makay

May 10, 2019 by makay

Listening But Not Hearing

I have never been adept at hearing. I would pay attention in class or listen to my mother’s directions, but I was never very skilled at hearing and comprehending…until now. Throughout our WRI 101: Voice, Noise, Sense, Sound course at Davidson, my understanding of sound has been transformed. At the beginning of the semester, I paid attention during class, but was not struck with a true interest in the topic until later in the year when we conducted hands-on studies, delving deeper into the meanings of everyday noises. Through the progression of our assignments, I recognized the patterns of how each unit in the course was connected to each other, and to my everyday life.

During the first few weeks of the course we immersed ourselves in the topic. We discussed the theoretical ideas of philosophers such as Aristotle and his perceptions on the soul and voice in the body. At the time, I did not find this topic particularly intriguing because it did not seem personally relevant. It was not until rereading this first essay that I was able to connect its importance to my life. In Writing Project #1, I compared the work of sound poet, Christian Bök, to the concepts of sound theorists, Aristotle and Adriana Cavarero. My argument was that “the content of a literary piece does not necessarily need to be analyzed for deeper meaning; sometimes the different uses of voice versus sound and the reason it is in existence in the first place is the most important idea” (Kay 1). I stated that often times, sounds do not need to be overly analyzed and probed for deeper meaning; however, after completing this course, my views have now changed. It’s imperative to scrutinize sounds in order to gather as much information as possible because as R. Murray Schafer recognizes, “only a total appreciation of the acoustic environment can give us the resources for improving the orchestration of the world soundscape” (Schafer 4). Acknowledging the entirety of our surroundings, to include any noises which may be present, gives us a complete understanding of our environment and our society as a whole.

Our next assignment, Writing Project #2, revolved around the benefits and consequences of certain vocal productions in a cultural context. This project helped me further understand the significance of sound and encouraged me to connect my outside knowledge of popular culture to new insights I gained from this course. In this assignment, I utilized Kanye West’s hit song, “Blood on the Leaves”, and his sample from Nina Simone’s, “Strange Fruit”, to explain the impact music can have on a community. I described how “Kanye alludes to more important issues than simply voice or sound by tackling the controversial concepts of race and violence, while simultaneously turning it into a popular rap song” (Kay 1). Before this course, I did not fully recognize the impact that popular culture can have upon a community. Kanye’s piece, simultaneously created heated controversy, while also tackling cultural issues that needed to be brought to the forefront of discussion. Kanye connects his highly criticized life in popular culture to the lifestyle of African Americans during the lynching era through his contentious sampling of “Strange Fruit”: “…black celebrities are heavily scrutinized and criticized by the press, almost as if they are being ‘judged and hung’ by the surrounding white masses, drawing parallels to American history” (Kay 3). A more recent reading that has further helped reaffirm my understanding of Kanye’s use of sampling is DJ Spooky’s Rhythm Science. In his book, DJ Spooky writes, “sampling plays with different perceptions of time. Sampling allows people to replay their own memories of the sounds and situations of their lives” (Spooky 28-29). This concept of replaying and interpreting memories from a different time parallels to Kanye’s sampling of Nina Simone, as he compares his current situation with the history of lynching. He takes this powerful song from the oppression era and transforms it into a controversial modern cultural context that contemporary audiences can only understand if they work to see the hidden messages. Kanye demonstrates a concept that was new to me before this course regarding the importance of scrutinizing and deciphering sound in order to find the underlying meaning.

The aspect of this course that perhaps had the most significant impact upon my life, however, was Writing Project #3 about the Davidson soundscape. This assignment asked us to choose a space on campus and unpack the sounds associated with it. The space that I chose is one in which I have spent an exponential amount of time during this semester: the E.H. Little Library. Before this course, the seemingly unremarkable background noises in the library were not of much interest to me; however, over time I have learned how to listen to these sounds–that did not seem important–and to recognize the concealed messages. For example, the sneeze in the book stacks was not as simple as it seemed; it also indicated pollen allergies that comes with the impending spring in North Carolina, as well as flu season on the Davidson College campus. The constant library chatter and laughter was not simply a nuisance to my study habits, it also signified the exact time of day (usually around 8:00 PM) when the library turned into more of a social space than a study space. And finally, such a large number of students were coming and going at 8:00 PM that the squeaky door hinges become what R. Murray Schafer would call a “keynote” sound: “the anchor or fundamental tone and although the material may modulate around it, often obscuring its importance, it is in reference to this point that everything else takes on its special meaning” (Schafer 9). Through these miniscule “audible clues” in the library, I was able to detect underlying meanings such as the time of day, season, and even region in which I was situated. This third project allowed me to truly bring the knowledge that I have gained throughout the course into practice and to realize the significant impact that noise has upon my daily life.

