Monday, December 15, 2008
Believe by Cher
Why are people afraid of technology in music? Audiophiles continue to argue whether the record or the compact disc creates the best sound. People wonder if live music will become less pervasive in our culture as the majority of music that people listen is recorded and produced in a studio and people morn the loss of live musicians in studios that producers replace with synthesizers.
Relax people.
Yes, music is changing, but not it’s all bad. New media like compact discs and digital formats have made music more accessible then ever before. Live music is still alive and disc jockeys have created a new musical language manipulating recording music to create unique live musical experiences. In addition, synthesized sounds have not only made music more accessible to musicians but also created tools that have widened the expressive palettes of artists. Yes, people have created some awful music by utilizing synthesizers, but people have also created horrible music using acoustic instruments. Great artist have created incredible works of art before the use of synthesizers and there have been many great pieces of art that have utilized technology to create interesting, expressing and meaningful music like Cher’s 1999 hit “Believe.”
Yes, Cher I fully acknowledge that there is something just not right about listening to Cher and well . . . analyzing her music. This was brilliantly demonstrated in the television show Buffy The Vampire Slayer, season 4, episode 2 titled “Living Conditions.” When Buffy goes to college, she has a stereotypical annoying passive aggressive roommate and one of her first signs that something is wrong with her is that she is listening to “Believe” over and over while ironing (the roommate does end up being a soul-sucking demon, but that’s beside the point). Cher is a strange and sometimes mystifying popular icon, but she has made a lasting impact on our culture. Like “Since U Been Gone,” “Believe” is just one of those songs that almost everyone seems to like, regardless of the feelings we have about the Diva named Cher.
One of the reasons this song is well known is because for the electronic effect heard in the verses and in the end of the song. This effect is first appears in the song on the word "can't" in the first verse. Artists have used similar effects before but it was heard in main-stream popular music. The producer Mark Taylor used the computer program called auto tune to create this effect. This program can adjust the pitch of a recorded sound so that it is in tune. For example, if someone sings a flat note, it will raise the pitch without any distortion to the sound. Producer Mark Taylor put the settings of auto-tune to an extreme forcing the note Cher was singing to beyond correcting pitch to a different note, which created the ornaments that are heard. Auto-tune usually will compensate for the tone but because the settings were so extreme, Cher's voice comes across as distorted and robotic. Producers continue to use auto-tune continues to be used to help raise the quality of recordings as well as to create interesting vocal effects like in Kanye West's newest album 808s & Heartbreak.
The electronic processing of Cher's voice creates two different Cher's in the song.: a reflective Cher in the verse and an in your face “I Believe” Cher in the choruses.
The first Cher during the verses that is thinner and features the auto-tune ornaments. In the first verse she concludes that he’s going to be the lonely one when he leaves and in the second verse, she concludes that she is in fact too good for him. Cher is singing to someone who wants to leave her and she concludes that she is in control and does not need him.
The second Cher is during the chorus when she is singing with a full and bright sound. This creates contrast between the verses and chorus and a sense of release when the chorus come. She is figuring out how she feels in the verses and in the chorus she comes to a conclusion
Do you believe in life after love?
I can feel something inside me say
I really don't think you're strong enough now.
Cher is stating that she knows that there is love left inside of her and she doesn't believe that he is strong enough to truly have much of a life after he leaves her. The bridge continues this sentiment with the second Cher
Well, I know that I'll get through this
'Cause I know that I am strong
And I don't need you anymore.
Cher repeats "I don't need you anymore" each time with more conviction and more heart.
The next section builds to the last time we hear the chorus in which we here the chorus for the first time in the first Cher voice utilizing the auto-tune ornaments. Like in the verses, there is a feeling that Cher is reflecting back and the auto-tune effect makes the chorus seem like it is in the distance, in the past. This is something she has come to terms with and now truly is moving on with her live.
Throughout the song there is world of electronic sounds that flow organically through out the song. Long tones ebb and flow like waves in the ocean over a variety of colors with kinetic and unrelenting energy. The emphasis on every beat makes this song easy to dance to because and the constant changes in the texture maintain the listeners interest throughout the song. If you listen carefully, every different section is marked with different sounds dropping out and being added without interrupting the flow of the song.
It doesn’t matter what tools the artists uses, what matters it the feeling we get from the music. This song is fun. It’s joyous. “Believe” captures a feeling of elation and wonder that only synthesized sounds can express.
If you only read the lyrics this song would seem vengeful. Cher is basically saying that everything bad that he thinks he is doing to her will only hurt himself. She is not saying that after the breakup he’ll land on his feet, but instead that he will fail to find love. However, after listening to this song with it’s upbeat and confident feeling it becomes clear that Cher is insulting this man but merely stating facts about what will happen.
There is a sense that this is a relationship that has lasted a long period of time and that tried to have power over her, but now she realizes that this has only corrupted his own heart and left him incapable of loving again. When she says "I really don't think you're strong enough" it's not about being insulting, but more about sympathy.
In working on this post, this song has been playing in my head for a couple days and yesterday I told this to my wife (who by the way thinks Cher sounds like a man). That may seem annoying to you but it was an awesome feeling. It’s not about the technology but the artists and meaning in the music. Even if there is something that is just not right about Cher, I got to admit that there’s something indescribably awesome about “Believe.”
