When it comes to “art songs” (a term which I detest, since it suggests that many of the great songs which I love more than anything in the world and think are of unequalled artistry are not actually art), the gender issue has intrigued me for a long time.

It has been quite acceptable since at least the mid-19th century for women to sing songs clearly intended for men to sing. Jenny Lind, the famous Swedish soprano, was known to have sung Schubert’s “Die Schöne Müllerin,” (The Beautiful Miller Maid), which is entirely from the voice of a young man (well, and a brook, too). Women have never hesitated to sing any number of songs that are very much from a man’s point of view, whether by Schubert, Schumann, Brahms, Ravel, etc.

On the other hand, Schumann’s song cycle “Frauenliebe und Leben,” (A woman’s life and loves), which is from the point of view of a woman from youth to old age, is never, ever sung by a man–at least, I have never heard of it having been. I have often thought that, in these days of Queer Theory, it would be something a male singer would want to do, just to shake things up.

Mark

Across the Universe - Beatles
He Ain’t Heavy - B. Scott and B. Russell
Chelsea Hotel #2 -Cohen
Everybody Knows - Cohen
Instant Pleasure -Seth Swirsky
Will You Still Love Me Tomorrow - Carole King
What Can I Do?- Antony
Harvest - Neil Young
Careless Whispers - Wham
What Are you Doing New Year’s Eve - Frank Loesser
I Wonder What Became of Me - Harlold Arlen
Keep Cool Fool - James Price Johnson / Joseph Myrow
Complainte de la Butte

On the other hand, I can think of an example of a group who covered two Rufus songs and “made them their own.” I find the covers (”The Greek Song” and “Vibrate”) so deplorable that I think they could stop elevators and shopping carts worldwide. (I actually like some of the music that The Manhattan Transfer Station has done–just not in this case.)

Maybe covers are a tricky business.

Oooops #2:
My first post was based on literal interpretations of his lyrics alone. I thought that was the question. I would love it if everyone was comfortable with the idea of a woman cruising…but not in the US, not yet.

Oooops #3:
Also I was only considering recorded covers, not live performances.

I wonder if it is more effective for cabaret singers (versus recording artists) to pull off covering Rufus songs because of the intimate setting and the opportunity for the performer to schmooze with the crowd? Rufus’ lyrics are highly crafted and integral to his songs. Sometimes, especially for those who are not used to hearing Rufus sing, his lyrics can get lost because of his unique pronunciations. As angela pointed out, people who come to her show are delighted to finally find out what the songs mean, and that is a big plus.

Also, I truly believe that some recording artists would not be comfortable singing the songs. So no matter whom I pick, they might not want to do it. My wish list would let the artists do his songs in their own styles. The worst thing would be someone trying to imitate Rufus because it can’t be done.

That being said, here is a list of people I think would be fun to hear doing Rufus covers:

Beverly Knight
Annie Lenox
kd lang
Bette Midler
Emmylou Harris
Imogen Heap
Fiona Apple
Joni Mitchell
Norah Jones
Cat Power
David Bowie
Bryan Ferry
Ruben Blades
Stephen Malkmus
Youssou N’Dour
Sufjan Stevens
Muse
Destroyer
NOFX

As for all the others, well the possibilities are endless. Who can not imagine Ricky Skaggs or Garth Brooks singing “Hometown Waltz?”

One of my favorite CDs to find by accident in a cut-out bin is some Bluegrass “tribute” that has been recorded. So I’ve listened to bluegrass versions of Metallica, Jimi Hendrix, Led Zeppelin, etc.

In fact, that would be quite interesting, wouldn’t it? A bluegrass tribute to Rufus Wainwright. Yes . . . I like that idea.

Songs expressing the emotions surrounding unrequited love, infatuation, yearning, angst, etc., tap more universal themes that cross gender or sexuality lines. When Rufus talked about writing “The Art Teacher,” he talked about being physically attracted to a straight art teacher whom he met at the gym. His song tapped the universal emotions of having a crush on an older authority figure–and he most likely wrote the song from the perspective of a woman recalling her school days because he wanted to sing the song for this particular straight art teacher–and not offend him. When he met the art teacher, he immediately imagined how the young girls at the teacher’s school must have been attracted to him; he did not imagine gay infatuation, although that is certainly the bottom line when he sings this song–and the point he was hoping to make with the art teacher. At the concerts where he first began performing this song, he often prefaced the song by saying, “This song is about a young girl, a.k.a., Rufus Wainwright.” (He says it didn’t work….the art teacher apparently walked away after hearing the song, unimpressed.)

I’m wondering if “The Art Teacher” would be more easily covered by a female singer rather than another male singer….which puts an interesting twist on your original musings.

I can’ think of examples of straight men singing songs marked as written by women - I guess there are some depressingly obvious reasons for that.

jan

So Rufus is singing a song woman’s song. That being said, there is an overlay of Rufus himself in the character.

Can you think of many instances of straight men singing songs originally written from a woman’s point of view? I’ve heard many gay men’s choruses do this which is invariably rather funny, or I guess, campy.

I would like to comment on the idea of women covering Rufus’ songs, as I have just done so in my cabaret act (See thread: “My tribute to Rufus” for reference).
I was laughing when I read the post that said NO ONE but RUFUS should cover: blah, blah and blah–and I had done over half of those mentioned in the show.
I am going to say that it all depends on how the music is arranged, who the singer is, and whether their intepretation and belief in the material is strong enough to make the audience “buy” the song. I will give you set list at the end of the post.
First of all, some very common comments I received after the show from fans of Rufus were, “I could hear the words for the first time”,or “that’s what he says?” or “OH,THAT’S what that song means!”
The thing is, I don’t believe that the songs DON’T work when sang by anyone other than a gay male, rather that the songs take on a different meaning.
Just as a lyrical example, in “Beauty MArk”, the lyric goes, “I may not be so manly, but still I know you love me…”, etc. I was the only girl in a family with four brothers, so to me, that lyric was not only justified, but took on a wry and sarcastic tone.
My musical director also created arrangements (and of course, transpositions) that transformed Rufus’ songs, so that the meanings were not quite the same.
Think of Tori Amos singing “Angie”–NOT a song a female should be singing on paper, but totally works because SHE knows what she is singing about, and created an arrangement that is uniquely hers.
Here is the setlist for my act (which has been extended by the venue, and is running in Jan–details on thread!):

Oh What A world/ I don’t know what it is (medley)
Foolish Love
April Fools
Vibrate
The Art Teacher
This Love Affair
Hometown Waltz
Beauty Mark
Dinner At Eight
California
Tower of Learning
Cigarettes and Chocolate Milk
Poses (encore)

Just an FYI, the songs that have received the hugest and most unanimously positve reactions are Poses, Dinner at Eight, The Art Teacher,Vibrate and Tower of Learning.

I’m thinking that perhaps the “cruisin’” line and the “waltzing” line that follow it were not so literal in Rufus’ mind, yet they are being interpreted that way to the point of being stoppers. (No discussion with the soprano about “I don’t know why I’m watching all these white people dancing”?)

(And….I gather that “cruising” has nothing to do with using the cruise control in the car, huh?) I’m kidding!!