The pieces in Hiwa K’s exhibit had varying effects on me. I felt the most drawn by the dual screen shell-melting and bell-making video that was playing in the back right corner of the exhibit. I think that it had the most mesmerizing effect on me because it was the only piece without headphones and also the one with the largest screens devoted to it. After reading the soundscape articles in preparation of viewing the exhibit, I went into the exhibit looking to identify the sonic elements that made up the exhibit’s soundscape. The aforementioned video dominated it, while the shuffling of others’ footsteps and whispers of comments on the accompanying pieces also made up part of it. I think that it would have been interesting to hear the exhibit before the video in the back left room was relegated to headphone status. Hearing the two videos together competing for the dominant place in the soundscape would have interesting.
Archives for February 2019
Hiwa K Response
The Hiwa K art gallery offered many different auditory displays that each had a different cultural background. I spent most of my time watching “This Lemon tastes of Apple” by Hiwa K. It depicts the author and his friend in the middle of a street protest in 2011. The two men walk up and down the streets of a foreign country playing the harmonica and guitar through a megaphone. The shouts of men in distress as well as watching the state people were living in, had a big impact on me. The cultural difference between my life and the lives of the people in the video are very different, giving me a sense of gratitude. Wounded men were being carried away after being shot, showing the chaoticness and barbarity of their living conditions. The headphones in this exhibit allowed me to feel as if I was in their place, experiencing what Hiwa K was going through. I could clearly focus on the gunshots as well as men and women screaming for help. In the middle of this horrific protest, Hiwa K still managed to play his instrument, rallying the people around him. Men began to follow him and support them in the fight through the power of music. I never realized how the noise from instrument can have such a strong effect on people in a situation like a violent protest.
Gallery Response
I really enjoyed the Hiwa K exhibit. Having been told at the beginning of the experience that he considered himself to primarily be a musician really contextualized the work in the gallery. I spent most of my time focusing on the bell video displayed in the corner of the room with dual projections. What I found to be notable in this exhibit was the duality of it. Obviously there were two different videos being displayed at once, taking place in two different locations (Iraq and Italy). However, the two audio tracks from the videos were played simultaneously. Additionally, although there were two separate videos and audio tracks, they were both part of the same story. I really enjoyed noticing the intersection between these two parts. I spent a lot of my time watching the video taking place in Iraq, however, I would sometimes be drawn away by sounds coming from the video taking place in Italy. This at first acted as a distraction from my singular focus, but then served as a reminder that both audio tracks and videos were telling the same story. I was constantly reminded of the common story and narrative, even with the separate components.
The Power of Music
Hiwa K’s unique art, specifically “This Lemon Tastes of Apple,” expresses the powerful values that sound can carry, and the significance music has within every community. As the video follows the protest of 2011, initiated due to the desires of “bureaucratic transparency and equal access to the country’s wealth,” the viewer can understand the need for change within Sulaymaniyah along with the desperation presented by the protestors. In this time of hopelessness, Hiwa K and his friend enter “Hell” playing a harmonica and a guitar, amplifying their music through a megaphone. The attitudes of the individuals alter as if the music granted them with much-needed comfort. The “battle cry” proved to be very effective as a large group began to follow Hiwa and his friend, Daroon Othman. From the screams of terror and pain, to the soothing sounds of music, the video develops the horrifying events that took place on April 17, 2011, and the significance sound possessed within the protest.
Gallery Response
I spent most of my time at the exhibit watching the Bell Project on both screens. These films were mesmerizing; I couldn’t bring myself to move on to the other pieces, just because of how intriguing this project was. I was set on seeing how the massive bells turned out when completely finished and how the two screens connected. Using weapons to help create breathtaking bells is so interesting, so sitting down watching the process of this was amazing. Witnessing how hard these people work and the conditions they were in was also very eyeopening. Some said that they focused more on the left screen because more noice was coming from it, but I enjoyed switching from screen to screen, regardless of the volume. Watching these two different projections and offset timing of both films was something that I haven’t experienced before and kept me intrigued and wanting to watch more. It was fascinating to have the opportunity to experience this global artist’s work and learn more about something that I had previously no knowledge on.