Friday, December 12, 2008
Not Ready To Make Nice by the Dixie Chicks
Multiple choice:
If a popular singer that you like makes a joke about a politician that you support, which is an appropriate response?
a. disagree with the comments but still support the artist’s
b. boycott the artist’s music and dispose of any of the artists merchandise that you may own
c. send a threat stating you will shoot the artist dead during a performance
If you chose “a,” I agree with you as I look to musicians for their art and not their political opinions. If you chose “b,” I disagree with you but I completely respect and understand your choice to not support someone that makes statements that you disagree with. If you chose “c,” then I am concerned about your lack of moral judgment and strongly suggest that you seek professionally help for your inclination to threaten people’s lives for what they say.
In 2003, after the United States invasions of Iraq, Natalie Maines of the Dixie Chicks stated in front of a live audience in London, “Just so you know, we're ashamed the president of the United States is from Texas.” Natalie Maines made her comment during a time when President Bush had some of the highest approval ratings of any United States president. At that time, few Americans spoke out against the war in Iraq and unlike now when it almost seems fashionable to criticize President Bush, it was not common to make jokes about the President.
I’m not going to get into my opinion about Bush or the war in Iraq, that’s not the point of this post. But what I do what to point out is the shameful reactions by many Americans who disregarded the Natalie Maines rights to free speech. Yes, freedom comes with responsibility and as much as Natalie had a right to make her comment, people had a right to disagree, but no one had the right organize illegal radio boycotts and send death threats to the Dixie Chicks.
In reaction to all the fervor and criticism the Dixie Chicks did what they did best, create music. In 2006, the released the album Taking The Long Way which featured songs reacting to the controversy including “Not Ready To Make Nice.”
“Not Ready To Make Nice” is a song that refuses to be ignored. The lyrics are direct and raw. The background instruments have a clarity and immediacy that instantly draws the focus to the singer. The song takes us on a journey through Natalie’s feeling playing with our expectations of the tradition song form. The song starts with a first verse, then a chorus and then the second verse. Halfway through the second verse the music changes and it builds to a climax at the end of the verse. This leads into an instrumental break that brings soars into the following chorus. Climaxes in popular music are more often in bridges or choruses. You can make the argument that the build up in the middle of the second verse is actually the bridge. If that is the case, it is still unusual, as this bridge cuts the second verse short.
One of the key instruments in the building to the climax is the violin. It starts playing long notes and then transitions into chords on every other beat. Next, the violin plays these chords on every beat and finally the chords double in their speed. Right before the instrumental break slowly another violin line enters with a long note, getting louder and releasing into a soaring melody. When chords are played on a violin, they have an aggressive almost grainy quality to them and when they speed up it creates an driving tension making the release of the following violin melody line that much more satisfying.
Natalie Maines has a big voice. She sings with so much resolve that it seems to lack restraint at times. But moments like this build up to the climax remind us of the skill in her singing. When she starts “I made my bed. . .” she sings the notes with a certain swing by giving push to the certain words (i.e. made, baby, no). She keeps her voice gentle and open until she hit “sad, sad story” when adds an edge of insistence to her voice. Natalie hits the first syllable of “daughter” pulling the pitch flat on purpose. Instead of resolving the note by raising the pitch up into tune, she stays flat on that pitch creating tension between her voice and the harmony. She continues to maintain this flat pitch while adding a slight edge to her voice. Instead of emphasizing syllables with a push as she does earlier, she starts emphatically punching words out turning her swing of her voice into a declaration.
She twists the word “send” mixing her singing with a tortured scream. Finally, she raises the pitch back up in this line but maintains the intensity. “Write me a letter, sayin’ that I better” are closer to being spoken then sung. Natalie lightens up her voice lifting at the end of both of these lines before slamming down on “shut up and sing.” At this point, Natalie has reached the height of her intensity and the instrument take over the final steps to the climax. Natalie begins singing “over” with a harsh scream like tone, which opens up and clears to a full and pure tone as she resolves the held note downward.
The lyrics in this song are clear and direct. If know the story there is no doubt what she is talking about. Even if you don’t it is still a powerful statement about regret, resolve, independence and empowerment.
The Dixie Chicks represent the best in popular music. They are true musicians. All three play their instruments at a high level and are accomplished songwriters. They are true artists. There music shows invention, development, courage and an uncompromising dedication to creating genuine and meaningful art. And they are inspiring people, who have accomplished amazing feats in their music but feel their priority in life to each other and their families.
In 2006 Academy Award winning director Barbara Kopple released her documentary on the Dixie Chicks, Shut Up And Sing. This film followed the Dixie Chicks from before the comment on push was made all they way through the making of Taking The Long Way. This is a phenomenal film that I recommend to everyone. This film is not just for Dixie Chicks or music fans but for anyone interested the power of friendship and witnessing three phenomenal woman working through an unimaginable situation.
Martie’s comments twenty seconds into this clip sum up what is so powerful about this group and “Not Ready To Be Nice.”
Martie, Natalie and Emliy, you are my heroes and thanks for never giving up and sharing your music and yourselves with the world.
If a popular singer that you like makes a joke about a politician that you support, which is an appropriate response?
a. disagree with the comments but still support the artist’s
b. boycott the artist’s music and dispose of any of the artists merchandise that you may own
c. send a threat stating you will shoot the artist dead during a performance
If you chose “a,” I agree with you as I look to musicians for their art and not their political opinions. If you chose “b,” I disagree with you but I completely respect and understand your choice to not support someone that makes statements that you disagree with. If you chose “c,” then I am concerned about your lack of moral judgment and strongly suggest that you seek professionally help for your inclination to threaten people’s lives for what they say.
In 2003, after the United States invasions of Iraq, Natalie Maines of the Dixie Chicks stated in front of a live audience in London, “Just so you know, we're ashamed the president of the United States is from Texas.” Natalie Maines made her comment during a time when President Bush had some of the highest approval ratings of any United States president. At that time, few Americans spoke out against the war in Iraq and unlike now when it almost seems fashionable to criticize President Bush, it was not common to make jokes about the President.
