Category Archives: Collection

Arachnophonia: “Love & Theft: Blackface Minstrelsy and the American Working Class” by Eric Lott

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Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student assistant Madelyn (class of 2028) and features a book about the racism and cultural appropriation inherent in blackface performance. Thanks, Madelyn!

Love & Theft: Blackface Minstrelsy and the American Working Class by Eric Lott

Love and Theft by Eric Lott

During the 19th century, minstrel shows were key sources of entertainment, featuring songs, dances and comedic routines based on stereotyped depictions of Black individuals, by white actors with blackened faces. Using these real-life events as a foundation for the book, Love & Theft, Eric Lott delves deeper into the minstrelsy musical to portray and extract the hidden fascination and fear of Black culture and its ties with the complicated cultural performance. The title, Love & Theft reflects a deeper juxtaposition on Lott’s view on how although the American working class were fascinated by the African American language and music, they however stole and distorted these significant cultural forms and transformed them into models for their very own entertainment.

Actor Thomas Rice Playing “Jim Crow” in Blackface, New York City, 1833.

This book by Eric Lott explores the path within which minstrelsy was introduced during a period of social change, especially among the urban white working class. Lott provides a very thorough and fascinating explanation on how numerous working-class white men felt politically and economically powerless and as a result of this, the hope of Blackface performances became a medium through which they could express their frustrations, rebel against upper-class norms and forge a new shared identity. Nonetheless, in doing so, this new identity relied heavily on degrading stereotypes of Black people, through which Lott reveals how these performances influenced enduring racial stereotypes and its impact on American culture. I felt very inspired by this book as it revealed such a deep and complicated contradiction of white American’s admiration for Black culture whilst also reinforcing white supremacy in the same vein. Including how American culture has been molded by complex and unequal racial interactions. I believe Love & Theft will deeply push readers to comprehend how racism can especially coexist with cultural fascination and the certain influence of entertainment on social attitudes. I highly recommend checking out this book at the music library.

Arachnophonia: Samara Joy “Portrait”

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Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student manager Laeticia (class of 2026) and features Samara Joy’s 2024 album Portrait. Thanks, Laeticia!

Samara Joy

Portrait

Samara Joy - Portrait (album cover)

Samara Joy’s Voice Is the Jazz Revival We Needed

I have always loved jazz. The problem is, I only ever reached for the classics: John Coltrane, Ella Fitzgerald, Billie Holiday, etc. My relationship with the genre lived comfortably in the past, and I had convinced myself that is just where great jazz existed. Then I put on Samara Joy’s Portrait vinyl, and suddenly the future of jazz felt exciting.

Samara Joy is a 25-year-old vocalist from the Bronx who has been sweeping award shows and proving that jazz is not a museum piece, but is still evolving. Coming from a gospel background, she channels the spirit of the legends I grew up listening to, but she does not imitate them. She is carrying the tradition forward in her own voice, and that distinction matters.

Listening to tracks like “A Fool in Love (Is Called A Clown)” and “You Stepped Out Of A Dream” on the Portrait vinyl reminded me why I fell in love with jazz in the first place. That warmth, that intimacy, the way a vocalist can make you feel like they are singing directly to you. It is all there. But what really struck me was realizing I had been missing out on this entire generation of artists because I had stopped looking forward. Samara Joy reignited something I did not realize had dimmed within me. I was reminded of how one’s soul comes alive through soul full music.

Samara-Joy-Portrait1

The vinyl experience made it even more powerful. This was not just background music. It captured my attention and encouraged me to be intentional with how I consume jazz music. Hearing the depth of her voice, the live-room feel of the recording, the deliberate space in the arrangements, it all reminded me that jazz sounds best when you are fully present for it. No shuffling playlists, just sitting with the music the way it deserves.

What gives me hope is that artists like Samara Joy are introducing jazz to younger audiences while respecting what made the genre great. She’s proof that jazz is not stuck in the past. It is just waiting for the right voices to carry it into the future. If you, like me, have been living in the archives, Portrait by Samara Joy is your invitation to care about contemporary jazz again.

