As we’ve seen already many times, the love song is often profoundly interested in individual moments. Moments of change, or moments that seem to contain an entire relationship in miniature; some even find themselves trapped in a particular moment. Last time, we looked at a couple of the many
Love is, of course, life. In the philosophical sense that we can’t truly live without love, as well as the more literal sense that most of us are (hopefully) conceived and raised through love. And yet love is so often paired with death. The idea of dying for love,
Love changes people – or, if you prefer, it reveals them. Some people, when they fall in love, become more open and generous, while others turn inwards and become selfish and narcissistic. It can reveal the world to you, or it can narrow your world to just your lover. Which it
The idea of songs written about real events has lurked in the background of this project from the off, as a key part of how people think about and relate to love songs, perhaps most notably in the Fleetwood Mac entry. As listeners and critics, we very often want to
[The following contains spoilers for Memento, The Prestige, The Dark Knight Rises, Inception, Oppenheimer and, especially, The Odyssey.] In the last week or so, there has been an awful lot of discourse out there about The Odyssey – proof of its cultural impact, if nothing else[1]. Some of this discourse
Some love songs live in the everyday world, full of mundane details to help make the song and the sentiment more easily relatable. Others are more abstracted and idealised, with vistas of grand operatic emotion. This is true of all lyrics and lyric poetry, broadly speaking, which revolves around the
Can we separate art from the artist? Roland Barthes aside, any number of extremely dull and predictable thinkpieces have wrung their hands over this age-old question, particularly in the last decade or so, where a seemingly endless parade of predominantly male artists have fallen over themselves in revealing their
“Do we walk in legends or on the green earth in the daylight?" "A man may do both," said Aragorn. ‘For not we but those who come after will make the legends of our time. The green earth, say you? That is a mighty matter of legend,
We’ve dealt a lot with ideas of presence and absence in songs we’ve seen so far. Absent lovers are a constant obsession in B-Sides, but even some A-Sides are built on the anticipation of seeing the lover again (including, in different ways, the first two that
Last time, we touched on the idea that to be in love makes it feel like you’re separated from the world. A corollary to that is that there’s no shortage of love songs catering to people who already feel like they’re outside of the norm in one
For a project writing about depictions of romantic love, I actually haven’t overtly covered sex very much. This is surprising not only because sex is, for many people, an enormous part of a romantic connection, but also because popular music is in some ways built around sexual appeal, whether
It's been a busy couple of months, so this project has fallen by the wayside a little, but here it is, back up on the road, with an entry I've been looking forward to for some time, no less. Love is, to some degree, inherently counter-