Today, I'm going to introduce you to the delightful genre affectionately known as "chap hop." It's exactly what it sounds like - hip hop from the point of view of an early 20th century gentleman. Very much in the same vein of those fictional rap battles on YouTube that feature everything from Disney princesses to historical figures. Chap hop has grown to be a beloved part of the retro-futurist music scene, as its playful sound adds a little light-heartedness to the gritty atmosphere portrayed in most steampunk. Chap hop originated in England and focuses on stereotypical English pastimes, like tea, cricket, and proper etiquette in social settings. Looking at the artists in this genre, most of their names are plays on the old-timey version of the idea of the 19th century gentleman, ranging from pretty tame Professor Elemental to the downright punny Poplock Holmes. Regardless, it's British humor at it's finest - self-deprecating, full of dry wit, and hilarious....as long as you understand the cultural footnotes.
I've got super producers and fans that play me
You've got a granddad's mustache and a ukulele
Don't look around sir, I'm speaking to you
Roll up your shirt sleeves, Queensbury rules
Never test professors with the cleverest wits
Let's settle this like gentlemen: armed with heavy sticks
In "Fighting Trousers," Professor Elemental is essentially challenging Mr. B The Gentleman Rapper to a round of fisticuffs. Some of the fun references that the average layperson may not be familiar with (especially if they haven't delved to deeply into British culture and Steampunk) are the insistence that they follow Queensbury rules, which are the generally accepted rules of boxing. Also to be noted in the world of chap hop is the extensive use of the instrument affectionately known as a "banjolele," which is ukulele-sized banjo. To be honest, I didn't know such a thing existed until just now, but it also helped me understand the reference to George Formby. Formby was an early 20th century comedian who told jokes through song, using a banjolele to accompany his verses. Anyway, the "rivalry" between Professor Elemental and Mr. B provides some entertaining fodder for the genre, with Mr. B putting out his own diss track, "Just Like a Chap," in response to "Fighting Trousers."
Today, we're taking a veer more towards the steampunk-y side with The Dresden Dolls. This was another of those songs I liked to listen to on repeat when I was in college. Dark Cabaret was one of those genres that made me ecstatic to learn it existed. Besides that, I'm a big fan of Amanda Palmer - she always seems so un-apologetically herself. She doesn't compromise who she is or pretend to be someone she's not just to please others and I really respect that. Her performances can be whimsical one moment, passionate and raw the next. Her tweets also give me a little comfort from time to time. I think her and Neil Gaiman's marriage is fascinating, because they're both on the road for large swathes of time, apart from each other. No, they're not always happy with that situation but they're both pursuing their dreams and support each other, regardless of how far away those dreams take them. Besides, the distance is temporary. It's all temporary.
Obviously, she wrote this song long before she met Neil Gaiman (though, I'm sure she knew who he was at the time, since he was a well-established author by then). In "Coin-Operated Boy," she longs for a love affair without the complications. Without the vulnerability, without having to expose her heart to destruction. Someone she can pull out when she's feeling lonely and wants the good things, no disappointing stuff (like catching feelings and wondering why they're not answering your phone calls). Ultimately, it's a song about loneliness, because she knows that a "coin-operated boy" would just be playing pretend. It wouldn't cure what ails her - the gut-wrenching feeling that she ruins all her relationships because she is fundamentally unlovable, and that's why the ones she loves always leave her. The sweet sing-song voice quickly turns to quiet rage during the bridge, almost sounding petulant. Like she knows it's a bratty, childish thing to want so much without having to sacrifice anything in return. But it would make things so much easier and less painful. The last verse is what gets me, though. She sounds so resigned to loneliness, it's heartbreaking just to hear.
Coin operated boy, he may not be real experienced with girls
But I know, he feels like a boy should feel, isn't that the point
That is why I want a coin operated boy
With a pretty coin operated voice saying
That he loves me, that he's thinking of me
Straight and to the point, that is why
I want a coin operated boy
This is just going to be a purely "song of the day" post. I haven't been really feeling like myself lately and writing sometimes takes a lot out of me. On the bright side, I've been writing some disturbingly dark poetry. Might fuck around and submit to a few contests. IDK. I'll probably write a few paragraphs on Steampunk later this week, when I'm feeling more focused, preferably after my next certification test. Finally, since I enjoy promoting the work of my favorite artists, I recommend reading Amanda Palmer's "The Art of Asking." I haven't read it yet but it's on my list. It's up there, along with "The Artist's Way," as a book I'm always being told to read by my creative friends. I've heard good things and, thinking about it now, I really should move it up higher on my list.....
