Imagine by John Lennon

"Imagine" music video

I didn’t watch John Lennon appear as a member of the Beatles on the Ed Sullivan Show. When the Beatles broke up, I wasn’t there to mourn the passing of the most important rock group of all time. I missed seeing John Lennon on the news protesting for peace and my I didn’t share in the shock and pain of losing John Lennon when he was shot dead in 1980.

I was born in 1982 and by that time John Lennon was more then a man, he was a legend. What John Lennon did and who he was has become an integral part of our cultural consciousness so much so that his life and his music seem unremarkable. However there are few people in our popular culture who were as influential as John Lennon and there are songs in popular music as powerful as “Imagine.”

As a teenager, I explored the Beatles and was fascinated by variety, the invention and the depth of their music. I knew all four of the Beatles did solo work after they broke-up but I disregarded their solo work and assumed it was inferior to the work they did as the Beatles. Later, I found that to be unfair and not true and was exploring John Lennon’s music that changed my mind. After he left the Beatles, Lennon didn’t take the easy route, he pushed his music further and experimented more than most of the public accepted. He work was audacious, extreme and progressive and there is no better example of this than “Imagine.”

The piano line is plodding and repetitive. There are some interesting harmonies in the chorus but there is nothing inventive or unique about the piano part. The melody if played alone would come off as trite, repetitive and forgettable. However, like great folk music, the background music and harmonies are merely a blank canvas for the lyrics and the singing to express the meaning of the music.

The lyrics are broken up between three verses and a chorus. In the verses, Lennon is asking us to imagine different things and in the chorus, he defends his own belief. The form is simple. There are no missing beats or twists in the song. We know exactly how it is going to unfold from the beginning and it does with slow and deliberate pace like a flower blooming. Like the leaves folding outward the song reveals a deeper meaning than is expected in a way that we don’t imagine.

The three verses outline three ideas which Lennon feel will lead to living as one: living for today, living life in peace and sharing all the world. Critics have called this song anti-religious, anti-nationalistic and anti-capitalistic and Lennon himself commented that this song was virtually the “communist manifesto” (which he may have been saying in jest). Regardless of Lennon’s intent, I believe that this song is none of those things. If this song expressed all of these things it would not be as widely accepted in this Christian-centric, nationalistic and capitalistic culture that we live in.

Lennon never says that all the things that he imagines needs to come true for the world to be one. What he asking us is to examine and reflect on our lives and by doing so we can reach a better place. In the first verse, he asks us to imagine that there’s no heaven or hell so that people can live for today. Do some people focus too much of their lives on the afterlife? Probably, just as there are people who disregard the afterlife. What John Lennon is doing is asking us to examine this question. If we ask ourselves what if their no heaven, what does that change? Finding that answer in your heart may change your mind but more likely, it will reinforce your beliefs. It is through this self-examination that we can truly understand what our lives mean and how important it is to live for today.

Americans base much of their nationalistic pride on our borders and more so our wars. In the second verse, Lennon asks us to imagine no countries, nothing to kill and die for and no religion. He ends the verse asking us to imagine living life in peace and all these things, countries, reasons to kill and die and religion, are interrelated. John Lennon grew up during World War II in Liverpool, England and he saw first hand how countries, death and religion get in the way of peace.

Lennon is not saying that all religion leads to war, but there is no argument that religion has be used in history to justify killing and his statement here is more focused on that facet of religion. Throughout history, people have misrepresented, manipulated and misinterpreted religions leading to atrocious horrors. It is through imagining a world without religions that we can see what parts of religion when gone would enhance our lives and what parts would we need to complete ourselves. With that perspective, the world can actively work to keep religion close to its true intentions.

Would there be there peace on earth is there wasn’t countries? No of course not and is Lennon saying that countries are bad and we shouldn’t have pride in them? No, but like Thomas Jefferson argued, we should always questions our government and its actions. This helps us define what it means to be a country and what we should base our nationalistic pride on.

In the last verse, Lennon is contemplating the Buddhist idea that through releasing our earthly possessions we will be free from want. This is directly contrary to our capitalistic mindset and if there is any true “anti-” argument in the songs it is against capitalism effect on our capacity to share with each other. I work with fourth grades and you’d think that by nine years old that they would have the “sharing” thing down. Well, they don’t and many adults don’t either.

A world without possessions would free us because it we truly shared everything they we never want anything for ourselves. In questioning our desire to want things, we come to realize not only how much we have but how much other people lack. I know that sharing with others is at the core of what’s important in life but I guess sometimes we forget that.

