FERNANDO: A Song by ABBA, a breath of fresh anticapitalism for Yuletide refreshment

FERNANDO: A Song by ABBA
KAY DICKINSON
Duke University Press (non-affiliate Bookshop.org link)
$22.95 paperback, available now

Rating: 4.5* of five

The Publisher Says: Kay Dickinson outlines how ABBA’s mega-hit song “Fernando” could express support with anti-capitalist and Third World liberation while simultaneously becoming an icon of global capital.

Since its release in 1976, ABBA’s song “Fernando” has been loved by fans around the globe both for its sing-along chorus and its revolutionary spirit. In Fernando, Kay Dickinson takes readers from Sweden and Chile to Australia and Poland, tracing the complicated ways the song could express support with anticapitalist and Third World liberation struggles while remaining an unrepentant commodity. A song about freedom fighters was unlikely to become a pop mega-hit, yet as Dickinson demonstrates, ABBA’s lucrative, longstanding appeal rests on their ability to bridge contradictions within everyday life.

Five decades later, “Fernando’s” rousing calls for freedom continue to resonate with gay liberation movements and other social struggles, demonstrating how a song can be both revolutionary and an envoy for global capital.

I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

My Review: We interrupt our dive into the shallow, luxuriantly populated waters of consumer capitalism to clamber, just briefly, onto the rock of social responsibility. Never fear, we're still dabbling our toeses into the lovely warm consumerist dreamworld! ABBA was hugely commercially successful, and never pretended that was not the point of "Fernando."

Gotta meet people where they are. If the people do not want to listen to you, your message is unheard. This is a profound insight I try not to forget but regularly do...just look at my blog's viewership numbers.

This tune burst onto the scene like a cannonade from the Crimean War. It was *everywhere* and it was not just Anglophone-famous. It's about regular fighters in the 1910 Mexican Revolution. It is hard to think of a more anti-oligarchic, anti-capitalist popular uprising than this one was. (It failed; let's save that discussion for another time.)

In ABBA's earworm-y tunefulness, they made the record industry (and themselves) quite a lot of money around the world...this tune's popularity in Hispanophone countries seems self-evident, but there are layers and levels to the popularity of the song that differ from market to market. Author Kay Dickinson explores some relevant examples of different reasons for a Swedish group's Anglophone product resonating in places you wouldn't expect.

It's worth noting that this is a popular history, not a musicological tome. I could read it for hours at a stretch without resorting to the dictionary. I was also that immersed and that invested in the subject matter. My car's radio sound is still the way I "hear" this song when earwormed by it...it's tat powerful...and that should say it all to a prospective buyer. Gifting or self-gifting, this is a book perfectly timed...fifty years ago is still alive to many of us...and perfectly aimed at the interests of those nostalgic, those curious, and those seeking some reminder that participating in and benefiting from capitalism does not require one to surrender one's soul. Speaking of which, some photos would've bounced this into five-starhood...

BLACK DIAMOND QUEENS: African American Women and Rock and Roll, another co-opted cultural theft from Black folks

BLACK DIAMOND QUEENS: African American Women and Rock and Roll
MAUREEN MAHON
Duke University Press
$30.95 trade paper, available now

Rating: 5* of five

The Publisher Says: African American women have played a pivotal part in rock and roll—from laying its foundations and singing chart-topping hits to influencing some of the genre's most iconic acts. Despite this, black women's importance to the music's history has been diminished by narratives of rock as a mostly white male enterprise.

In Black Diamond Queens, Maureen Mahon draws on recordings, press coverage, archival materials, and interviews to document the history of African American women in rock and roll between the 1950s and the 1980s. Mahon details the musical contributions and cultural impact of Big Mama Thornton, LaVern Baker, Betty Davis, Tina Turner, Merry Clayton, Labelle, the Shirelles, and others, demonstrating how dominant views of gender, race, sexuality, and genre affected their careers.

By uncovering this hidden history of black women in rock and roll, Mahon reveals a powerful sonic legacy that continues to reverberate into the twenty-first century.

I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

My Review: Get your pearl-clutching hand limbered up, y’all...white men grabbed a narrative and co-opted it again!
I know, I know...no one saw that coming, did they?

What I did not know about the history of women in rock and roll was a LOT. The underhanded way the gatekeepers would routinely mislabel Black women's music as soul or R&B, making it into an audience-awareness choice, reaching the natural market for these women's work, ie other Black folks. This made sure it all looked okay from the outside and still kept them separate from the white audiences that loved their music. Big Mama Thornton recorded major hits for white artists who got them from discovering her versions, eg Elvis re-recording "Hound Dog" after she did it, then refusing ever to acknowledge her as the source of the style and the rendition he made. She never got her public due, her deserved attention, or her merited rewards despite a many-decade career.

There is an entire chapter on the girl groups like the Shirelles and the Supremes, huge cultural forces in their day and now largely ignored or forgotten entirely. Diana Ross might be familiar to some younger folk (likely as a solo act), but neither Florence Ballard nor Mary Wilson are, and that is nigh on criminal neglect! The history of the women who worked behind the stars, and in the session studios, are equally unknown to the broad swath of listeners. Who knows who Merry Clayton is, by name anyway? But listen to the Rolling Stones' absolutely ubiquitous "Gimme Shelter" and they know that voice. An actual human woman, with a career, made those glorious sounds behind Jagger's howl of lust. Women like Claudia Lennear and Minnie Riperton were "muses" for white, famous men, and had tiny fractions of their success.

Of course no one can take a cursory look at this book and fail to see Tina Turner front and center. Rightly so. Her life and career were legendary from the beginning. Every action, every concert, was An Event. A life lived in the glare of publicity, though, is not always a career that works for the aritst. While Tina Turner did find justly given adulation and success for her talents, she worked for everything she ever got *against* the men resisting her input and rejecting her needs and wants. It was not until the 1980s, her fourth decade as a singer, that she finally shed the R&B ghettoization and became a megastar. The fact is that Tina Turner was a musical force of nature, and should have been lionized with the greatest of the British white men who gave the US white audiences covers of the Black women's originals.

I think I learned most from Author Mahon's chapter on Betty Davis, one of Miles Davis' wives. Her astonishing music was a YouTube rathole I had not known existed. Listen to "If I'm In Luck I Might Get Picked Up" and tell me you don't feel deprived that you are hearing it for the first time in the 21st century. That is my—our—loss, and a bitter privation indeed. It slammed home the grotesque waste of Black women's talents and gifts this book was written to highlight.

For this MLK Day of reviews, this read was both fascinating and infuriating. The misogyny, the racism, the sheer hideous waste of so much life force, all left me more hell bent than ever to seek voices, experiences, and talents in as many corners that are not spotlit than ever. Join me and let's start shoutin’ about it.