Arachnophonia: “Sinners” soundtrack

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Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student manager Julie (class of 2028) and features the soundtrack to the 2025 film Sinners on vinyl. Thanks, Julie!

Sinners

Sinners soundtrack album

The soundtrack of the 2025 vampire horror film Sinners features powerful renditions of known songs from the 1930s and early 1940s that bridge the gap between tradition and modernity. Guided by intentionality, historical accuracy, and his own experience with American blues music, producer Ludwig Göransson drew from various genres, including blues, Irish folk, gospel, jazz, and soul. Through its attention to technical detail and inventive blend of styles, the soundtrack alone is enough to make the movie worth watching.

One of my two favorite tracks on the album, “Rocky Road to Dublin,” starts off more slowly and quickly evolves into a lively mixed-meter jig with strong vocals and even stronger energy. In contrast, the other, “Will Ye Go, Lassie Go?” is captivating with its simple melody and rich harmonies that manage to sound like home, even while being sung by a band of mildly-threatening vampires.

In vastly different ways, these two songs (along with all the others on the soundtrack) capture the heart and soul that was put into the film, as well as the hearts of listeners and viewers alike. The masterful musicians of Sinners have truly earned their place in Parsons Music Library.

Arachnophonia: Laufey “A Matter of Time”

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Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student assistant Joyce (class of 2027) and features Laufey’s 2025 album A Matter of Time. Thanks, Joyce!

Laufey

A Matter of Time

Laufey - A Matter of Time

I chose A Matter of Time by Laufey because her music is a combination of genres that I have always been drawn to. I like jazz, and Laufey’s sound blends that style with pop in a way that feels both modern and timeless. I think her music is especially compelling to me because of its classical influence. She often sings with an operatic tone, and her background in classical music as a cellist shapes the structure and emotional depth of her songs. That classical foundation gives her music a richness that sets it apart from typical pop albums.

This album is important to me because it feels versatile and comforting. My favorite song, “Lover Girl,” is especially catchy and lively, and I think it is good to listen to in everyday moments. It is the kind of song I enjoy playing while going on a walk or cleaning my room. Overall, I think this studio album captures why I appreciate Laufey as an artist. She creates music that is approachable and fun, yet grounded in a strong classical background.

Arachnophonia: Recreational Reading – “When No One Is Watching” by Alyssa Cole

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Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student manager Rocio (class of 2027) and features a fiction book from the recreational reading collection currently residing at the Music Library. Thanks, Rocio!

Recreational Reading

When No One Is Watching by Alyssa Cole

When No One Is Watching by Alyssa Cole

Maybe your New Year’s resolution is to read more during your free time, or maybe to spend less money on books. Either way, the answer is in Parsons Music Library. The library has a great selection of leisure-reading books you can check out and enjoy before the semester starts to feel a little heavier.

One book that immediately caught my eye, and that I would highly recommend, is When No One Is Watching by Alyssa Cole. This novel is a thriller, but it also talks about real-life issues such as gentrification, systemic racism, and economic displacement. The story follows Sydney Green, who begins noticing mysterious disappearances in her historically Black neighborhood. She teams up with her neighbor to investigate what’s really going on.

When No One Is Watching is an expertly crafted thriller that manages to be as informative as it is entertaining. It’s no easy task to unpack a large amount of American history within a suspenseful narrative, but the author does exactly that. What begins as a slow-burning mystery eventually builds into a heart-pounding reveal. While I found the story incredibly creative and necessary, my only critique is that the pacing felt uneven at times, and the ending seemed a bit too packed with information that might have been better spread throughout the novel.

Knowing that Alyssa Cole (the author) is also known for her romance novels, I was pleasantly surprised to see a subtle love story woven into the narrative. It felt like a welcome and thoughtful addition that helped deepen the characters and their relationships. Overall, this is a highly recommended read! Especially for those who may have all but given up on the thriller genre. This book is a must-read and may just restore your faith in a genre that can sometimes feel stale.

Arachnophonia: Amy Winehouse “Back to Black”

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Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student assistant Jillian (class of 2027) and features Amy Winehouse’s Back to Black album on vinyl. Thanks, Jillian!

