jabracy

May 10, 2019 by jabracy

Consider, Consume, Contribute, Repeat: A Reflective Analysis of My Sonic Journey

I entered this class last January believing that I was going to struggle. The most common culprits of poor classroom performance, namely work ethic and engagement, were none of my concern. What intimidated me was the preliminary course title: “Voice, Noise, Sound, and Sense”. Allow me to explain — those four words were largely unexplored territory for me. I shuddered at the thought of public speaking, and those who have attempted to teach me to play music can attest that I infallibly convert harmonious instruments into cacophonous torture devices. I distinctly remember being left utterly dumbfounded by the most elementary trials of the recorder in 5th grade music class, and I probably cost my grandmother a few precious years of life through futile attempts to replicate Mozart on her piano. To make matters worse sound theory was a completely nebulous field to me. Moreover, my heavily visual learning style had discouraged personal auditory exploration in favor of reliance on primarily visual stimuli. Given a sonically-disinclined predisposition coupled with a lack of technical knowledge in sound studies, I expected to enter Writing 101 with a very high ceiling to grow in my understanding of the nature of voice, noise, sound, and sense, as well as their relationships to each other, their surroundings, and the entities that create them.

In order to apply sonic vocabulary within a broader context, it was first necessary to understand both the physical and the theoretical concepts of voice, noise, sound, grain, etc. at the individual level. Prior to studying the sound theory, I made no distinction between the words “sound” and “voice” and used them interchangeably. During my studies that would produce Writing Project 1, I grew to realize that voice and sound are in fact separate entities that carry alternate significance when describing the character of auditory information. I examined the ideas of Aristotle, who defined voice as incapable of being produced by creatures without a “soul” (669), which he understood to be exclusively human, and Cavarero, who claimed that “Every voice comes from a person; unique, unrepeatable, like every person” (521). Both of these philosophers argue that the possession of a voice is restricted to humanity. I originally found those ideas to be true, but my perspective evolved during my study of acoustic ecology in Writing Project 3 to encompass a broader scope. I now believe that other living beings and even inanimate objects can have a voice, because a voice is simply an expression of oneself that affects its surroundings. A fleeting birdsong, a blaring car alarm, or the steady flow of rushing water contribute to the soundscape just as human activity does, and they influence the acoustic ecology of our lives in both subtle and profound ways.

“Voice can be described as the personal expression of sound, meaning that [voice] has an inherent individuality” – Writing Project 1

The first time I had considered the intricacies of “voice” was when attended a beautiful chamber music piece entitled “Vox Balaenae” or “The Voice of the Whale”. The ensemble’s performance absolutely mystified me. When I closed my eyes, allowing only auditory feedback to occupy the spotlight in place of vision, it was easy to imagine that an actual whale, rather than a quartet of human musicians, was uttering the seemingly otherworldly sounds. My undiscerning ear completely bought that the production was the voice of the whale. However, upon applying my new perspective seven years later, I realized that I had been wrong. The performance, though exemplary, was not the voice of the whale. Rather, it was the sound of the whale being performed through the voice of a quartet, transferred mechanically through the voices of instruments. I maintain that hijacking/imitating the sound of a being does not constitute using its voice because voice is inherently individual. Therefore, it is impossible to truly speak through something else’s voice.

“Vocal emulation is merely a false voice encased in the sonic parameters of another’s physicality” – Writing Project 1

Despite my inability to sing, compose, play instruments, and speak eloquently out loud, I developed an appreciation for music while I was in middle school, after I had begun exploring the relatively new at the time application Spotify. I remember testing out song after song, downloading the tracks that had left me with a positive impression to my nascent playlist (which currently has over 1000 songs, by the way). However, it never occurred to me precisely why I had enjoyed a particular song enough to denote it worthy of being immortalized in my musical library. After exploring the shortcomings of certain cover songs in my Writing Project 2, I have developed a deeper understanding of the mechanisms that determined what songs made the cut, which will allow me to tailor my song searches in the future to better suit my musical affinity, resulting in a greater number of songs added to my playlist.