Reflecting back on this course, I recognize now that it has opened my eyes (and ears) to a new realm of possibilities. To be honest, I came into the class with a sense of dread, which can be attributed to the fact that this course was not my first choice and I did not know what to expect; however, I am now leaving with a significantly broader and deeper understanding of the topic of sound. As Schafer points out, “noises are the sounds we have learned to ignore”, but my time in this course has taught me to be mindful of these often-ignored noises–and to utilize them to my advantage in order to acquire more information (Schafer 4). In the future, I will employ the skills I have learned from this course to be more mindful and observant of the world around me. We need to scrutinize the noises, voices, and sounds in our lives because in doing so, comes a heightened and a more thorough understanding of our current society, and culture as a whole.

Works Cited

Schafer, R. Murray. The Soundscape, Sound Studies Reader. Edited by Jonathan Sterne, Taylor and Francis, 2012.

Spooky, DJ. Rhythm Science. MIT Press, 2004.

April 8, 2019 by makay

Listening to Lib

Abstract

The E.H. Little library at Davidson College is almost always filled with the chatter of students, whether it be a group of rowdy friends “working” on a Sunday evening or a pair of pre-meds preparing for their most recent biology test. I attempted to capture the Sunday night culture of the Davidson Library through three different soundscape recordings. The first recording demonstrates a low stress environment of the Sunday afternoon library crowd. The second file reveals the library as a “no stress” environment later that evening. The third and final recording exhibits a high-stress atmosphere of the space in the early hours of the next morning. This project reveals the deeper cultural and social dynamics of Davidson College specifically through an analysis of sound.

Listening to Lib

A library is one of the few spaces in which a person typically notices the level of sound that surrounds them. Often when encompassed by a group of people, the presence of any sound simply fades into the background, becoming a consistent and unnoticeable noise: “noises are the sounds we have learned to ignore” (Schafer 95). In a library on the other hand, when an individual is overly boisterous or louder than the current constant background noise, this becomes especially apparent. With the common social system in place in libraries, implicit noises are expected: the rustling of pages, typing of keyboards, and hushed whisperings of collaborative students. In this generally quiet soundscape, there is also an explicit context that becomes noticeable, as sounds that do not include these implicit noises become much more apparent. When one is mindful and takes time to analyze and decipher these sounds, a great deal can be uncovered about the space.

Lib at 2:30pm on Sunday

At 2:30 PM on a Sunday afternoon in Libs, not much activity can be heard. As I was seated on the southern side of the first floor, in between the staircase and the men’s restroom, the undecipherable noise of busy students was perceptible. While it sounded as if there were only a dozen or so people in the library, there were upwards of 40 students. As Schafer mentions, it is “less easy to formulate an exact impression of a soundscape than of a landscape…the microphone samples details…it gives the close-up but nothing corresponding to the aerial photography” (Schafer 7). Sometimes noise can be deceptive in that it sounds like one thing, but in reality it is another. Low, pervasive chatter was evident, though most Davidson students were focused on their work. Individuals are typically in the library at this time because they have enough of a workload that they need to arrive early in the afternoon, but not so stressed because they still have several hours before their midnight deadlines.

Around 0:07 seconds into the recording, the crinkling bag of a mid-afternoon snack can be heard from afar. After a late night out at F on a Saturday, most students partake in bruch at Commons from around 11:00 AM-12:00 PM—so by the early afternoon, it is time for another bite. Were it later in the evening, the crinkling sound of this bag might not have been noticeable; however, due to the social system evident at Davidson, not many students are eager to study this early in the afternoon, so the library was practically empty. If the weather is sunny and temperate, most people are away, working/playing outdoors on the lawn or socializing with friends in the student union. Later in the recording at 0:23, the faint laughter of a girl can be heard in the distance, most likely taking a break from her studies to joke with friends. This may seem as if the girl has very little work to complete, however, due to the rigorous classes at Davidson, one familiar with the culture of the campus could reasonably assume that she has a great deal of academic tasks at hand—but simply took a quick study break. Finally, at 0:35 a double-cough sequence can be observed; it is flu season here in Davidson, and due to the strenuous academics and lack of sleep for most college students, getting sick is no rare occurrence.