Amy Winehouse
Back to Black

Amy Winehouse - Back to Black (vinyl)

Amy Winehouse was a British neo-soul songwriter who received attention in late 2006 and early 2007 after the release of Back to Black on October 27th, 2006, by Island Records. Growing up in London, Winehouse was a member of the National Youth Jazz Orchestra, later signing a publishing deal with major record label EMI and then finally Island Records in 2002. She produced two studio albums, Frank in 2003 and then Back to Black in 2006.

In 2008, Winehouse won 5 Grammys for her Back to Black album, Best New Artist, Record of the Year, Song of the Year for “Rehab”, and Best Pop Vocal Album. In a world where Soul and Jazz are fading genres, Winehouse incorporates a blend of Soul, Jazz, R&B, and pop in her music, drawing from various timeframes. Songs like “Tears Dry on Their Own” and “He Can Only Hold Her” draw from classic Motown tunes such as Marvin Gaye and Tammi Terrell’s 1967 “Ain’t No Mountain High Enough” and The Icemen’s 1966 “My Girl (She’s a Fox)”, bringing back the 60s. The use of rich horns, dominant bass lines, and big band presence in “Rehab” and “Me & Mr. Jones”, to name a few, demonstrates the artist’s inspiration from 1950’s/60’s Jazz.

The artist’s impact on the world of retro-soul led to the release of the biopic Back to Black in 2024. According to IMDb, the film received a 6.3/10 rating, though focusing more on Winehouse’s romantic relationships than her career, according to the New York Times. The movie paid tribute to Winehouse and her career’s impact after her unexpected death in 2011 due to alcohol poisoning. Her timeless music remains popular today, with 2026 marking the 20th anniversary of the release of this album which brought her to fame.

Arachnophonia: Grover Washington Jr. “Winelight”

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Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student manager Rocio (class of 2027) and features a song from Grover Washington Jr.’s 1980 album Winelight. Thanks, Rocio!

Grover Washington Jr.
Winelight
“Just the Two of Us”

Grover Washington, Jr. - Winelight album cover

While I was walking through the vinyl section of the library, I ran into a major throwback: the record featuring “Just the Two of Us.” It’s one of those songs that can totally lock you in or give you just the right amount of motivation at the beginning of the semester. Just you, the music, and your assignment lining up perfectly and locking in. That said, it’s way too early in the semester to be stressing about procrastination and deadlines when it’s literally only week one.

I don’t know if you’ve noticed, but with 2026 feeling like the new 2016, nostalgia is definitely in the air. Naturally, I had to bring this jazzy vinyl back into rotation.

For a little background: “Just the Two of Us” was released (as a single) in 1981 by Grover Washington Jr., featuring Bill Withers, and it’s one of those rare songs that blends jazz, soul, and R&B so smoothly that it never really goes out of style. AND it won a Grammy Award! In addition, this record has been sampled and referenced countless times since, which probably explains why it still feels so familiar even decades later.

This vinyl is perfect whether you’re listening in a library study room, vibing with your AirPods on (yes, you can do that in this library, kind of iconic if you ask me), or checking it out to play in your dorm and fully romanticize your evening. It’s low-key, timeless, and the kind of sound that makes studying, just existing, or feeling a little cooler.

Arachnophonia: Tokyo Kosei Wind Orchestra, Volume 1

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Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student manager Sophia (class of 2028) and features her impressions while listening to a vinyl LP of the Tokyo Kosei Wind Orchestra. Thanks, Sophia!

Tokyo Kosei Wind Orchestra, Volume 1

Tokyo Kosei Wind Orchestra, Volume 1

The first piece on this album (“Symphony no. 2, The seal of the three laws by Robert Jager) begins in a lively way, almost like the opening for a Disney movie. As the piece goes on, the rhythm builds faster and faster, then gradually slows down before picking up the speed again. The sound of drums, trumpets, and trombones makes it feel like a rollercoaster ride, constantly going up and down. The pitch follows the same pattern, jumping from very high notes to suddenly dropping into very low ones.

My overall impression of this piece is that it reminded me of one of my favorite childhood cartoons, Tom and Jerry. The fast-paced rhythm feels like the chase scenes where Tom will run after Jerry and suddenly stop. The suspense rhythm reminds me of when one of them starts to plot something sneaky.