In short, I discovered that I appreciated certain songs because of how they make me feel, whether that feeling was achieved through the convergence of rhythm, beat, melody, lyrics, instruments, vocals, or some other inexplicable force. Great songs have the power to satisfy their audience by evoking a pleasing combination of emotions. As self-apparent as that seems, synthesizing powerful music is extremely challenging. As Taylor Swift revealed in her poorly-received cover of Earth, Wind, and Fire’s iconic hit September, sometimes its easier to recognize what makes a song great after someone cuts the greatness out. Julia Craven of The Huffington Post argues that Swift “manages to strip the song of its iconic funk elements, its soul, its rhythm”, which were essential in the original to conveying that sought-after sense of satisfaction to its listeners. Since completing Writing Project 2, I’ve been able to recognize which particular elements of music, and in what combinations, bring me the most enjoyment. By paying attention to how I react to various parts of songs, I can identify and isolate the components that comprise my favorite songs, and use them to create criteria for my endless quest to find great music.

“The significance of a song lies in how it makes people feel. It is the confluence of beat, rhythm, tempo, melody, instrument, and voice that make [beloved songs such as] September and Hey Ya! great” – Writing Project 2

Before taking this course I had considered a sound unaccompanied by an image to provide an incomplete “picture” of the entity in question (I just used the word “picture” deliberately in order to convey the fact that I had become accustomed to thinking visually, utilizing mental frameworks with visual language such as “picture”, “see”, and “illustrate” in the place of neutral words). However, while working on Writing Project 3, “The Soccer Soundscape” I discovered that stripping away visual obscurities allows for a more complete perception of reality. As I listened to recordings of my team practicing, I heard an array of diverse sounds, particularly in the form of players’ voices, that I had not noticed before due to optical distractions.

“While listening from the perspective of an objective observer who did not have to focus on visual stimuli and decision making, I was able to detect sounds that would have been imperceptible to me as a player” – Writing Project 3

Paul Miller aka DJ Spooky That Subliminal Kid observes that “We’re in a delirium of saturation” (29), suggesting that we need “to cope with the immersion that we experience on a daily level” (88). His insight is particularly applicable to soccer, where I am constantly bombarded by auditory communication. As a result of my exploration of the role of sound in soccer and subsequent exposure to Miller/Spooky, I have acquired an improved perspective towards the importance of communication in my favorite sport.

“The frequency of communication in soccer illustrates the importance of having a team that understands each other’s intentions; players constantly call out to one another to perform commands in order to achieve a desired outcome” – Writing Project 3

Acclaimed sound theorist R. Murray Schafer’s declared that the keynote sounds of a location (those omnipresent ones that form the backbone of the soundscape) “outline the character of the men living among them” (Schafer 101), just as the keynote sounds of a soccer team reflect its identity. A team that exhibits effective, cohesive chatter is likely to succeed, whereas disconnected, uncoordinated teams set themselves up for failure. Going forward equipped with this knowledge, I guarantee that not only will my communication on the field be sharper, more frequent, and more intentional, but also will I actively listen for the voices of my teammates amid the game’s action. I will contribute my voice to the team with unprecedented effectiveness.

Biologically speaking, audio precedes video. A fetus begins to respond to the sound of its mother’s voice sixteen weeks into a pregnancy, roughly two months before its eyes will open. After that moment, the entirety of its life will be inundated with sounds. It turns out that voices, noises, sounds, and senses, have always played an integral role in my life. In fact, scarcely have I experienced a moment that was absent of sounds, if such a moment is even possible in this chaotic world. They dominate our social lives, provide us with leisure, and determine the outcomes of our sporting events. Enrolling in Writing 101 with Dr. Rippeon denotes a new chapter in my life as the first time I became cognizant of sound’s profound influence over me. Now the burden is mine to act on this awareness, and consider, consume, and contribute accordingly.