I’m not going to get into my opinion about Bush or the war in Iraq, that’s not the point of this post. But what I do what to point out is the shameful reactions by many Americans who disregarded the Natalie Maines rights to free speech. Yes, freedom comes with responsibility and as much as Natalie had a right to make her comment, people had a right to disagree, but no one had the right organize illegal radio boycotts and send death threats to the Dixie Chicks.
In reaction to all the fervor and criticism the Dixie Chicks did what they did best, create music. In 2006, the released the album Taking The Long Way which featured songs reacting to the controversy including “Not Ready To Make Nice.”
“Not Ready To Make Nice” is a song that refuses to be ignored. The lyrics are direct and raw. The background instruments have a clarity and immediacy that instantly draws the focus to the singer. The song takes us on a journey through Natalie’s feeling playing with our expectations of the tradition song form. The song starts with a first verse, then a chorus and then the second verse. Halfway through the second verse the music changes and it builds to a climax at the end of the verse. This leads into an instrumental break that brings soars into the following chorus. Climaxes in popular music are more often in bridges or choruses. You can make the argument that the build up in the middle of the second verse is actually the bridge. If that is the case, it is still unusual, as this bridge cuts the second verse short.
One of the key instruments in the building to the climax is the violin. It starts playing long notes and then transitions into chords on every other beat. Next, the violin plays these chords on every beat and finally the chords double in their speed. Right before the instrumental break slowly another violin line enters with a long note, getting louder and releasing into a soaring melody. When chords are played on a violin, they have an aggressive almost grainy quality to them and when they speed up it creates an driving tension making the release of the following violin melody line that much more satisfying.
Natalie Maines has a big voice. She sings with so much resolve that it seems to lack restraint at times. But moments like this build up to the climax remind us of the skill in her singing. When she starts “I made my bed. . .” she sings the notes with a certain swing by giving push to the certain words (i.e. made, baby, no). She keeps her voice gentle and open until she hit “sad, sad story” when adds an edge of insistence to her voice. Natalie hits the first syllable of “daughter” pulling the pitch flat on purpose. Instead of resolving the note by raising the pitch up into tune, she stays flat on that pitch creating tension between her voice and the harmony. She continues to maintain this flat pitch while adding a slight edge to her voice. Instead of emphasizing syllables with a push as she does earlier, she starts emphatically punching words out turning her swing of her voice into a declaration.
She twists the word “send” mixing her singing with a tortured scream. Finally, she raises the pitch back up in this line but maintains the intensity. “Write me a letter, sayin’ that I better” are closer to being spoken then sung. Natalie lightens up her voice lifting at the end of both of these lines before slamming down on “shut up and sing.” At this point, Natalie has reached the height of her intensity and the instrument take over the final steps to the climax. Natalie begins singing “over” with a harsh scream like tone, which opens up and clears to a full and pure tone as she resolves the held note downward.
The lyrics in this song are clear and direct. If know the story there is no doubt what she is talking about. Even if you don’t it is still a powerful statement about regret, resolve, independence and empowerment.
The Dixie Chicks represent the best in popular music. They are true musicians. All three play their instruments at a high level and are accomplished songwriters. They are true artists. There music shows invention, development, courage and an uncompromising dedication to creating genuine and meaningful art. And they are inspiring people, who have accomplished amazing feats in their music but feel their priority in life to each other and their families.
In 2006 Academy Award winning director Barbara Kopple released her documentary on the Dixie Chicks, Shut Up And Sing. This film followed the Dixie Chicks from before the comment on push was made all they way through the making of Taking The Long Way. This is a phenomenal film that I recommend to everyone. This film is not just for Dixie Chicks or music fans but for anyone interested the power of friendship and witnessing three phenomenal woman working through an unimaginable situation.
Martie’s comments twenty seconds into this clip sum up what is so powerful about this group and “Not Ready To Be Nice.”
Martie, Natalie and Emliy, you are my heroes and thanks for never giving up and sharing your music and yourselves with the world.
Wednesday, December 10, 2008
Somewhere Over The Rainbow/What A Wonderful World by Israel Kamakawiwo'ole
Sometimes I wonder what is point of people re-recording songs. If there is a definitive recording of a song that millions of people love then why bother record it again. Often covers of song only work off the fact that we love the original version so much and not on the quality of the performance itself.
Sometimes however a cover song says something different, something surprising, and something fresh about songs that we already know. These songs are like revelations that change the way we experience the original piece of art and creates an independent piece of art building off our prior experiences with the original recordings to create something unforgettable.
One of the best examples of this is “Somewhere Over The Rainbow/What A Wonderful World” by Israel Kamakawiwo'ole.
Israel (often referred to as Iz) is one of the most beloved and respected Hawaiian musicians. He was a master ukulele player who melding traditional Hawaiian styles of music with jazz and reggae. He started his career as a member of Makaha Sons of Ni'i a which was the most popular Hawaiian group through the 1980s. In 1990, Iz started his solo career and in 1993 he released his second album Facing Future that featured “Somewhere Over the Rainbow/What a Wonderful World.” This album was a critical and commercial success not only in Hawaii but also beyond as the first Hawaiian album that was certified platinum
Iz died in 1997 due to issues relating to his severe obesity. When he died, the Hawaiian state flag was flown at half-mast. Iz was only the third person in Hawaiian history to receiver this honor and the only non-politician. Over 10,000 people attended his funeral and people mourned him throughout the island.