Hiwa K Exhibition
Hiwa K’s exhibition represented the process through which things are produced, encompassing the sounds and textures that went into making items like church bells. What was especially intriguing about this exhibition was the way through which simple or everyday processes were broken down, bringing to life the sounds and actions that went into making each final product, whether it is something that produces sound or not. The center video, split onto two screens, was the installation where I spent the most time as I found it’s content to be interesting, not just because of the process through which they produced the bell, but because of how the process that was happening was the reverse to what usually happened. The cannon/weapon pieces were being used to produce the bell instead of church bells being melted to make the cannons. This contrast between how the church was (years ago) usually sacrificed to produce weapons to now how the weapons are used to form the church bells is significant because it shows a change in time and mentality. This form of art is known as symbolic art, because the main takeaway, is not the end product, but is instead the method that went into the piece’s production. Breaking down speech, or the production of something tangible, allows one to understand the method and meaning behind it, the voice behind it.
Gallery Response
I found a lot of the work hard to make up my mind about. Almost all of the pieces were quite abstract and took digital forms. I often understood the topics the artist commented on but not often his commentary. These pieces felt more like standing in the moments and places he captured than being argued to about them. I guess I like this, but I couldn’t get past the feeling that he was trying to make some point, as it seems most artists do, and I don’t believe he had nothing to say in that regard. I like his work with inversion; I like the juxtapositions. Still, I’m not entirely certain what to read in it. I found the mediums very interesting. I liked the perpendicular films. I loved seeing events, places, and culture (cooking) from the middle east. If nothing else, the strife made me all the more grateful for the safety and security this country provides. I am left thinking about his message and his work, unsure and interested.
The True Power of Sound
The “This Lemon Tastes of Apple” video was the most powerful part of this exhibit for me and this is a memory that will resonate with me for a while. Hiwa K and his friend, Daroon Othman, displayed incredible courage in playing their own rendition of a battle song. Throughout the video, you can see the mutual respect the group receives from amplifying their music through the use of a megaphone in the streets from others participating in this 2011 protest. Along with the powerful sounds of the harmonica and the group handing out lemon wedges, the audience is able to see and listen to the progression of the protest. Listening to a recorded version of this event helps us to view and listen to these events from a broader perspective. The surround sound headphones in the gallery helped me hear and focus on various sounds at one time. From my listening experience, the harmonica was the most powerful sound. The tone that was set here gave me goosebumps in displaying the true ability that sound can have in igniting a sense of valiance in people. When Hiwa and Daroon approached other protestors in the street, many joined in the march without the need for either of the two men asking. The use of music here begins to show us the true power that sound alone can have on people.
W
It Will Survive
When you think of soul music, there is hardly a piece more iconic than Gloria Gaynor’s I Will Survive. Snare drums, piano trills, the funky beat and the intense lyrics, it is hard to listen to that song without feeling powerful, it is impossible not to hear the grain in her voice. However, that is not how I learned the song. Cake’s 1996 cover of “I will Survive” had me singing along even before I knew who Gloria Gaynor was. When A1 describes a cover song as “giving a song a second life”, or “taking something familiar and adding a twist” I felt that it didn’t fully grasp the situation. The two songs could not be more different.
The original I will survive is something grand. For the first five seconds of the song, the piano dances up and down the keyboard, introducing Gaynor in a flourish. A few seconds later the bet kicks in and it is impossible to not dance along. The song is about a strong woman, proclaiming “I will survive” in the face of heartbreak. She is proud, she is fierce, she is free, Gaynor keeps us dancing as she triumphantly walks away from her former lover. The song is classic 1978 disco jazz, but it is so full of soul that it is impossible to ignore.
Cake music is unique from the get go, from the muffled guitar, to the speaking tone singing voice of John McCrea, the indie pop style is nothing like the original song. Moreover the lead singer, no longer a woman, paints the story in an entirely different light. The words stay generally the same, except for one part where McCrea swaps Gaynor’s “stupid” to “f***ing”. The song tries to take on a more mature angle, the funk in the song traded for acoustic guitar.