Works Cited:

“Aristotle on Voice.” The Complete Works of Aristotle, by Aristotle, Princeton Univ. Press, 1995, pp. 667–670.

Cavarero, Adriana. “Multiple Voices” The Sound Studies Reader, by Jonathan Sterne, Routledge, 2012, pp 520-532.

Craven, Julia. “I Listened To Taylor Swift’s ‘September’ Cover So Y’all Wouldn’t Have To.” The Huffington Post, TheHuffingtonPost.com, 13 Apr. 2018.

Miller, Paul aka DJ Spooky That Subliminal Kid. Rhythm Science. MIT Press: Mediawork, 2004.

Schafer, R. Murray. “The Soundscape.” The Sound Studies Reader, by Jonathan Sterne, Routledge, 2012, pp. 95–103.

April 8, 2019 by jabracy

The Soccer Soundscape

For my investigation I recorded and subsequently reviewed a Davidson soccer practice. I conducted this listening experiment in order to document and analyze the Davidson soccer team’s practice soundscape, a term defined by R. Murray Schafer as “any acoustic field of study” (Schafer 99). A limitation of the project design is the relatively low-quality recording device, my iPhone. In order to capture the acoustic environment of the space, I stood in close proximity to the playing field during a routine practice session and recorded the events. I conducted a subsequent analysis of the soundscape by examining the sonic content from physical, cultural, and historical frameworks in order to demonstrate how sounds reveal the identity of the Davidson soccer team.

The Davidson soccer practice field is quiet. Aside from a few birds chirping and the rustle of the grass in the leaves, silence occupies the majority of the field’s acoustic landscape. However, the fragile tranquility proves to be ephemeral. Suddenly a booming thump pierces the soundscape. A soccer ball rolls intently through the field’s low-cut grass. It is Wednesday afternoon, and Sawyer, the Davidson soccer team’s goalie, has begun his customary pre-practice routine. For the greater part of the following three hours, the field will erupt with relative auditory chaos in comparison to the usual absence of sonic activity. Although our team occupies the field for only about ten hours per week, we produce the vast majority of the noise that occupies the space. Our sonic presence is equivalent to or perhaps even greater than our physical weight, as ecstatic exclamations of “GOOOOOAAAALLLLL!!!” echo far beyond the range of our footsteps. Just as voices are mechanisms of self-expression, so too is the soundscape created by a team indicative of its character. Careful observation of the soccer practice soundscape followed by an analysis of the unique sounds we create will reveal the identity of the team, as well as provide insight into the nature of soccer as a sport.

Normally I would participate in the practice as a full member of the team, but I am currently sidelined with an ankle injury. Although being injured is unfavorable, it provides me an opportunity to observe the practice environment from a new perspective. In order to evaluate a soundscape accurately it is necessary to engage in close listening without distractions. While listening from the perspective of an objective observer who did not have to focus on visual stimuli and decision making, I was able to detect sounds that would have been imperceptible to me as a player. These subtle vocal expressions blend together into the background when one is focused on watching on the game, but they can be easily identified by the alert ear. Incidentally these inconspicuous sounds reveal the depth of the team’s acoustic ecology. Through this method of evaluation, ironically, a listener in the absence of visual feedback is able to gather information that would be otherwise inaccessible to a spectator.

The practice that I documented was representative of a typical session, in which the team goes through a progression of drills that culminate in a final scrimmage. I separated my recordings into two distinct segments of practice in order to capture the full extent of the soundscape: technical drills and a scrimmage. Although soccer is a primarily visual pursuit, players are taught from a young age that clear and effective communication is paramount for success. In fact, completesoccerguide.com asserts that abundant communication “can be the difference between victory and defeat”. Echoing this mantra in the audio clip below, Coach Spencer can be heard exclaiming “give him a shout!”. Given the importance of sound as it relates to soccer, the acoustic production of a team engaged in a competitive setting demonstrates its character.