“Somewhere Over the Rainbow/What a Wonderful World” is a medley of two of most beloved and well-known songs in American culture. “Somewhere Over the Rainbow" written for the film, The Wizard Of Oz and sung by Judy Garland is considered by the some the greatest American song ever written. It is quintessential “I Want” song and speaks reflects the hopes and dreams of Americans across generations. Dorothy, facing a dust bowl tormented Kansas farm during the 1930's, wishes for something better. In reality, we all know that the story of her character probably only faced more struggle and heartache. This hope in the face of hardship is a remarkable characteristic we all strive for.
"What A Wonderful World" a song made famous of Louis Armstrong, one of the greatest Jazz musicians, was created in response to the politically and racially charged climate of the 1960s. Louis Armstrong, an artist with cross-racial appeal, seemed like the perfect artist to remind American that even at the worst of times there is beauty to be thankful for. This song is a reflective statement reminding us of simple everyday joys in life that we so often for granted.
Both of these songs feature unique and remarkable singing voices: Judy Garland with here 17-year old country accent and Louis Armstrong with his gravely charm. The originally recordings of these songs also feature beautiful orchestra arrangements. These performances include a wide array of instrumentals artfully arranged. And it these two distinctive musical elements that Iz changes to add his own personal meaning to these songs.
Iz’s voice is remarkable. It feels Hawaiian in the way that his voice is airy and the slight bounce with the way he sings each note. He glides effortless through the notes dipping into a rich dark chest voice while floating up to higher brighter tones. Iz’s voice is like the arms of a grandmother holding a newborn grandchild. There is strength, softness, care, joy and love is those arms. Iz’s voice holds us making us believe in a way that only a grandmother can.
Musical instrument evolve and develop within styles of music. A darker, angrier style of singing would sound silly with an acoustic guitar but works perfectly with a distorted electric guitar sound. Iz’s voice, gentle and soft works so well with the ukulele because it’s a lighter and gentle sound does not overpower Iz’s voice. Iz’s ukulele playing works around the same basic rhythmic pattern. He uses different arrangements of the same chords to bring out different notes in the harmony. Iz’s playing creates a relaxed rhythmic groove that draws the listener in and prepares them for a beautiful artistic experience.
Iz makes a few change to the each of the songs. One of the things that he changes in “Somewhere Over The Rainbow” is the first two notes. Iz does not sing the longing leap that make people instantly recognize “Somewhere Over The Rainbow” but instead stays on the same pitch. We instantly realize that this is a more reflective and less longing rendition of the song.
In “What A Wonderful World” he ends the first verse of the song on an unresolved pitch on the word “world.” On that word, he also changes the chord adding a darker color before resolving this harmony in the beginning of the next phrase. He seems to end the phrase with a question mark, which brings more momentum into the next section while Iz flows through harmony with his rising vocal line. By asking us if we are in a wonderful place, he brings us into a reflective state to truly enjoy what we have to be thankful for.
This song takes the optimism of the "Somewhere Over the Rainbow" and takes it a step further. It’s saying that even though things are great, we still can hope for more. It’s not ungrateful but more a reflection of reality of our world.
I know that the world will never be perfect. I know there will always be people on this world who will not have their basic human needs met. I know even if everyone is as lucky as I am to have what I do that some people will be still be in great pain. But I believe we all want everyone to be happy, to have their dreams fulfilled and to reach that place over the rainbow. We do live in a wonderful world, but they should not make us complacent. In dreaming about a better world we can’t forget to be grateful for the things that we have and in thinking about all that we have we can’t forget that there is something better we can always strive for in our world, in our relationships and in ourselves.
Sometimes however a cover song says something different, something surprising, and something fresh about songs that we already know. These songs are like revelations that change the way we experience the original piece of art and creates an independent piece of art building off our prior experiences with the original recordings to create something unforgettable.
One of the best examples of this is “Somewhere Over The Rainbow/What A Wonderful World” by Israel Kamakawiwo'ole.
Israel (often referred to as Iz) is one of the most beloved and respected Hawaiian musicians. He was a master ukulele player who melding traditional Hawaiian styles of music with jazz and reggae. He started his career as a member of Makaha Sons of Ni'i a which was the most popular Hawaiian group through the 1980s. In 1990, Iz started his solo career and in 1993 he released his second album Facing Future that featured “Somewhere Over the Rainbow/What a Wonderful World.” This album was a critical and commercial success not only in Hawaii but also beyond as the first Hawaiian album that was certified platinum
Iz died in 1997 due to issues relating to his severe obesity. When he died, the Hawaiian state flag was flown at half-mast. Iz was only the third person in Hawaiian history to receiver this honor and the only non-politician. Over 10,000 people attended his funeral and people mourned him throughout the island.
“Somewhere Over the Rainbow/What a Wonderful World” is a medley of two of most beloved and well-known songs in American culture. “Somewhere Over the Rainbow" written for the film, The Wizard Of Oz and sung by Judy Garland is considered by the some the greatest American song ever written. It is quintessential “I Want” song and speaks reflects the hopes and dreams of Americans across generations. Dorothy, facing a dust bowl tormented Kansas farm during the 1930's, wishes for something better. In reality, we all know that the story of her character probably only faced more struggle and heartache. This hope in the face of hardship is a remarkable characteristic we all strive for.
"What A Wonderful World" a song made famous of Louis Armstrong, one of the greatest Jazz musicians, was created in response to the politically and racially charged climate of the 1960s. Louis Armstrong, an artist with cross-racial appeal, seemed like the perfect artist to remind American that even at the worst of times there is beauty to be thankful for. This song is a reflective statement reminding us of simple everyday joys in life that we so often for granted.