The tune is the same, the words, more or less are the same as well, but the tone is entirely different. Cake takes an iconic song, and speak it in their own way, even their own rhythm. The same thing that Taylor Swift did to ‘September’ and, as Huffington Post says “manages in three minutes to strip the song of its iconic funk elements, its soul, its rhythm.” And she got a lot of flak for that. They say Swift “lacks the passion, the liveliness, the rhythm and, frankly, the soul to properly honor the song,” and I fully understand that. She lacks the passion, rhythm, and backstory of the original song in the same way that Cake’s cover lacks the undeniable passion and funkiness of I Will Survive. However although it lacks the familiar tones of the song we have all heard so many times, it brings to light something new. A1 says that covering can be dangerous when it is “Contextualizing or misunderstanding something about a song” particularly when it is dealing with race. Cake’s cover of I Will Survive is not a parody, it is not a joke, it is not picking fun of Gaynor or the original work of art, it is something independent and powerful on its own. Even though the stories are told from totally different perspectives, they are both valid, and will both survive in the world of music for a long, long time.
I Will Survive Gloria Gaynor – https://www.youtube.com/watch?v=gYkACVDFmeg
I Will Survive (Cake cover) – https://www.youtube.com/watch?v=7KJjVMqNIgA
Huffington Post Article – https://www.huffingtonpost.com/entry/i-listened-to-taylor-swifts-september-cover-so-yall-wouldnt-have-to_us_5ad0ff15e4b016a07e9c4d82
1A Podcast – https://the1a.org/audio/#/shows/2018-01-18/take-me-on-the-art-of-the-cover-song/113277/@00:00
Music Can “Hurt”: How Johnny Cash Used an Existing Song to Profess His Pain
Cover songs have a large variety of uses for singers and artists. If you look at John Mayer’s cover of “Free Fallin’” which was originally written by Tom Petty, you can’t see much change in meaning. You can see, however, a change in style. Mayer transformed the song into his typical soft rock style, away from Petty’s Americana rock style. This change in style did not affect the meaning. It was meant to be an upbeat song, pleasant to the ear, about the ups and downs of life and Mayer’s version seemed like more of an experiment and a fun idea rather than to apply his own meaning and background. A lot of cover songs are based on this premise, and there is nothing wrong with that. If an artist wants to give tribute to a predecessor, or simply make a cover for people to enjoy, it can add a lot of value to the musical community. Taylor Swift’s cover of “September” is similar to what Mayer did. She changed the style, and although the different tempo and tone slightly changed the meaning and mood, the change was not significant enough to show a deeper or more complex meaning. These types of covers are relatively superficial, but some artists have taken covers to the next level.
When covers can add meaning to a song, the impact is far greater. “Hurt” by Nine Inch Nails was originally released in 1995 and was even nominated for a Grammy Award for best rock song. The lyrics seem to describe the pain in depression and drug addiction that Trent Reznor, the lead singer, faced. The song begins with a sort of distorted, electronic background and when the lyrics kick in, they are sung in a quiet, depressing voice. This is contrasted to the chorus which picks up in pace and is less distorted with lyrics that could be interpreted as apologetic. All of this comes together to give the sense that Reznor is searching for an alternate meaning to the life he has been living. While parts of the song are dark and depressing, other parts are hopeful. When Reznor wrote the song, he was only 30 years old which shows why there was still hope for change in his life and this was reflected in the song, and in fact, he has pulled out of this dark part of his life. The original song on its own was highly successful, but Johnny Cash’s cover shows how giving a song more meaning can make the cover even better than the original.
Johnny Cash covered “Hurt” only a couple years before his death. Cash’s career was highly successful and he is considered one of the best country artists of all time, but hidden under this fame and glory was an intense drug abuse problem and run ins with the law throughout the bulk of his career. Because of his old age, the song has a different meaning than the Nine Inch Nails version. The lyrics remain the same but because of his impending death, the song has a sense of reconciliation for sins Cash believed he had committed and knowledge that he does not have time to change whatever he regrets about his life. His rendition also has a more melancholy sound. The only instruments are his voice with an acoustic guitar accompaniment, giving it a feeling of loneliness and loss of hope. Also, unlike the beginning of his career where Cash’s voice was strong and deep, his voice in “Hurt” sounds raspy and weak showing that this is his repentance and moment of weakness and a realization that he didn’t live his life how he wanted to. Finally, the volume and intensity of the sound increases as the song goes showing desperation as he realizes the mistakes he made and that his time is dwindling to repent. Cash’s cover of “Hurt” gained a lot of recognition and the music video even won a Grammy Award. Many people consider his cover better than the original.