Audio 1: Technical Drill

Audio 1 is a sample from a technical drill, which provides a condensed yet comprehensive listen into the acoustic ecology of the soccer practice field. I will use it to analyze the technical and structural components of the soundscape.

Before one can attempt to interpret the sonic texture of a group of people, it is critical to identify and categorize the types of sounds that it produces. Different types of sounds perform unique functions in an acoustic ecosystem, and categorizing auditory feedback accordingly allows for a clear interpretation of each sound as it relates to others. Acclaimed Canadian composer and environmental sound studies theorist R. Murray Schafer describes three primary forms of sound in a given soundscape: keynotes, signals, and soundmarks. Schafer asserts that keynote sounds are the underlying tones of acoustic ecology, which are sometimes overlooked by listeners who have grown accustomed to their perpetual noise. Keynotes are sonic “anchors” which are often “created by its geography and climate” (101), and examples include sounds produced by water, wind, and animals. In the soccer practice soundscape keynotes consist of the steady gusts of wind caused by the movement of players and soccer balls, as well as the constant rumbling sounds of players’ cleats stomping into the earth. Schafer maintains that keynotes “outline the character of the men living among them” (101), just as the sounds that we produce alter the acoustic ecology of our surroundings.

R. Murray Schafer denotes the next category of sounds “signals”. Signals are comprised of “foreground sounds” that stand out from continuity of the “noise” which we have learned to ignore (101). The soccer practice soundscape is rife with signals as players repeatedly shout commands at their teammates. Most of the verbal communication during the drill is comprised of commands, and directional language is heavy (“left, right, get up, drop back, come around”), which illustrates the importance of constant movement and precise positioning in the game of soccer. Whereas keynotes are produced mainly from the forces of nature, signals in this soundscape are almost exclusively man-made with the exception of an occasional birdcall. Finally, a soundmark is defined as “a community sound which is unique or possesses qualities which make it specially regarded by people in that community (Schafer 101)”. The most concrete example of a soundmark occurs at the finale of each practice, when the team gathers in a huddle and simultaneously yells “one, two, three, Cats!”. The significance of this tradition is to unite the team after a few hours of fierce competition and strenuous activity. This triumphant soundmark exemplifies the team’s ideals of brotherhood and unity, and upon hearing this sound, a passive listener becomes aware of the fellowship that we embody through it.

The soccer practice soundscape blurs the line between Schafer’s three distinctions, as it contains a variety of signals that could be interpreted as potential soundmarks. When a particular phrase possesses significance that transcends a singular instance, such as Coach Spencer’s conscious repetition of the directive “Stay active!” during the technical drill, the signal becomes a soundmark. This phrase transforms from a signal to a soundmark not only because it is unique to the Davidson soccer practice soundscape, but also because it carries exclusive meaning to the players who hear it that outsiders would not perceive. Furthermore, due to the ubiquity of verbal interjections during intense drills, these signals nearly blend into a form of background noise, forming a secondary keynote rather than individual sounds. The high frequency of the players’ vocalizations reflects the chaotic and uninterrupted nature of the sport.

Audio 2: Scrimmage

Audio 2 features an audio clip from the final phase of practice: a scrimmage. This particular clip permeates the surface layer of the soundscape, providing insight into the nature of the sport as a whole. I will use it to examine the soccer soundscape from historical, cultural, and comparative frameworks.

As the soundscape of the soccer team reflects its culture, values, and character traits, we can use sound as evidence to determine how the Davidson Soccer team has evolved over time. An individual’s voice is arguably the purest form of self expression. As such, the voices heard at the soccer practice field throughout its history provide an interesting window into the larger socio-cultural context of Davidson College as a whole, as this field has been utilized by Davidson students for generations. However, a barrier exists in that there are no preserved recordings of the historical soundscape. In order to determine how the acoustic ecology of the field, and therefore the identity of the soccer team itself, has changed over time, “we must turn our attention to earwitness accounts from literature” (Schafer 97). As college athletics have become far more competitive in recent decades, the contemporary soundscape of the soccer field has become increasingly intense.