I would recommend this album to anyone who enjoys lively, playful music or who wants to experience a rollercoaster ride filled with sounds and imagination.

Arachnophonia: The Architect of Music – How Bach Built Cathedrals in Sound

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Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item(s) in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student manager Nikoloz (class of 2026) and features works relating to Baroque composer Johann Sebastian Bach (1685-1750). Thanks, Nikoloz!

The Architect of Music: How Bach Built Cathedrals in Sound

Johann Sebastian Bach (1685-1750)

We often think of classical music as elegant and pleasant. But listen to Johann Sebastian Bach not for melody, but for structure. He wasn’t just a composer; he was a master architect who built intellectual and spiritual cathedrals using only notes.

Working in 18th-century Germany, Bach was less a tormented artist and more a brilliant craftsman, composing for the church and court. Yet, within that formal role, he achieved a superhuman balance of mathematical precision and profound emotion.

Consider his Goldberg Variations. It begins with a simple, graceful “Aria.” What follows is not just a series of songs, but a universe built from that single theme.

Bach takes this Aria and puts it through 30 different transformations. He creates canons at every interval, turns it into a furious fugue, a delicate dance, and a mournful lament. Every variation is a new room in this vast musical palace, yet the blueprint of the original Aria is always there. It is a breathtaking display of controlled invention.

Why This Matters for You

You don’t need to be a musician to appreciate Bach’s genius. Listening to his work is like watching a master engineer solve an impossible puzzle. There is a deep, human satisfaction in hearing complex parts interlock perfectly.

In a world of chaotic noise and fleeting trends, Bach offers a different experience: the beauty of perfect order. It is music that appeals equally to the heart and the mind, a timeless structure you can return to again and again to find both solace and awe.

The World of the Bach Cantatas, edited by Christoph Wolff

Find out more about Bach and his work at the Parson’s Music Library through books like The World of the Bach Cantatas or streaming audio and more!

Arachnophonia: Kaytranada “BUBBA”

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Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student manager Laeticia (class of 2026) and features Kaytranada’s 2019 album BUBBA on vinyl. Thanks, Laeticia!

Kaytranada
BUBBA

Kaytranada - BUBBA

Why Kaytranada’s BUBBA Deserves A Spot in Every Vinyl Collection

If you’re into groove therapy or just love music that makes you move without even trying, then Kaytranada’s BUBBA deserves a spot on your shelf.

Kaytranada, whose real name is Louis Kevin Celestin, is a Haitian-Canadian DJ and producer from Montreal. His music mixes electronic, funk, R&B, and house in a way that just makes you feel good. He started making beats in his bedroom and built his name by creating songs that are perfect for summer nights, long drives, and heating up a dance floor, all at once.

His album BUBBA is one of those projects that instantly lifts your mood. This album feels like movement. It’s vibrant, warm, and effortlessly smooth with every song rolling into the next like a perfect DJ set. It’s full of songs that make you want to move, but also just chill and listen at the same time. I think “10%” is probably the song most people know, but tracks like “What You Need” and “Midsection” are just as catchy. What I love most is how the album strikes a balance between dance floor energy and deep reflection. It really just vibes.

Now, let’s talk vinyl. The BUBBA vinyl isn’t your regular spin, it’s an immersive experience. It sounds warm and alive, like you’re right there in the studio. Kaytranada is known for being open about who contributes to each track, giving the record a sense of collaboration that’s rare in electronic music. Plus, if you’re into samples, you’ll have fun figuring out where some of his sounds come from. If you’re curious about who he works with or which classic tracks he’s flipped into his own, the vinyl cover breaks it all down. It even includes a poster that ties the whole aesthetic together.

The mood of BUBBA is pure good energy. It’s perfect for when you’re just chilling, getting ready, or turning a lazy Sunday cleaning session into a mini dance break. It’s for anyone who loves music that moves with purpose and personality. If your vinyl shelf doesn’t have Kaytranada yet, it’s time to make some space because BUBBA doesn’t just play, it feels alive.