Lib at 8:15pm on Sunday

The next recording of the Davidson Library took place at 8:15 PM. During this hour, a plethora of sounds can be detected, but most are drowned out by overpowering chatter. At this time of night, the Lib turns into more of a social space, rather than a study space. By 8:00 PM, all athletes are out of practice and AT sessions have ended. This fact ensures that large groups of students (mainly athletes) gather at tables and tend to be more boisterous and rowdy. Immediately when the recording starts, fits of laughter can be heard over the loud and steady discussions. I know this was an athlete, because this particular laugh I recognize as belonging to Caroline Mohler, a Davidson volleyball player. At 0:09 the rapid turn of a page can be heard, but only because the owner of the book was sitting at my very table. At such a busy time in the library, this implicit sound would usually be drowned out by the louder surroundings. Since the book was located so close to the recording device however, its pages could be deciphered easily.

At 0:12 the clank of a bottle dropping into the delivery hatch of the new vending machine can be heard, along with the constant buzzing that ensues with most machines. It is located between the main staircase and the men’s restroom. This new vending machine is well-used because it’s stocked with a healthy variety of drinks and was purchased in the new library remodel. A bit later, at 0:18 the opening and closing of the library door is audible. So many students are coming and going at this hour that the squeaky door hinges become a keynote sound. Shafer defines a keynote sound as “the anchor or fundamental tone and although the material may modulate around it, often obscuring its importance, it is in reference to this point that everything else takes on its special meaning” (Schafer 9). It can be difficult to study sometimes because whenever this sound is made, most people look up to see if it is their own friend walking in.

At 0:26, an exasperated sigh can be heard, most likely the result of a stressed student trying to complete their work, however the loud surroundings make it challenging for he/she to focus on their work. During 0:33, a female can be heard saying the word “Saturday” and discussing her weekend plans with her friends. Even on Sunday evenings, Davidson students are eager to blast through their busy week and get back to having fun on the weekend. At 0:42 a sneeze can be detected, again demonstrating the flu season and never-ending cycle of illnesses that plague the Davidson student body. At 0:48 a girl can be heard asking, “Is the baseball team out of town?” because at this college, it is a tradition for athletes to support one another. In this particular instance, it was a volleyball player asking about the baseball team because she wanted to encourage her friends as they competed.

Lib at 11:40pm on Sunday

The noise level in Lib is noticeably quieter on Sunday nights by about 11:40 PM. There are much fewer people, and those who are actually present are usually so focused on their work that there is not much discussion going on. In this particular recording, muffled voices of only three people can be heard; however, there were about seven individuals I observed dispersed throughout the library at this time. At 0:12, the noise of a man’s sniffle is apparent—perhaps an indication of pollen allergies due the recent seasonal bloom of the North Carolina blossoms. The spring in Davidson, NC can be a period that is filled with sniffles and sneezes for students with allergies, especially for those coming from different areas with less dramatic seasons. Later at 0:19, a student jokes about his essay being “so good” as his colleagues respond with a quiet snicker. What cannot be heard, however, is how he quietly stated how he had started the seven page essay just an hour prior, and that it was “absolutely terrible.”

I found it interesting how, at this time, the front door was not a keynote sound because people were less keen on arriving at the library at such a late hour. There was also much less talking, not only because there were fewer people at this time, but because students were feeling more stress and in need of focusing on their work. One thing that was more apparent at this hour, were the sniffles and sneezes. Due to the fact that the overall noise level of the library was lower, these explicit noises stood out more. As Schafer points out, “Only a total appreciation of the acoustic environment can give us the resources for improving the orchestration of the world soundscape” (Schafer 4). In the instances when it seems as if there is no sound at all, or no meaning behind this sound, one must focus hard because there is always some clue behind the noise.

The soundscape of a library—a space that I always thought to simply be a quiet place to study—has so much more information hidden behind the soft, yet constant din. By walking into the library and simply listening closely, one can actually determine the time of day, the season, and even the general health of the campus. I chose first floor Lib because of the stark contrast of the space depending on the time of day. I believe that the architects of the Davidson College Library realized this because the Lib was strategically planned accordingly: there are very few books located on the first floor, all spaces for studying are tables that can account for up to four students, and there are loud copy machines and printers in the space. The designers had foresight that this would be the best place to work on group activities with others. This is not the ideal space to seek peace and quiet to work on an individual essay or test. However, first floor Lib is the perfect place to collaborate with others in an area where one is free to talk at a normal volume. This project has helped me better understand how Davidson College intended the E.H. Little Library to be used—and it actually is in alignment with how I, and other students, actually do utilize the space.

Works Cited

Schafer, R. Murray. The Soundscape, Sound Studies Reader. Edited by Jonathan Sterne, Taylor and Francis, 2012.