Music has a lot of power in expressing meaning for artists and covers can play a big part in this. Although the lyrics did not change between the two versions of “Hurt,” the change in meaning is obvious. One was sung by an artist in the peak of his career while the other was sung by an artist on his downfall. Both songs have their own meaning, but Cash’s cover shows that the person behind the microphone has a lot of influence on how a song in interpreted. The world of covers is a growing sector of the music industry and it can be highly successful if artists learn from Cash’s “Hurt” how to relate the song to their own lives.
Johnny Cash “Hurt”- https://www.youtube.com/watch?v=FywSzjRq0e4
Nine Inch Nails “Hurt”- https://www.youtube.com/watch?v=kPz21cDK7dg
Credits
https://pitchfork.com/reviews/albums/1331-american-iv-the-man-comes-around/
Reclaiming What is Already His: From Alright to DNA
Kendrick Lamar is undoubtedly one of the most influential artists making music today. As a multiple grammy award winner, and recipient of the pulitzer prize, Kendrick has obtained incredible levels of success and respect within a wide range of the music community. Nonetheless, he has been, and likely always will be, a recipient of hatred. On his most recent album, DAMN, Kendrick features numerous samples, including one on the track DNA. DNA is a track about pride, ancestry, power, and race shown through verses such as, “got royalty inside my DNA,” and “this is my heritage, all i’m intertin’, money and power, the maker of marriages”. Within DNA Kendrick includes a sample from a Fox News segment in which news anchor Geraldo Rivera states, “This is why I say that hip hop has done more damage to young African Americans than racism in recent years,” in reference to another Kendrick song, Alright. As a hip hop artist, this comment directly contradicts the message of Kendrick’s music (one of hope, combatting- not contributing to- negative race relations, and pride), and de-validates his career. Alright, the song Rivera references in his quote, is one about hope- a message torn apart by Rivera’s claim that hip hop is doing more damage than racism in recent years.
By sampling this clip, Kendrick is able to reclaim his song Alright, and the message of the genre that he is arguably one of (if not the) most influential artists today. The irony in this sampling should not be overlooked. As an artist, Kendrick shouldn’t have to continuously reclaim the words and message of his own music, yet he is required to in order to maintain validity, and ownership over the message of Alright. Kendrick originally created Alright as a track of hope, a message stripped away by Rivera’s claim that its genre is worse than racism to modern society. This necessitates Kendrick to come back and remind us not only that Alright is still about hope, that Rivera is wrong, and also that Kendrick holds a great deal of pride in himself, his culture, and everything that resulted in the music he produces today.
Fox News Clip: https://www.youtube.com/watch?v=U3_hi8eWdbY&feature=youtu.be&t=56
Alright: https://www.youtube.com/watch?v=Z-48u_uWMHY
DNA: https://www.youtube.com/watch?v=NLZRYQMLDW4
Lyrics of DNA: https://genius.com/Kendrick-lamar-dna-lyrics
From Hip Hop to Pop: Suga How You Get So Fly?
German DJ Robin Schulz’s 2015 “Sugar” (feat. Francesco Yates) achieved more success in Europe than it did in America. However, it still was certified platinum and charted on the Billboard Hot 100. It played on the top 40 radio stations for long enough that by the end of my freshman year of high school people grew sick of it. In fact, I’d forgotten about the song entirely until last month when I saw Francesco Yates as the opening act at a concert I attended. He was truly awful at pretending to play the guitar, but his voice sounded eerily familiar.
“Sugar” borrows its entire chorus from the hook of Baby Bash’s “Suga Suga” (feat. Frankie J). The one difference between the two is that Yates sings “drifted” instead of “shifted”.
“Got me lifted, shifted higher than the ceilin’
And ooohwee, it’s the ultimate feelin’
You got me lifted, feeling so gifted
Sugar, how you get so fly
Sugar, sugar, how you get so fly (x4)”
In the transition from hip-hop to pop and from American to European Schulz chose to make some interesting changes. The first change noticeable from just the song titles is the careful pronunciation of “sugar” instead of Bash’s “suga”. Schulz takes his chorus from a hip-hop song, but choses to change the spelling and pronunciation to something more palatable to his white, European audience. While singing it’s interesting to note that then 19-year-old Yates wavers back and forth sometimes pronouncing “sugar” and sometimes “suga”. He sounds cool enough, but I find humor in imagining Schulz reading Bash’s lyrics in his German accent.