Historical testimony provides evidence that players take the game much more seriously than in the past. Since its formation in 1942, the Davidson soccer team has evolved tremendously from a casual intramural activity into a highly competitive NCAA tournament challenger. In the inaugural days of the team during the 1950s, John Kuykendall, ’59 explained that “there were a couple missionary children who really knew soccer and were from Brazil and places like that. And the rest of us were just kind of goof-offs” (Niegowski). If any current player on the team ever “goofed off” during training, I have no doubt that they would be immediately reprimanded by the coaching staff. The intense, serious tone of practice can be heard through both recordings, as players are fully focused on performing at the highest possible level. Additionally, the diversity of voices on the team has no doubt increased heavily over time. The recent surge of aggressive, globalized recruiting in the college soccer community has brought Davidson players from around the world, and it is common to face opponents with majority international rosters. Now that the Davidson community champions diversity, and with the generous scholarships provided by the Davidson Trust, the voices of players with historically underrepresented ethnic and socioeconomic backgrounds occupy the soundscape. The sonic character of the team has evidently experienced a drastic shift in tone since the days of Mr. Kuykendall.

The nuances of the soccer’s soundscape alone are satisfactory to differentiate it from other sports. The free-flowing nature of the game is rare among popular sports such as football, baseball, and basketball, which experience stoppages at regular intervals. The frequency of communication in soccer illustrates the importance of having a cohesive team that understands each other’s intentions. As players retain all of the decision-making power aside from basic strategy, individual expression through voice is a major component to soccer. The fast-paced nature of the sport is demonstrated by shortened, commanding dialogue that is often rapidly repeated for emphasis.

The soccer practice soundscape exemplifies the cohesive structure of the sport. Inherent within our acoustic ecology is the presence of the unity. We rarely separate into disconnected groups, and each team member is responsible for performing offense, defense, and communication rather than having different jobs. Everyone on the field covers for one another and can play in multiple positions throughout the match. Accordingly, the sonic production of the team reflects a singular force that is comprised of individual voices sharing objectives among each other. Players address each other by name in order to assign responsibility, which is indicative of a team culture that recognizes the necessity of each member to make significant contributions.

Furthermore, it can be determined from listening to the practice soundscape that soccer is largely a game of cause and effect. Players constantly call out to one another to perform commands in order to achieve a desired outcome. If the action is successful, it can be observed that one will reward their teammate with praise. An adept listener will be able to determine a team’s relative success simply by listening to these rapid and frequent interactions between teammates.

Examining the components of the vibrant Davidson soccer field soundscape reveals the character of the team that inhabits it. It also provides insight into the nature of the activity that occurs within. The intensity, passion, and commitment of the soccer team is evident through simply listening to a practice session. Virtually every coach I’ve ever played for has echoed the maxim “You practice like you play” in order to motivate players to work harder during training sessions. In other words, teams that put forth maximum effort during practice are more likely to see their hard word translate into success on the game field. Therefore, the team’s soundscape is indicative of its future performance. After discovering how profoundly a practice soundscape reflects a soccer team’s identity, I have a word of advice for prospects, coaches, and players: Pay attention the sonic texture of your team, for it may determine whether or not you win the conference title. Oh, and consider turning up the volume during that next film session.

Works Cited

“How to Communicate Effectively In Soccer.” Completesoccerguide.com, 2015, www.completesoccerguide.com/communicate-effectively-soccer/.

Niegowski, Desmond. “1950s Student Life.” Davidson Encyclopedia, 2014, libraries.davidson.edu/archives/encyclopedia/1950s-student-life.

Schafer, R. Murray. “The Soundscape.” The Sound Studies Reader, by Jonathan Sterne, Routledge, 2012, pp. 95–103.