In the choruses, Lennon says that he may be a dreamer but he’s not alone. As adults, optimism sometimes takes a back cynicism, but I believe that at heart we all imagine the world as better place. Lennon is not the only one and maybe through self-reflection we can join together, embrace hope and the world can live as one.

Lennon’s voice is calm and patient like a philosopher stating deep truths. At the ends of the verses he jumps singing a high note “you” which is a throw-back to early Beatles songs in which they would sing high notes that would make girls scream. This is a little wink at us all that he’s not mad at us. This is a joyous thing. He believes what he is saying and it brings him happiness. It makes us want to believe these things too.

What John Lennon asks us to imagine are things that I can’t imagine and I desperately want to. I want so much to feel the hope that John Lennon does. He inspires us to dream of something better through questioning our intentions, our actions and our beliefs.

Take a moment, imagine.

It probably will not change the world, but it just might change you.

Go U, Northwestern! by the Northwestern University "Wildcat" Marching Band

"Go U, Northwestern!" audio clip

9 wins and 3 loses.

Not since the year 2000 when the Wildcats went 8-3 in the regular season has Northwestern University had such a phenomenal football season. To end this season, the Wildcats will travel to the Alamo Bowl in San Antonia just as they did eight years go and just like eight years ago the finest band in the land, the Northwestern University “Wildcat” Marching Band (NUMB) will accompany the team on this historical trip.

In 2000, I was a freshmen alto saxophone player in NUMB. That season I rejoiced as the ‘cats beat Michigan (which after this year may become a trend), I survived the bitter cold marching during an away game in Iowa and I went to the Alamo Bowl. It was a phenomenal season but it wasn’t until the following years when the team did not do so well, that I developed my love and respect for Northwestern.

The song that was the soundtrack and the soul of that experience is a song that I’ve play more then any other piece of music in my life, “Go U, Northwestern!” I’m not going to make the argument that Northwestern has the best fight song ever. There are imperfections in the song, for example in the lyrics. Well-placed lyrics in songs have the melody accent the same syllables one would emphasize when speaking and no one would normally say “Break right through THAT line.” However, I do believe that “Go U, Northwestern!” is a quintessential and amazing American college fight song that uniquely expresses the spirit of Northwestern.

The song follows the standard form of most college fights. There are two main sections, the first part (first strain) and the instrumental interlude (break strain). The first strain is broken up into four 8-measure phrases:

1st phrase-Go U Northwestern! Break right through that line.
2nd phrase-With our colors flying, We will cheer you all the time, U Rah! Rah!
3rd phrase-Go! U Northwestern! Fight for victory,
4th phrase-Spread far the fame of our fair name, Go! Northwestern win that game.

The 1st and 2nd phrase present different material while the 3rd phrase is a repeat of the 1st phrase with an altered ending. The 4th phrase features material derived from earlier parts of the song and completes the first strain.

“Go U, Northwestern!” inspires people with a feeling of momentum and spirit. If you are trying to solve the problem of how to give music a feeling of direction, the easy solution is to have a piece start slow and speed up but that would not work with a marching band. So it is creating that same rush of energy when the tempo is staying constant that require a high level of musical invention.

One way composers create momentum is with rhythm. Simply following a longer note by shorter notes creates the illusion that the song speeding up. The 1st phrase starts with a long note that is followed by two shorter notes that drive into “-wes-“ of “Northwestern.” This occurs again with two shorter notes on “break right” which follow the longer note values of “-wes-“ and “-tern.” This pattern continues with the shortest note of the phrase on “through” which is followed by an off-beat accent on “that” which holds the listener in suspense before landing on the next downbeat.

The short-long rhythm on “through that” is called a Lombard rhythm or a Scotch snap. This is when a composers arrange a dotted rhythm so that the shorter note is firsts and on the beat. This rhythm manipulates the momentum of a phrase jolting it forward unexpectedly with the short note and creating anticipation with the longer note. In “Go U, Northwestern!” the Scotch snap moves around within the phrases creating unique twists in the first strain that play with our sense of direction. In the 1st phrase the Scotch snap is in the end of the phrase and in the 2nd phrase the Scotch snap is featured in the middle of the phrase.

The 3rd phrase mimics the 1st phrase placing the Scotch snap back in end of the phrase and then the 4th phrase starts immediately with the Scotch snap and features it twice before ending the first strain. This is unusual compared to other fight songs like Michigan’s “Hail To The Victors” which have a much more square and repetitive rhythms. This creates more militaristic feeling and opposed to the rhythmic invention in “Go U, Northwestern!” which express a mood of dance and celebration.

