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“I'd Rather [Sound] Blue”: Listening to Agency, Hybridity, and Intersectionality in the Vocal Recordings of Fanny Brice and Barbra Streisand

Published online by Cambridge University Press:  21 February 2022

Samantha M. Cooper
Samantha M. Cooper*
Affiliation:
New York University, New York, NY
*
Email: smc867@nyu.edu
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Abstract

This article locates intersectionality, agency, and hybridity within the singing voices of Fanny Brice and Barbra Streisand by comparing recordings of “I'd Rather Be Blue,” “Second Hand Rose,” and “My Man” from the surviving Vitaphone reels of Brice's My Man (1928) with the audio from the Digital Versatile Disc (DVD) of Streisand's Funny Girl (1968). Brice and Streisand's virtuosic stylized vocal performances communicate particular classed, gendered, geographic, and racialized identities for audience consumption. This project aims to restore the sonic and aural to a body of scholarship on these performers that heretofore has focused primarily on the physical and visual. An untapped inroad for analysis lies in the sonic space between these two women, one of whom attempts to posthumously portray the other. By practicing close listening on these recordings and taking seriously the Jewish right to hybrid musical expression within and beyond the United States in the twentieth century, we can move past the essentializing discourses of the US racial binary to which Jews pose a definitional challenge, and open up further avenues for thinking about Jewish sonic difference generationally and contextually.

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Type
Research Article
Information
Journal of the Society for American Music , Volume 16 , Issue 1 , February 2022 , pp. 24 - 46
Copyright
Copyright © The Author(s), 2022. Published by Cambridge University Press on behalf of the Society for American Music

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Footnotes

Thank you to Suzanne Cusick, Brigid Cohen, Michael Beckerman, Maureen Mahon, Daniel Goldmark, and Kay Kaufman Shelemay for the insightful discussions, reading recommendations, and comments that shaped the many iterations of this project. Additional thanks to David Garcia, Emily Abrams Ansari, Diana Wu, and the anonymous reviewers for their discerning critiques throughout the editing process. I am grateful to the Association for Jewish Studies conference (2018), the University of Toronto Graduate Music conference (2019), and the 15th biennial Feminist Theory and Music conference (2019) for providing collegial spaces to share early versions of this paper.

References

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