's Britain. In the early stage of my research, when I was thinking more generally about singer-songwriters and folk music, this album was one I was thinking about as being particularly innovative. Since then, my research has moved slightly away from that direction and so it perhaps is less relevant.
In-text: (Wood, 2013)
Your Bibliography: Wood, C. (2013). None the Wiser. [Online] R.U.F Records. Available at: https://open.spotify.com/album/5XqplMc4ddbmFg3un2E9eX [Accessed 8 Feb. 2018].
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