Both of these songs feature unique and remarkable singing voices: Judy Garland with here 17-year old country accent and Louis Armstrong with his gravely charm. The originally recordings of these songs also feature beautiful orchestra arrangements. These performances include a wide array of instrumentals artfully arranged. And it these two distinctive musical elements that Iz changes to add his own personal meaning to these songs.
Iz’s voice is remarkable. It feels Hawaiian in the way that his voice is airy and the slight bounce with the way he sings each note. He glides effortless through the notes dipping into a rich dark chest voice while floating up to higher brighter tones. Iz’s voice is like the arms of a grandmother holding a newborn grandchild. There is strength, softness, care, joy and love is those arms. Iz’s voice holds us making us believe in a way that only a grandmother can.
Musical instrument evolve and develop within styles of music. A darker, angrier style of singing would sound silly with an acoustic guitar but works perfectly with a distorted electric guitar sound. Iz’s voice, gentle and soft works so well with the ukulele because it’s a lighter and gentle sound does not overpower Iz’s voice. Iz’s ukulele playing works around the same basic rhythmic pattern. He uses different arrangements of the same chords to bring out different notes in the harmony. Iz’s playing creates a relaxed rhythmic groove that draws the listener in and prepares them for a beautiful artistic experience.
Iz makes a few change to the each of the songs. One of the things that he changes in “Somewhere Over The Rainbow” is the first two notes. Iz does not sing the longing leap that make people instantly recognize “Somewhere Over The Rainbow” but instead stays on the same pitch. We instantly realize that this is a more reflective and less longing rendition of the song.
In “What A Wonderful World” he ends the first verse of the song on an unresolved pitch on the word “world.” On that word, he also changes the chord adding a darker color before resolving this harmony in the beginning of the next phrase. He seems to end the phrase with a question mark, which brings more momentum into the next section while Iz flows through harmony with his rising vocal line. By asking us if we are in a wonderful place, he brings us into a reflective state to truly enjoy what we have to be thankful for.
This song takes the optimism of the "Somewhere Over the Rainbow" and takes it a step further. It’s saying that even though things are great, we still can hope for more. It’s not ungrateful but more a reflection of reality of our world.
I know that the world will never be perfect. I know there will always be people on this world who will not have their basic human needs met. I know even if everyone is as lucky as I am to have what I do that some people will be still be in great pain. But I believe we all want everyone to be happy, to have their dreams fulfilled and to reach that place over the rainbow. We do live in a wonderful world, but they should not make us complacent. In dreaming about a better world we can’t forget to be grateful for the things that we have and in thinking about all that we have we can’t forget that there is something better we can always strive for in our world, in our relationships and in ourselves.
Monday, December 8, 2008
Puff the Magic Dragon by Peter, Paul & Mary
Peter Yarrow and Leonard Lipton composed “Puff the Magic Dragon” in 1963 and was made popular by Yarrow’s singing group Peter, Paul & Mary. This group was part of the folk music revival movement of the 1960s which including Joan Baez, and Bob Dylan. This movement carried on American folk traditions and featured songs with acoustic backgrounds, simple melodies and an emphasis on lyrics. “Puff the Magic Dragon” follows this tradition featuring two acoustic guitars. It also features a melody that utilizes a small range of notes that is repetitive and easy to sing along with which is an important feature in social nature of folk music.
The lyrics tell the story of an immortal dragon named Puff and his friend, Jackie Paper. They play together in a land called Honalee. Jackie grows up and looses interest in playing with Puff leaving Puff alone and depressed. I’ve known this song all my life and as a child this song was fun to sing with an imaginative story. The wonder of having dragon to play with and the Peter Pan-like adventures captured my imagination as a child. The part about growing up didn’t mean much but now as adult I understand the hardships of growing up described in this song.
Is it inventible that when we grow up we lose the wonder and imagination of being a child and like Jackie Paper does? The transition to adulthood is hard. The fun of school transforms into work, weekends, which once were mini-vacations, are now opportunities to run errands and the hopes and dreams in our hearts become weighed down by the practicality of life. As an adult, there are freedoms that children dream of but they come with the price of responsibility that sometimes makes theses freedoms seem not worth the trouble.
Probably the saddest realization in this song is the Puff is dead because we grew up. The first line of the song is “Puff the magic dragon lived by the sea.” He “lived” by the sea and even though the song explains that dragons live forever, the song reminds up that he is no longer with us. When Puff ceases his fearless roar and goes into his cave, it becomes clear that he only lives forever with Jackie Paper as people who have passed on live in our hearts.
After listening to “Puff the Magic Dragon” if we aren’t feel bothered by the ending, it may be because we accept it’s message as part of life. However, if we feel sad at the end, its because we are mourning what is lost in adulthood and because we don’t accept that losing the wonder of childhood is part of our destiny. Sometimes I look at children and become envious of their innocence and the simplicity of their lives but then I catch myself because I don’t believe that it is inevitable that we lose the wonder of childhood as adults and now neither do Peter, Paul & Mary.
In the 1960s Peter, Paul & Mary may have believed the story they were telling but in recent performances (see the “live performance” link at the top of this article) they have made one small but significant change in “Puff the Magic Dragon.” In the last chorus, Mary calls out “present tense” and they sing “Puff the magic dragon lives by the sea.” Maybe after 30 years of singing this song and seeing the wonder of and joy in children’s faces when they sing this song they realized that Puff is alive in all of us. We don’t lose the wonder of being a child, we just seem to forget about it, and like Puff, it’s waiting there for us whenever we want to go play again as a child.