March 24, 2019 by jabracy

Why Acoustic Covers Often Fail to Stack Up against the Originals

Kelsey Mckinney of Splinter News claims that “A great cover presents a song to a new audience in a language they can understand”. Rather than subtracting from the significance of the former, well-received covers construct a new layer on top of a pre-existing foundation. However, these new layers sometimes clash with the sonic, cultural, or instrumental architecture of their forebearers, often projecting into an entirely new direction. The degree of modification among covers goes from barely recognizable to starkly similar. Both ends of the spectrum have proven successful in some cases. A well-known example of the former is Jimi Hendrix’s 1968 electrifying rendition of Bob Dylan’s All Along the Watchtower. Others elect to simply reinforce a particular aspect without disrupting much of the work’s identity, as heard in Alien Ant Farm’s popular 2001 rock-infused take on Michael Jackson’s Smooth Criminal. On the other hand, some covers appeal far less to the public. As a general rule, covers that vary highly from the original are placed under heavy scrutiny, especially when the original is well-liked.

One simple reason that artists cover songs is to pay homage to the original. In my opinion, choosing to cover another artist’s work inherently honors the original artist, even if the song in question is radically altered, because covering a song acknowledges the value of the original as a work of art. Sometimes artists create cover songs because they believe that the original can be expanded upon in some capacity. Ranging from alterations made to vocal components, tempo, instruments, rhythm, pitch, or all of the above, the covering musician strives to augment the original by placing emphasis on musical elements that were (in their opinion) underdeveloped. However, there is a risk that they may also lose what made the original so admired. If the artist intends to add a new dimension to an existing work, rather than simply honoring it, the covering musician’s objective should be to produce something new by adding depth to an existing creation. This type of cover should refrain from creating a sonic clone because creating a copy of the original work achieves nothing except substantiating the greatness of the former. Rather, a cover with the intent to build upon the original should contribute to the cultural, as well as the musical meaning of the song as a whole in a novel manner. Cover artists that succeed showcase their individual perspective while replicating the best aspects of the original.

One popular cover style is created by performing a pre-existing song without the use of electronics or electric instruments. This is called an acoustic version because sound is produced by acoustic, rather than electronic means, and often results in dramatic variation from the original. Acoustic versions can bring out the best in a song that is centered around instrumentals and/or expression through vocals. Used appropriately, acoustic covers transform a mere average song into a chart topper. However, other acoustic covers fail to live up to their predecessors. In particular, Taylor Swift’s tender, acoustic recording of Earth, Wind, and Fire’s iconic hit September received harsh criticism from a variety of sources. Julia Craven of The Huffington Post asserts that the country-turned-pop star lacks the “passion, the liveliness, the rhythm and, frankly, the soul to properly honor the song”. September, hailed as “a classic—truly an all-time-best record” by music aficionado Israel Daramola of Spin.com, delights millions of listeners around the globe. Versatile and uplifting, the acclaimed single is “perfect for weddings, cookouts, reunions, or just a night out at a bar (Daramola)”. The same cannot be said for Swift’s version, which is better suited for a funeral or someone’s post break-up playlist. The original September caught fire in the public eye due to its funky rhythm, uplifting message, and catchy musical structure. Jeffrey Peretz, a professor of music theory at New York University’s Clive Davis Institute, asserts that the song’s very structure is an endless cycle of four chords that keeps us dancing and wanting more. On the other hand, Swift’s cover feels like a hollow shell of the lively, soulful EW&F hit, despite her melodic voice and skilled instrumentals. Swift’s failure to impress her audience is rooted in the significance of what she changed about the song, rather than the quantity of alterations. The reason that Swift’s cover of September received so much backlash is that she neglected to pay tribute to the parts of the song that make the original so revered. Experience the magic of Earth, Wind, and Fire’s performance here. Listen to the underlying chords that Dr. Peretz mentioned, as well as the groovy rhythm, not to mention Maurice White’s contagiously energetic persona.