Within the anatomy of a fight song there are five roles that instrument groups play:
- The melody and the harmony of the melody (which in general have the same rhythm as
the melody) include the trumpets, mellophones, alto saxophones and trombones.
- The obbligato line, which is the higher and fast countermelody, features the flutes and
clarinets.
- The tenor saxophones, euphoniums, and baritones play the tenor countermelody.
- The sousaphones cover the bass line.
- The drum-line provide the percussion.

These roles change in certain places for example when the trombones double the bass line at the end of the 1st phrase and when the flutes and clarinets double the melody in the 3rd phrase of the first strain.

The obbligato line fills in motion whenever there is a long note in the melody so that the momentum never stops. For example, there’s a fast ascending scale “-wes-“ in the 1st phrase when the melody has a long note. Another example one is right before “U Rah, Rah” when the flutes and clarinets trill, (an un-metered flurry of the fasts note) which provide an explosive drive into the next measure.

The tenor countermelody, which I believe is the most overlooked parts of the song is the long smooth notes in the first strain which contrast the melody’s separated notes. This line outlines the contour of the melody, which is important in reinforcing the direction of the melody not only for the listener but also for melodic instruments in the band. It is easy when playing short notes to lose sight of the overall direction of the phrase and tenor line is essential in reinforcing the contour that gives this song a sense of direction.

The bass line in “Go U, Northwestern!” provides not only the foundation of the harmony but also acts as an expressive voice that supports the melody. The bass line plays the Scotch snap whenever it appears in the melody and provides interesting and dynamic transition material at the ends of phrases like in-between the 3rd and 4th phrases in the first strain.

I used to think of a drum-line like bunch of toy monkeys hitting every single beat. The drum line does keep a constant beat and drives the pulse of the band but like the bass line it does so much more. The clearest example of this is the cymbals. Listen carefully to when they play. They don’t play on every beat but instead highlight parts of the phrase. The bass drums, which are not as clearly audible, do the same thing and within snare drum and tenor line, this musical approach to playing provides and important layer of texture to an already rich musical landscape.

The break strains contrasts the first strain with three 4-measures phrases as opposed to the four 8-measures phrases. This sections creates momentum not with the rhythm but with the way the band is arranged into two different groups. They work together trading off measures like two groups of people within a crowd participating in a call and response cheer. The first two measures are the higher instruments on an ascending line, which the lower instruments respond to with a descending two-measure motif. The band repeats this pattern in the next four measures and then compressed the call and response into two beats groups instead of two measures groups. The lower instruments begin with a two beat pattern on beat 4 and beat 1 that is followed by the higher instruments on beat 2 and beat 3. The band is pulled apart first by 2 measures, then band comes closer together separated by only 2 beats and finally they play the same rhythm together as one in a glorious feeling of arrival and unity.

“Go U, Northwestern!” perfectly the spirit of Northwestern and what NUMB taught me in those years after the Alamo bowl is that it’s not about winning football games. It’s not about making fun other schools and it’s not about blindly following traditions.

It’s about the fact everyone can contribute. It’s about pride not only in ourselves but in each other it’s about finding the meaning in traditions and reinventing them for future generations.

Mr. Rogers, one of my personal heroes once said:

As you play together in a symphony orchestra, you can appreciate that each musician has something fine to offer. Each one is different, though, and you each have a different ‘song to sing.’ When you sing together, you make one voice. That’s true of all endeavors, not just musical ones. Finding ways to harmonize our uniqueness with the uniqueness of others can be the most fun—and the most rewarding—of all.

I found this true of my journey in NUMB, which was one of the greatest experiences in my life.

Go ‘Cats, Beat the Tigers! And if you don’t, no worries, we’ll still be here.

Oh, and Matt, my dear brother-in-law, congratulations man on being accepted to Northwestern. You already have the Northwestern spirit in your blood so I have no doubt that you will not only have a fantastic experience but that you will contribute great things to the people, the community and the tradition that is Northwestern.

When She Loved Me (from Toy Story 2) by Sarah McLachlan

"When She Loved Me" live at the Academy Awards

I didn't cry when Bambi's mom died. I didn't cry when Simba walked off into the dust believe that he had killed his father, but I did cry when Jessie told us her story about the love she once shared with her Emily.

Pixar continues the grand Disney tradition of animated films that feature incredible technical innovations but more importantly powerful character-driven stories that examine the human conditions. One of the central themes in Disney animated features is love. In Sleeping Beauty, it was the kiss of a her true love that woke her but like in many early Disney films this love was more based on destiny rather then human interaction. Later Disney film took a deeper more realistic examination into love like in Beauty And the Beast. Belle and the Beast both learned to love from a relationship that started in conflict and evolved into friendship. This was not love at first sight but rather love that born out of struggle and true caring.