Allie, I think the reason why this song makes you cry is because the original recording of the song is saying something that you don’t want to believe. Maybe on some level, you feel sad that the rest of the world seems to become pessimistic and disheartened. The thing is that I like that about you. I believe you should admire the people you keep close to you and one of the things I admire about you is your optimistic and sense of wonder that you hold in your heart and the fact that you want others to share in that.
I hope this song brings you tears of joy knowing that Puff is still with us. We write the next verse of this song with the way we live our lives and I have no doubt you will have further adventures with your dragon and that he can’t wait to see you again.
Friday, December 5, 2008
Beast Of Burden by the Rolling Stones
The Rolling Stones’ understanding of human relationships puts Dr. Phil to shame.
Throughout their career, they have expressed the meaning of conflicts, feelings and insecurities in relationships. Often, these songs have seemingly simple subjects, but many speak on a much deeper levels.
The Rolling Stones, in their most famous song “Satisfaction,” describes not a chauvinistic character that is bragging about his conquests but rather describes the feelings of regret in unsatisfying meaningless sex acts. “Under My Thumb,” another famous Rolling Stones song is not about man putting down a woman he has complete control over but is about man who has been put down himself, overcompensating to his listener in an effort to regain lost masculinity. And “Beast Of Burden,” one of the Rolling Stones most interesting songs is abotu much more then a guy trying to convince a girl to make love to him.
The Rolling Stones featured “Beast Of Burden” on their fourteenth album, Some Girls, which they released in 1978. They bounced back from inner turmoil to create one of their best albums critics called a classic return to rock form. “Beast of Burden” the second to last song on Some Girls in some ways a typical rock song. The song has the traditional rock instrumentation of two guitars, bass and drums set. Also like many other rock songs, the form of this song is built on a repeated four-chord guitar riff. What is unique in the song is how these instruments work together within the traditional rock set-up.
Charlie Watts plays the drums like a driver holding back a team of horses. He keeps a strong a solid tempo as the other instruments push ahead and pull back. Watts is an understated player who does not bring attention to his playing. His fills are simple like in the end of the first guitar riff after he enters. All he does for this fill is play two snare drum hits on off beats providing the perfect amount of momentum. Along with Bill Wyman on bass, Watts creates a solid foundation as the guitar and vocals create tension and release within the beat.
Thirteen years earlier, in the song “Satisfaction” Keith Richards helped define the guitar riff driven song by maintaining the same guitar riff throughout most of the song. However, in “Beast Of Burden” he breaks away from the riff but as soon as the vocals enter. He duets with Ron Wood, the other guitarist, like two people dancing. They provide colors and motion while outlining just enough of the guitar riff to maintain the harmonic structure and keep the shape of the riff in our ears.
Then there’s Mick Jagger. Though he does not have a pretty voice or a wide range, he deliberately works every single note to bring expression and meaning to the text. Listening to the first line of the song “I’ll never be your beast of burden,” Mick turns the notes and words into a desperate and yearning statement. He starts softly with “I’ll never” and then digs in to “be” with a quick fall off in the pitch expressing his exacerbation as he desperately tries to explain himself. Then he rises up to “beast,” and slightly lingers on the final consonants rising up at the end of the note, which Mick mirrors on the word “burden” in which he emphasizes “bur-“ and pulls back on “-den.”
All of these stylistic touches bring the notes and lyrics alive. Mick Jagger methodically exploits ever aspect of his voice to color the meaning of the songs that he sings.
The instrumentals and vocals elevate the sound of the music beyond the rock form and the meaning of the lyrics transform the song into a beautifully honest piece of art. A “beast of burden” is an animal like a donkey or an ox that people use to transport loads or do other heavy work. Throughout this song, Mick states he will not be a beast of burden in the relationship. He will not do all the work, he will not be subservient to his partner and he refuses to do anything for this person. At the same time, Mick reflects that he has been doing beast-like work to get his partner to make love to him, “my back is broad, and it’s a hurting . . . I’ve walked for miles, my feet are hurting.”
He asks if he is hard, rough, tough and later rich enough, but he knows the answer as he immediately follows his questions with “I’m not too blind to see.” He is fully aware that she will not change her mind but he asks anyways, pointing out all that she is rejecting.
Later in the song he states his case (about 1 minute and 55 seconds in).
You can put me out on the street
Put me out with no shoes on my feet
But, put me out of misery
Yeah, all your sickness, I can suck it up
Throw it all at me, I can shrug it off
There’s one thing baby that I don’t understand
You keep on telling me, I ain’t your kind of man
He will do anything for her and he doesn’t understand why she will not accept him. He knows what he wants from her, he knows he will do anything for her and he also knows that it will never be enough. With this understanding, he states that he will not be her “beast of burden” because it will not change her mind. It is more important for him to have his dignity without her then be half a man with her.
In relationships, you don’t want to be with someone who will do anything and everything to make you happy. First off, other people can’t control your happiness and second, a person who acts subservient to your needs is not acknowledging his or her own feelings which contributes to a foundation of emotionally equality in the relationship.
The Rolling Stones began making music in a time when men were firmly in power in male-female relationships. Through the sexual revolution in the 1960s and 1970s, things changed and society questioned the roles of men and woman in relationships. What is important to remember in examining relationships is that as independent as women need to feel, men need that same assurance. Yes, men are still in power in our society but society often portrays men as needing woman to save them from their irresponsible sexual behavior and their inability to be emotionally mature (i.e the current Trojan condoms “Evolve” campaign”).
As “I Will Survive” by Gloria Gaynor is an anthem for woman to feel strong and free after being dumped, “Beast Of Burden” is an anthem not only for men but also for anyone who have realized their own self-worth.