Even the staunchest Taylor Swift hater cannot deny her talent. Sporting 10 Grammys, 23 AMAs, and the record for most billboard music awards of any artist, she certainly has the resume to legitimize it. Therefore, Swift’s cover of September floundered not for lack of musical talent. Fundamentally there were no issues with her execution. In fact, I believe that had she been the original progenitor of the song, it would have been extremely successful. Her vocals exude a youthful purity that harmonizes beautifully with the banjo chords in the background. Melancholy and wistful, Swift reveals the poetic brilliance Earth, Wind, and Fire’s lyrics. And that’s exactly where she went wrong. A timeless “cookout staple” (Craven) September is cherished for its grooviness and feel-good energy. In the words of co-writer Allee Willis, it is “the happiest-sounding song in the world”. The lyrics, which became the primary focus of Swift’s acoustic cover, were the most expendable element of the original song. Critical components that gave the song its cultural significance are nowhere to be seen. According to Craven, ([Swift] manages in 3 minutes to strip the song of its iconic funk elements, its soul, its rhythm). By choosing to record an acoustic version, Swift traded the heart of the song in favor of its skeleton.

Although her notoriety may top the competition, Swift isn’t the only artist who has created an acoustic cover of an extremely renowned, upbeat track. In 2016 Irish singer-songwriter EDEN released a heavily modified acoustic version of the infamous OutKast hit Hey Ya! OutKast’s lively song is comparable to September in its funk, soul, and R&B influence, in addition to its energetic beat. Just as Maurice White of Earth, Wind, and Fire did with September, Andre 3000 of OutKast performed his work with a contagious enthusiasm that spread around the world, so much so that Hey Ya! can be heard ubiquitously, from “playing at a middle school dance, or on a mother’s radio as she drops the kids off at Chuck-E-Cheese’s”, Josh Shaffer of The Houston Chronicle proclaims. EDEN decelerates the song’s rhythm and sings in a somber tone, revealing deep pessimism behind its lyrics. His raw, sobering performance is the complete antithesis to OutKast’s funky hip-hop sensation. Ironically, most listeners to OutKast’s version have no idea of their melancholy nature. Universally recognized and critically acclaimed (It won a grammy for Record of the Year in 2003), Hey Ya! is regarded by columnist Adam T. Brown of Cracked.com as “the happiest-sounding song released during that entire decade”. That’s precisely why it’s incredibly surprising to people who discover that the lyrics of the song are actually depressing:

“If what they say is ‘Nothing lasts forever, then what makes, then what makes, then what makes, then what makes, then what makes love the exception?” -Andre 3000, Hey Ya!

EDEN’s portrayal of Hey Ya! exposed the pessimistic nature of the jubilant-sounding song, and OutKast fans reacted negatively, as Andy James of DJBooth.net asserts. “Turning “Hey Ya!” into a song full of sorrow and hopelessness kinda takes away from the magic of the original”, he claims. He’s right. The grand success of Hey Ya!, just like September, spawned from its addicting beat, fast paced rhythm, contagious energy. These elements cemented these two works as joyful anthems in the cultural context of society. Andre 3000’s effusive enthusiasm caught fire across America because Hey Ya! is a feel-good song. In the infamous music video, exuberant fans are seen screaming ecstatically along with Andre. Adam T. Brown of Cracked.com attests that “[The fans’] reaction is pretty much a perfect summary of how the world as a whole reacted to this song: just pure, unadulterated adoration”.

EDEN proves to us that the lyrics have nothing to do with what made Hey Ya! so successful. Andre 3000 himself professed during his live performance of the song on stage “Y’all don’t want to hear me. You just wanna dance”.

The acoustic covers of September and Hey Ya! subtracted from the meaning of the original by removing the mechanisms that incited feelings of joy. Taylor Swift and EDEN presented the songs in a way that conflicted with society’s preconceived idea of their identities, which caused listeners to feel betrayed. Ultimately, Swift and EDEN neglected the vital aspects of September and Hey Ya! and left their audience feeling deprived. After all, the significance of a song lies in how it makes people feel. It is the confluence of beat, rhythm, tempo, melody, instrument, and voice that make September and Hey Ya! great. The lyrics weren’t what made the originals special. Maurice White of Earth, Wind, and Fire echoed this belief in his response to co-writer Allee Willis in 1978. Confused by the soon-to-be infamous line “Ba-dee-ya…” she asked White “What does it mean?”. He candidly replied “Who the fuck cares?” recognizing that lyrical semantics should never get in the way of the groove.