As I said before, the last month has been rough on me. Not just because of all the shadow work, but also all sorts of chaos being unleashed in both my personal and professional life. But we're getting close to Summer now, which I've always considered to be "my season." As far as I'm considered, June and July are mine, because my Sun is in Cancer and my Rising is in Gemini. Also, I was born in California and all California girls are perpetually awaiting summertime. Since June is the start of my season - and Gemini placements have diverse and varied interests - I've decided to focus on one of my passions that I don't really take the opportunity to showcase. Retro-Futurism.
For the uninitiated, retro-futurism is the creative movement that places modern and futuristic elements within a past era. My preferred aesthetic is Dieselpunk, which takes place during the Great War Era. This falls between World War I and World War II, roughly from 1920 through 1945. However, because of this placement, it naturally blends with the earlier period that comprises Steampunk and the post-war era that becomes Atompunk. Although my primary focus this month will be on the elements that make up Dieselpunk, I may dip into other retro-futuristic aesthetics as the mood strikes me.
So what does that mean for June? Well, be prepared for a lot of electro-swing, big band, some chap hop, rockabilly, horrorbilly (basically all the "billys"), and a healthy dose of my favorite band for vintage re-imagining, Postmodern Jukebox. Additionally, I plan to explore different elements of retro-futurism and how they are used in their respective aesthetic. Naturally, this will include sharing some of my favorite retro-futurist artwork and resources, as well as other Dieselpunk things I've collected over the years.
I think this one would be good for October, too, since it's kind of creepy. The song is about Little Red Riding Hood, but from the point of view of the Big Bad Wolf. The Wolf is obsessed with Little Red, which is fitting. A literary analysis of Little Red Riding Hood reveals that, at the core of the story, it's a cautionary tale for young girls to be weary of strange men. The Big Bad Wolf represents the prototypical male stranger - hairy, big, maybe a little scary, with an insatiable hunger. I won't spell it out for you, but you know what that insatiable hunger is. And the song is full of those implications. In some retellings of the story, Little Red and her grandmother successfully fight off the wolf. But in others, they aren't saved until a noble Huntsman comes to the rescue. And in still others, no one escapes. This is how the original story by Charles Perrault ends - with Little Red climbing into bed with the Wolf and being consumed. The Big Bad Wolf wins, sometimes.
Fable Cry front man, Zach Ferrin, describes the arc of "Onion Grin" as an example of what unchecked romantic obsession can become. The lyrics follow the thought process of the Big Bad Wolf while he is stalking beautiful Little Red. She's walking alone at twilight when he spies her. He considers eating all the treats inside in her basket of goodies but it's "not enough." He approaches her and strikes up a conversation, slowly gaining her trust, even though she's only known him for a few seconds. As she's telling him everything he needs to get to her grandmother's house, he's devouring her with his eyes. Imagining what she tastes like. Finally, he captures her and she's struggling to escape. But by the end, he's gotten what he's been desiring. Yes, Fable Cry is describing the Wolf eating someone, but it sounds dangerously sensual. He's definitely eating her, but what part? I'll let you decide.
Tell me all your fears, dear, I can guess what they're all about
I whisper in your ear with an onion grin and a whiskered snout
The colour that's in your hair is on your lips, it's in the trees
It's in my heart, it's on my tongue, it's everything I see
Fable Cry describes their music as "scamp rock," which I imagine is in the same family as chap hop. Basically, they take instrumental and lyric inspiration from the Steampunk era and mix it with modern musical styles. I found their sound very similar to Aurelio Voltaire, and if I looked through more of their songs, I imagine some of them would be as dark as Voltaire's work, too. As with "Onion Grin," they draw the inspiration for their songs from mythological and fantastical sources, such as fairy tales. Fable Cry originated in Nashville, so their music tends to have some bluesy influences and sounds, like honky tonk pianos and banjos (I love both of these!). And when they perform, they dress like Victorian Goths...I'm totally okay with this. Every Fable Cry song I've heard sounds tailor-made for Halloween season, so don't be surprised if you hear from them again. Merry Mabon!