Some songs I love because of the feelings they bring up, or the memories that they remind me of, but what I truly love about “Beast Of Burden” is how good it feels. As much as I’ve explained this song, you have to experience it to truly understand what its about. You can tell a friend about skiing but unless the feel that wind in their hair and the cool mist of snow in their face they have no idea what they experience means.
So please, if you got a guitar play this song, it’s easy to learn, see how it feel under your fingers. If you don’t, stand up, dance with the music and sing with Mick. Only when you’ve felt that groove in your body, and the yearning in your own voice will you understand the greatness of this song and maybe why I love this song.
Wednesday, December 3, 2008
Stayin' Alive by The Bee Gees
Look at the photo of the Bee Gees above. Go ahead and laugh, it’s ok. I’m right there with you, there is something that is inexplicably comical about that photograph. Maybe it’s the gold leisure suits with the pants that don’t leave much to the imagination, or maybe it’s the unbuttoned jackets that reveal gold medallions, hairy chest and abdominals that aren’t exactly six-packs (or any other kind of pack for that matter). Even though we look at these photos of the Bee Gees in their disco attire and chuckle at Barry’s intense glare, disco music in an undeniable part of our culture, which continues to influence the American musical landscape.Disco music is one of the great melting pots of musical genres. It developed in dances clubs pulling together influences from jazz, classical, Latin, soul and funk music. From jazz music came horn sections, from classical music came full orchestras, Latin music influenced the way the percussion was organized while soul and funk music added syncopated bass lines and characteristic singing styles. Disco flourished in the early 1970s but it was the film Saturday Night Fever in 1977 that cemented disco into American culture and reintroduced the world to the Bee Gees.
Saturday Night Fever is a film about Brooklyn youth who during the day struggles with his job, family and relationships during the night is the king of the Disco dance floor. John Travolta played the youth, Tony and the film cemented Travolta as part of the American cultural consciousness.
The soundtrack to Saturday Night Fever features music by the Bees Gees as well as other disco groups including Kool & The Gang and KC & The Sunshine Band. The Bee Gees had hits on this album including “How Deep Is Your Love,” “More Than A Woman” and “Jive Talkin’” but it is the opening track “Stayin’ Alive” that most people identify with this soundtrack and the film.
The Bee Gees consisted of three brothers, Robin, Barry and Maurice (left to right in the photo) from Great Britain. The brothers had some moderate hits in the 1960s and developed their musical style in the 1970s while maintaining the great sense of melody and interesting lyrics that endear them as one of the great song-writing groups in popular music.
Saturday Night Fever opens with “Stayin’ Alive” accompanying Tony as he struts down the street. We see Tony looking around like a king surveying his kingdom. He grabs a some pizza, puts down some cash for a shirt he wants to buy later and tries to pick up a girl on the street. Here is a man that is out on the town and in control, but then we realize why he is holding a paint can as he is walking down the street: he is picking up paint for his job at the hardware store. In this opening, we see the dream that are in his strut, the beat that is in his head and the reality of his life. “Stayin’ Alive” greatness comes from its ability to capture the glory of escapism against the reality of life.
The opening instantly creates a dance club feeling with the opening guitar that creates a rhythmic groove accenting offbeats against the strong downbeats in the drum part. Strings enter in the introduction while the brass, bass line, and other instruments enter later in the song. This song creates a rich and deep texture due to the variety of instruments, which featured live musicians as opposed to synthesized sounds. There is no denying that there is great dance music that uses exclusively synthesized sounds but they lack a certain warmth that can be heard in “Stayin’ Alive.”
The first line, “Well, you can tell by the way I use my walk, I’m a woman’s man, no time to talk” is a overconfident statement of masculinity. In addition, many people think the rest of the song is an extension of this, however the song goes a very different direction
Music loud and women warm,
I’ve been kicked around since I was born.
And now its all right. its ok,
and you may look the other way.
We can try to understand the New York Times effect on man.
The narrator comments on the fact that he feel he has had it tough since he’s been born, but it’s ok he can shrug it off. He brings up an oddly intelligent statement about the New York Times, which reflects an attempt to relate to the person he is talking to and understand his own life.
If you change the words “Stayin’ Alive” to the “surviving,” the meaning of this song becomes much more clear. The chorus comments on how everyone is trying to survive while feeling the city and the other people working to keep up. The second verse reflects extends these ideas.
Well now, I get low and I get high,
And if I can’t get either, I really try.
Got the wings of heaven on my shoes.
I’m a dancin’ man and I just cant lose.
Even though dancing saves the narrator from his struggles it isn’t enough and in the bridge he calls for help, “Life going nowhere. Somebody help me.” During this part of the song, Barry drops from his high falsetto (head voice) into a lower voice. This voice is more honest and real while the falsetto comes across as someone showing off. The song ends with this call for help, which is a haunting reminder of the struggles that we all sometimes feel.
This song may sound typically disco but it has layers of meaning that reflect not only Tony but also people of the time who struggled as people do know to escape the monotony of life. It’s remarkable that a song that talks about escapism through dancing can provide the soundtrack for people to do just that.
Disco had a rough death in America. Many artist like The Grateful Dead, Rolling Stones, Barbra Streisand and other artists who had no business doing dance music made disco records and American got sick of it. The over-saturation of Disco culture created a backlash that came to a head in Cominsky Park on July 12, 1979. That night organizers held Disco Demolition night in which people exploded and demolished disco records and memorabilia ending in a riot.
Disco did not die at Cominsky Park that night. The soundtrack to Saturday Night Fever continues to sell as the best selling soundtrack of all time and was the best selling album of all time until the release of Michael Jackson’s Thriller. Film directors have used “Stayin’ Alive” in the soundtrack of over twenty films and has been sampled and covered numerous times.