Works Cited

Axeals. EDEN- Hey Ya. YouTube, 19 June 2016, www.youtube.com/watch?v=SCvTC3hasdU. Accessed 8 March 2019.

Brown, Adam T. “6 Popular Upbeat Songs You Didn’t Realize Are Depressing.” Cracked.com, 19 Apr. 2012, www.cracked.com/blog/6-popular-upbeat-songs-you-didnt-realize-are-depressing/. Accessed 9 March 2019.

Charnas, Dan. “The Song That Never Ends: Why Earth, Wind & Fire’s ‘September’ Sustains.” NPR, NPR, 19 Sept. 2014, www.npr.org/2014/09/19/349621429/the-song-that-never-ends-why-earth-wind-fires-september-sustains. Accessed 10 March 2019.

Craven, Julia. “I Listened To Taylor Swift’s ‘September’ Cover So Y’all Wouldn’t Have To.” The Huffington Post, TheHuffingtonPost.com, 13 Apr. 2018, www.huffingtonpost.com/entry/i-listened-to-taylor-swifts-september-cover-so-yall-wouldnt-have-to_us_5ad0ff15e4b016a07e9c4d82. Accessed 10 March 2019.

Daramola, Israel. “Taylor Swift’s ‘September’ Cover Is Joyless: Review.” Spin, 13 Apr. 2018, www.spin.com/2018/04/taylor-swift-september-earth-wind-fire-cover-review/. Accessed 9 March 2019.

Earth Wind & Fire, director. Earth, Wind & Fire – September (Official Music Video). YouTube, 11 Jan. 2013, www.youtube.com/watch?v=Gs069dndIYk. Accessed 8 March 2019.

Kajal, director. Taylor Swift – September Cover (Earth, Wind & Fire). YouTube, 14 Apr. 2018, www.youtube.com/watch?v=KnDnphYTb0Q. Accessed 7 March 2019.

James, Andy. “The 7 Best OutKast ‘Hey Ya!” Covers on the Internet.” DJBooth, 23 Mar. 2017, djbooth.net/features/2017-03-23-best-outkast-hey-ya-covers. Accessed 10 March 2019.

McKinney, Kelsey. “The Art of a Good Cover Song.” Splinter News, Splinter, 24 July 2017, splinternews.com/the-art-of-a-good-cover-song-1793848557. Accessed 10 March 2019.

OutKastVideoVault. OutKast – Hey Ya! (Official Music Video). YouTube, 25 Oct. 2009, www.youtube.com/watch?v=PWgvGjAhvIw. Accessed 8 March 2019.

Shaffer, Josh, and Fort Worth Star-Telegram. “What’s Cooler than Being Cool? Outkast’s ‘Hey Ya!’.” Houston Chronicle, Houston Chronicle, 24 July 2011, www.chron.com/entertainment/music/article/What-s-cooler-than-being-cool-Outkast-s-Hey-Ya-1567383.php. Accessed 8 March 2019.

March 1, 2019 by jabracy

Hiwa K Response

I spent the first 15 minutes or so of our visit to the gallery browsing through each of Hiwa K’s works, but soon I found myself to be captivated by The Bell Project, which stood out to me physically because of its size and position occupying 2 walls. In addition, this piece was the most ambient out of all the others because of the auditory and visual power of its display. I discovered that The Bell Project, not unlike Hiwa K’s other pieces, seemed to be rooted in the process by which it was created, rather than the final result. I was deeply intrigued by the nature of the production of the bell, which juxtaposed the opposing forces of destruction and creation. I believe that Hiwa K’s purpose is to instill a sense of optimism in his audience by showing that there can be beauty found in transforming objects and places that have been plagued by darkness.