In Pixar's first film Toy Story, romantic love took a back seat to the love between friends. Woody and Buzz, two toys learned to care about each other like a family and enjoyed a mutual love for their owner Andy. In Toy Story 2, released four years later in 1999 we found out just how powerful and beautiful love between friends could be when Jessie another toy told Woody about the owner she had lost.

Randy Newman the composers of “When She Loved Me,” is a master orchestrated who has composed soundtracks for over twenty films and is a skilled song writer as well. Great orchestra composers show their skill not by using as many instruments as possible but by using particular instruments at specific times like a painter with a palette of colors. For example, in the last verse, the word loved of “like she loved me, ” is colored with the high strings, the woodwinds, the French horns, and accentuated by plucked notes in the lower string. These instruments warm up the song like a gentle ray of sunlight and are made effective by the fact that this is the first time this particular group of instruments appear in the song.

“When She Loved Me” feels like a simple song and one of the reasons that it speaks so clearly to us is the way the lyrics and the rhythm in the melody work together. If you were to say “when somebody loved me,” you would probably have a slight emphases on “loved.” It would come out as “when somebody loved me,” as opposed to “when somebody loved me.” Newman also emphases “when,” which doesn’t necessarily feel natural but it changes the meaning of the line to be more reflective.

Later Newman sets “So the years went by, I stayed the same” working so closely to the rhythm of the words that he disregards the meter and drops beats. This doesn’t seem awkward because people don’t speak in perfectly organized meters. Working from the natural rhythm in our language makes the melody an organic extension of the words that helps the melody be more accessible while allows the composer to add layers of meaning within the text.


“When She Loved Me” is a perfect marriage between the song and the singer and Sarah McLachlan performs this song as only she can. Sarah McLachlan is an accomplished songwriter and singer with a unique and powerful artistic voice. She has a dynamic singing voice that can start at a whisper and grow to an incredible full glorious sound flowing between different colors in her voice effortlessly. Sara McLachlan often will slide up to notes in an almost like yodel way but slower and with more grace. She does this at the beginning on the word “was” in “everything was beautiful.” The best example of the power in her voice is when she sings “I will always love you” at the climax of the song, the clarity of the tone, the way she colors the pitch by pulling each note flat and the shape in each word creates sublime and emotionally draining moment.

At it's core "When She Loved Me" is about a break-up. Jessie was Emily's toy. While Emily drifted away, Jessie stayed the same and Emily eventually gave Jessie away. The love that they shared has never left Jessie and this not a selfish love. Jessie reminisces about making her happy when she was sad and comforting Emily when she was lonely. As beautiful as the descriptions of love are, each verse reminds us of the heartbreaking truth that this love is gone. The first line “when somebody loved me,” sets the mood for the whole song and does not only imply that Jessie has lost love but also that she does not feel like anyone currently loves her. This song describes love so well that the thought of life without love almost too much to bear.

Jessie gets a second taste of love in the last verse and it is wonderful but Jessie knows that it’s not real as Emily holds her “like she loved me.” Most people I know after a break-up would rather not have that person give them the same feeling of love if they knew that it wasn’t true. The reason that Jessie accepts it and speaks so warmly about it isn’t that because is ignorant of the way that Emily truly feels but because she is so sad that even illusion of Emily’s love makes her feel alive.

“When She Loved Me,” is one of the saddest songs I know, but I love listening to it. We listen to sad music not because we like being sad but because the experience of feeling makes us feel alive. In “When She Loved Me” we experience great sadness, it touches our hearts and we may cry but when it’s over we appreciate the love we have in our lives even more.

If you have never watched Toy Story 2,please do. It’s a beautiful film. After seeing it I promise that you will never forget “When She Loved Me” the same way that Jessie never forgot her Emily. . . with love in her heart.

Believe by Cher

"Believe" music video

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.”

Not Ready To Make Nice by the Dixie Chicks

"Not Ready To Make Nice" music video
"Shut Up And Sing" film trailer

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.

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.

Puff the Magic Dragon by Peter, Paul & Mary

A couple weeks ago I was driving my with one of my fiends, Allie. My iPod was plugged into my car stereo and was playing a random selection of songs. The guitar introduction of “Puff the Magic Dragon” started and Allie immediately asked me to change the song. “Why? This song is awesome, I know it’s a kid’s song but it’s great,” I replied and then she explained, “I can’t listen to this song, every time I hear it, I cry.” I didn’t understand why at the time, but after some reflection, I think I know why.

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.