Yes, there are some ridiculous things about disco, but I think it stays with us because of it helps us escape as it did for the people in the 1970s. We all seek places that they can be somebody, feel like we mean something, whether its through dancing, online communities or something as simple as playing a board game.
Sometimes for me it’s talking to friends and other times its listening to the Bee Gees and imagining I’m the king of the dance floor, minus the gold leisure suits but not without medallions.
Monday, December 1, 2008
Under Pressure by David Bowie & Queen
To my future child,
It’s dad, I am writing to you before you are born. Right now, you are but a dream in the hearts of your mom and I and though we don’t plan to have you enter our lives for a couple years we are looking forward to sharing our lives with you. There is so much I want to share with you and right now, I want to tell you about a man and song that dares us to love.
Freddie Mercury was lead singer of a rock band named Queen from Great Britain. Many consider him one of the greatest rock singers of all time with his large range, powerful delivery and operatic style. He died young when he was 45 years old of AIDs complications in 1991 and was one of the first celebrities to succumb to this disease.
Freddie Mercury dedicated his life to entertaining people with his over the top theatrics, rock anthems and intimate reflections on love and life. Even though, I never met the man, I feel that through his art, I know him and no other song embodies the spirit of this beautiful human being like “Under Pressure.”
Queen recorded “Under Pressure” with David Bowie in 1981. “Under Pressure” is a unique song that does not follow the form of an ordinary rock song, but instead has a slow build to a majestic rock climax as only Queen can do.
The song begins with a simple bass line with background guitar lines to fill out the harmony, which accompany Freddie’s scatting. Scatting is a style of singing innovated by Louis Armstrong to imitate musical instruments with the voice using nonsense syllables. Mercury utilizes this technique throughout the entire piece showing the versatility of his voice as not only a melodic tool but also a rhythmic and supporting voice.
In the beginning of the song David Bowie (the lower voice) and Freddie sing about how the pressure tears people apart and the terror of watching people feel trapped. Then at two minutes into the song, things get quiet. Pulling everything back, Queen creates anticipation and space for the musical climax. Freddie sings about our reaction to the pain around us.
Turned away from it all like a blind man
Sat on a fence but it don't work
Keep coming up with love
but it's so slashed and torn.
He is telling us how sometimes love lets us down and we pull into ourselves in order to prevent from being hurt. The organ in the background brings us to church with a feeling on confessions and shame and then Freddie asks “why.” This question rises higher and higher as the band builds, disappearing into the climax as we are asked a daring questions.
Why can't we give love one more chance?
'Cause love's such an old fashioned word
And love dares you to care for the people on the edge of the night
And loves dares you to change our way of caring about ourselves.
Love is hard. It seems cliché sometimes, and it forces us to change. True love is not about caring about the people we agree with but the people at the edge of our lives who do things that we do not understand. If you truly accept differences in people through love, it changes you and you care about yourself through a heart, deeper and richer for accepting others into it.
This song warns us in the end that this is our last dance. Pressure keeps us from each other, from taking a chance to love. That pressure is misunderstanding, which leads to fear and sometimes develops into hatred.
When Freddie Mercury died, some still knew AIDs as the “Gay Plague” because it hit the homosexual community in the 1980s with a devastating effect. Some people went so far as to say that AIDs was God’s punishment to homosexuals for “choosing” to be Gay. The fear of this disease led to the misunderstanding and hatred that overshadowed over the compassion people should always carry for each other.
Now, we are approaching the end of 2008, people understand AIDs as a disease that effects all of us but there is still no cure. More people accept homosexuality, as part of our culture however many believe that being homosexual is a sinful choice that runs contrary to their morals. Is this because people still hate each other and refuse to reach out and love the people at the edge of the night?
People who believe that homosexuals are sinners, sometimes forget to love the sinner while they disagree with the sin. In addition, homosexuals sometimes forget to love people who though may misunderstand them, regardless of how they treat them.
A holy book does not guide my moral. I cannot give you proof from a text that tells you whether homosexuality is choice or whether being loving someone of your own gender is sinful. What I have to go on is your Aunt Jen. Now, Aunt Jen isn’t one of your biological aunts but she is someone your mom and I love so much that she has become as close as any other of our biological family members.
I met Aunt Jen her freshmen year of college and we quickly became friends. About two years later, she told that she was bisexual. This didn’t seem like a big deal at the time but Jen’s openness and honesty has shown me the love that we all share. Aunt Jen is one of most beautiful people I have ever met in my life. In the years that I have known her, she has never done anything that I would call truly sinful or evil. What I’ve seen in her with her girlfriends is the same love that I feel for your mother, for her and for you. How can I say that loving someone of his or her gender is a sin when it is a part of your Aunt Jen, someone whose goodness I truly believe in and whose love I share?
I hope when you have children that you can tell them a different ending to this story. When you tell your children about Freddie Mercury, I hope AIDs is thought of a vaccine that you have to take when you are young as opposed to horrific and heartbreaking disease. I hope that you can tell kids about a time when people judged others humanity on their sexuality and they react with disbelief because the world has moved passed this.
During the wedding ceremony of your mother and we had reading from the bible, and in this reading Jesus spoke to his disciples and said “This is my commandment: love one another as I have loved you.” Loving others is perhaps the hardest thing in life to do, but it is also the most rewarding.
Our life is our last dance and our love is our last chance.
Thanks in advance for beauty and love that you will bring to not only to our lives but also to everyone that you touch.
I can’t wait to meet you.
-Dad
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