The second prominent change is how drastically Schulz speeds up the song’s melody. Doing so seems to energize the song, a shift from the calming lethargy felt in Bash’s original. Schulz’s song is definitely meant for dancing unlike Bash’s. Bash’s song is all about the lyrics and the beat. Contrastingly, even though both songs serve as odes to tantalizing women, Schulz’s lyrics seem secondary to the music. Sure, they’re enjoyable if you take time to focus on them, but they don’t register without careful listening. The change in rhythm and addition of a heavier baseline in “Sugar” shifts the song into something almost unrecognizable despite the matching melodies and choruses.
The third prominent change is the change in lyrics outside of the choruses. Bash’s lyrics draw frequent parallels to attractive women and smoking marijuana. In his music video he cycles through serenading six different women (although multiple other scantily clad ladies serve as extras). He fixates on the sexiness of each woman he meets and how good it feels to be with her. The slowness in which his lyrics are delivered allows Bash’s emotion to seem real, if spread out between a plethora of women. Schulz’s lyrics are more repetitive. They also set a clearer story. Yates is dancing somewhere and sees a beautiful woman under the club’s colored lights. He praises her beauty before cautioning the listener that she’s a “cold-blooded vixen”. Even though there is only one object of Yates’s affections, she seems less important than Bash’s given the lack of original lyrics about her and emphasis placed on other parts of the song.
In an interesting parallel to the dialogue concerning Earth, Wind, and Fire and Taylor Swift’s versions of “September”, Schulz seems to have done to opposite to “Suga, Suga” that Swift did to “September”. Swift took the groove from September and focused entirely on the lyrics. Schulz switches his song’s focus from its lyrics to its melody. This is probably why, although he stripped the song of some of its depth, Schulz’s cover was so much more well received than Swift’s was. He took Bash’s song and imbued it with the danceability expected from a DJ, with comparatively small sacrifices from the meaning. Obviously, many prefer Bash’s original to Schulz’s cover, but making covers is always tricky due to the direct comparison it opens up, and I believe Schulz did a commendable job.
Baby Bash: https://www.youtube.com/watch?v=6rgStv12dwA
Robin Schulz: https://www.youtube.com/watch?v=bvC_0foemLY
“Redbone” by Childish Gambino and Cover by Holocene. The future of music…
There is more to music than just the lyrics and the message that the audience receives from this. In the original version of “Redbone”, you can hear the soul in Gambino’s voice – which is influenced by classic funk music from 1960s-70s – and this sticks with the audience. He starts with consistent tones, but as song progresses, you hear more auto-tune (vocoder-esque) and futuristic technology sounds. This has been one of my favorite songs for a while, but it is not the kind of song you would want to dance to. When I listen to this, I just want to sit down and listen/”vibe” by taking in the sounds. Still, you can really feel the funk/beat from Gambino. Futuristic technology and auto-tune helps him to make the song beat/tones sound fantastic. Gambino actually did not use any auto-tune in changing his voice, which is one of the reasons why this song has gained so much popularity in the R&B community. We generally associate Gambino with “harder” or more typical rap – see “bonfire” song as an example. His “Awaken, my Love!” however, album is different from his past & future work, as this features less actual rapping and slower beats. Also, this song is about his relationship, but here lyrics are not as important. Gambino makes references to “peanut butter.. chocolate..Kool-Aid” but the audience does not pick up on that. The song is 80 BMP, slightly offbeat which is cool! This gives Gambino a unique tone/track that I have not seen in another modern-day R&B, as the extended “outro” (which lasts 2 minutes) is not common, but again helps to make the song a banger.
In the Holocene cover, the instrumental part is very similar here – could almost pass for original Gambino instrumental. This is a live performance by a vocalist/guitar, bass, keyboard, and drummer. There seems to be much more of an emphasis on the lyrics in this song, as without auto-tune in the song and the unique singing style of Gambino, the lyrics are much easier to understand. In this version, there are much less fluctuations in the pitch of the voice in comparison to original version.