March 24, 2019 by makay

Blood on the Leaves Essay

Malia Kay

Professor Rippeon

WRI 101

24 March 2019

WRI Essay #2

“Black bodies swinging in the southern breeze/Strange fruit hanging from the poplar trees” (Meeropol). This is just a snippet of the powerful lines in Abel Meeropol’s famous poem, “Strange Fruit” and Billie Holiday and Nina Simone’s performances of the poem in the 1930s. Abel Meeropol’s poem about the protest of lynching was a paramount moment in African American history. In his hit “Blood on the Leaves,” Kanye West uniquely samples “Strange Fruit” and puts a modern spin on this empowering song about black violence. His version can be seen as both offensive, as well as a vocal masterpiece. He expertly juxtaposes Simone’s voice with his messages of the modern life of an African American man. Kanye sings about who he was, who he is, and his desire to show how African Americans still face similar challenges as people of color in the past. Kanye alludes to bigger issues than just voice or sound by tackling the controversial concepts of race and violence, while simultaneously turning it into a popular rap song.

“Strange Fruit” caused a national outcry. In the wake of this song began one of the first cultural rebellions against lynching in our nation. Without the presence of this iconic song, it is unclear how many more tragic deaths among people of color would have occurred. Nina Simone’s rendering of the song initially starts off with her raspy voice singing the haunting words of Abel Meeropol. She begins by specifically mentioning the “southern trees” and this “strange fruit,” which serves as an extended metaphor throughout the piece: “Southern trees bear strange fruit” (Awka). Simone goes on to discuss the blood on the leaves and graphically depicts dead bodies suspended from tree branches: “Black bodies swinging in the southern breeze” (Awka). The song becomes increasingly graphic and emotional when it describes the mangled bodies acting as fresh meat for the birds to pluck: “The bulging eyes and the twisted mouth/Scent of magnolias, sweet and fresh/Then the sudden smell of burning flesh/Here is fruit for the crows to pluck” (Awka). This powerful language flows from Simone’s tongue in an incredibly haunting and morbid manner. This deeply resonates with the listener and allows us to feel the harrowing pain of Simone as she sings. With Meeropol’s revolutionary song, wider audiences were able to experience a minute fraction of the grief that African Americans felt during this period of lynching.

In his pop song “Blood on the Leaves,” Kanye West creates a unique blend of ideas with his use of both sampling and original soundtracks. He not only presents to the public a catchy and “ hip” song, but also addresses deeper cultural issues pertaining to African Americans. While he distinctly alters the way in which the original song, “Strange Fruit” is presented, Kanye maintains much of the underlying meaning in his rendition. While lynching is no longer a widespread problem in the United States, Kanye compares the constant scrutiny of black celebrities in modern America to lynching in 19th and 20th centuries. Although they are not exactly the same by any means, Kanye draws many reasonable parallels between the two situations.

Kanye’s song “Blood on the Leaves” addresses both the press and his audience with regard to how he believes that everybody in the world seems to be against him. Splicing in Simone’s voice at the beginning of the song–and intermittently throughout–seems controversial at first. West is referencing a historically rich song about the graphic lynching of African Americans while he sings about women and drugs. When first hearing the lyrics, I thought West’s use of “Strange Fruit” in his song was incredibly inappropriate; but as I reflected on the words and researched the song, I began to understand where he was coming from. West states that: “All want somethin’ out me/Then they talk about me” (West). He implies that everyone is out to get him and exploit him because of his fame. West sings about how he sometimes feels alone in the world because his popularity has cost him important relationships in his life. He feels overexposed and scrutinized by the public: “We could’ve been somebody/Thought you’d be different ’bout it/Now I know you not it” (West). He references this relationship with a woman whom he thought was “the one,” but then quickly realizes this was not the case because she rapidly changed when Kanye became famous. One comparative analysis on “Strange Fruit” and “Blood on the Leaves” even recognizes that: “The limelight makes it easy to lose your identity and almost impossible to maintain a healthy relationship, and this is where his loneliness comes from” (Colvin). This is akin to the metaphorical version of modern-day lynching: black celebrities are heavily scrutinized and criticized by the press, almost as if they are being “judged and hung” by the surrounding white masses, drawing parallels to American history.