In comparing the two, there are a lot of positive reviews of this cover, but nothing can compare to the art from Gambino. The cover isn’t necessarily bad, but it is truly lacking the uniqueness in voice that only Gambino can naturally produce. Also, the changes in pitch in the original version are effective in drawing in the audience/still keeping the song intriguing. In comparison, the cover song seems to get old pretty fast, as it takes a few minutes for the pitch to change – when the song finally transitions over at 3:06. While you can tell there is passion in the cover, nothing can compare to the soul you feel in the Gambino version. Even though the lyrics are easier to understand in the cover, Gambino’s goal in my opinion was to convey the “funk” and not have a rich story behind the lyrics. He meant for some of his lyrics to go under the radar. Honestly, by the end of listening to the cover version once, I don’t have any desire to listen to it again. This is disrespectful to Gambino, as the same emotions and feelings from the original version are not conveyed in this cover. From Weheliye, there seems to be something here in the post humanism that is improved through acknowledging race and the use of auto-tune. When we (as a society) acknowledge that using auto-tune can improve or even be vital to a song’s success, this will be an incredible achievement. By not using auto-tune in the cover, this is almost taking a shot at Gambino as this is asking people to judge Gambino’s work based on the lyrics/performance aspect – and this was not his intention in “Redbone.” Similarly, we don’t generally judge a country singer (who is typically white) based off lyrics, but instead we judge these songs base off the amount popularity and the tune/flow. Moreover, few people choose to perform covers of country songs and change the intended tune/performance method – which is what was done in this cover of “Redbone.” Again, Gambino is not a lyrical genius but he is very “soulful” and engages audiences by challenging them in thinking about problems extending past music. One example is in his “This is America” music video that has left some puzzled and generated lots of popularity through the constant implications of societal violence entrenched in racism and police brutality that exists today. If you haven’t watched this video, click the link below as this is one indication for the future of the music industry.
Source (for music breakdown): https://bwh2017.wordpress.com/2017/11/17/track-analysis-redbone/
Redbone (by Childish Gambino): https://www.youtube.com/watch?v=Kp7eSUU9oy8
Cover (by Holocene): https://www.youtube.com/watch?v=s–ATPblCTE
“This is America” https://www.youtube.com/watch?v=VYOjWnS4cMY
Nice for What and Ex-Factor: What makes Drake’s Sample so Effective
There is much to consider when examining a cover and its original. Completely changing the feel of a song, but maintaining the exact lyrics is a hard task to accomplish, and is always vulnerable to criticism and sometimes controversy. In some instances, many covers sound the exact same as the original, leading to a boring repeat of a song that was previously effective. On the flip side, an artist sampling a piece or section of an original song, in my opinion, is less risky. Using a line or two and remixing the sound behind that lyric allows for more unique creative expression from the new artist. With more room to alter and expand the selected part of the song, artists can create something truly unique. An example of an extremely effective, fun, and energetic sample is Drake’s “Nice for What,” where the dynamic pop/rap/r&b artist brilliantly samples Lauryn Hill’s “Ex-Factor” and turns its catchy hook into an even more catchy song.
Lauryn Hill’s hit song, “Ex-Factor,” is full of soul and feeling as she dives into her own love story and the internal struggles she faces in her relationship. The song is on the “slow-side” but still maintains a head-bobbing rhythm behind its meaningful lyrics. Its hook “I keep letting you back in, how can I explain myself?” doesn’t come for two and a half minutes into the song. However, it is definitely the most recognizable lyric in the song. Drake begins “Nice for What” with this line and hits the listener with a strong, up-tempo beat directly after the sample. The feeling of the song immediately makes you want to get up and move, dance, and become lost in the music. Although the theme of “Ex-Factor” deals with is not the happiest of sorts, Drake “[holds] onto the spirit and joy of the original” as the rhythm of the song is still energetic. However, Drake’s creative spin is “designed to get you moving and smiling” and “adds a new dimension” to the previously more lyrical driven song. After the hook, Lauryn Hill adds some more rhythm to the song, repeating lines with more emphasis and flow. Drake uses this repetition later in his sample, adding choppy fast beats to really get his listeners moving.
Drake beautifully uses “Ex-Factor” to create a song everybody can enjoy. While Hill focuses on the meaning of her lyrics and the message behind them, Drake turns her stunning voice into a song full of flow and tempo that really anyone can enjoy. As said and focused on in many of the analyses regarding covering and sampling, “there’s nothing wrong with putting your own spin on something,” and Drake does so with enthusiasm and positivity, bringing the best out of Lauryn Hill’s already beautiful song.
https://www.youtube.com/watch?v=U9BwWKXjVa
https://www.youtube.com/watch?v=V89ZjRwMlvM