The context in which Kanye samples Nina Simone’s voice in “Blood on the Leaves” has incited major public criticism. However, while Kanye does sing about drugs, abortions, and women in an offensive manner, he also conceals deeper meanings in his work that is missed by much of his audience. I myself was unaware of the cultural context rooted within the song until I completed thorough research. Now I recognize how this is a clear demonstration of the sonic color line that Jennifer Lynn Stoever discusses in her book, The Sonic Color Line. Here, Stoever explains how ideas related to white supremacy and racism are not simply a visual practice, but an audible one as well. According to Stoever, the sonic color line is not visible or audible until someone who is not “allowed’ to cross this line-does. Prior to my effort to better understand West’s music I considered myself to be as ignorant as some of the people that Stoever mentions in The Sonic Color Line: “The inaudibility of whiteness stems from its considerably wider palette of representation and the belief that white representations stand in for ‘people’ in general, rather than ‘white people’ in particular” (Stoever 12). I naively assumed that what Kanye was saying was offensive towards a racial community that I am not even apart of. I generalized my personal views (a white person) and inflicted it onto everyone else. According to Stoever, “That right there, the fact that [I] and so many white people have this same ‘black voice’ in [our] heads, is the sonic color line” (Stoever 8). This invisibility of privilege and assertion of white dominance is what many of West’s viewers are employing when they scrutinize his work.

Another reason why West is judged so harshly is because much of what he says is controversial. Kanye has this enormous God complex and views his own opinion as the only opinion. Though he is hyper aware of himself as a black man in popular culture, he has done and said some incredibly impulsive things that have shocked and offended his fans. However, this very idea of the transgressions of voice shows that we as a culture have preconceived notions of what we think is appropriate and acceptable. In our society today, African Americans still face higher rates of incarceration, gang violence, poverty, unemployment, and police brutality (Breeze). West sings about these issues in his Yeezus album and desperately wants to help change them through his musical platform. Kanye takes this chilling song and turns it into something that many modern day people can comprehend: “The song takes something from the slave and oppression era and transposes it in a contemporary setting” (Colvin). By taking “Strange Fruit,” this extraordinarily powerful song, and transferring it a relevant platform, Kanye allows his audience members–who take the time to dig deep enough–the privilege of understanding the harrowing things that the black community still deals with to this day.

Without Kanye’s god complex and artistic risks this wouldn’t be possible. Kanye masterfully took a piece that previously made such a vast cultural impact and turned it into a relevant and modern phenomenon: “…having that Nina Simone sample up front that would bring everyone in, using postmodern creativity where you kind of lean on something that people are familiar with and comfortable with to get their attention.” (McQueen) Nonetheless, many people still do not agree with the artistic feats that West chose to utilize in his songs, especially “Blood on the Leaves,” however those who are most offended don’t seem be putting in enough effort to understand the perspective that Kanye is coming from. According to a 2013 interview that West gave about his Yeezus album, he states, “It’s very important to me that [my lyrics are] completely in sync with what’s happening in society at that time—that they’re very timeless, but very up to date …” (McQueen). Kanye is determined to make his songs relevant to society today, even if that means sparking controversy in the process.

Although his sampling of “Strange Fruit” was seen as “inappropriate” by many, these people have a different understanding of the song than Kanye himself. I had this very dilemma when first hearing his music, but digging more into West’s main purpose for creating his album has helped be better understand his message. At first glance, “Blood on the Leaves” seems like another rap song about women, drugs, and sex with the inappropriate addition of a historical musical landmark. However, if one takes the time to attempt to understand West’s perspective and goal to expose and correct current issues in the African American community, a whole other side of his music is revealed.

Works Cited

Breeze. “The 10 Most Pressing Issues Facing 21st Century African Americans.” Americans Perspective, 20 Aug. 2015, americansperspective.com/the-10-most- pressing-issues-facing-21st-century-african-americans/.

Colvin, Jessica. “Comparative Analysis of ‘Strange Fruit’ and ‘Blood on the Leaves.’” Medium, Medium, 11 July 2017, medium.com/@jessica.colvin10/comparative- analysis-of-strange-fruit-and-blood-on-the-leaves-9ac2855d3e5c.

Awka, Dan, director. Nina Simone-Strange Fruit. YouTube, YouTube, 20 Jan. 2014, www.youtube.com/watch?v=BnuEMdUUrZQ.

McQueen, Steve. “Kanye West.” Interview Magazine, Interview Magazine, 28 Jan. 2014, www.interviewmagazine.com/music/kanye-west#_.

Meeropol, Abel. “Billie Holiday – Strange Fruit.” Genius, genius.com/Billie-holiday- strange-fruit-lyrics.

Stoever, Jennifer Lynn. The Sonic Color Line: Race and the Cultural Politics of Listening. New York University Press, 2016.

West, Kanye, director. Blood on the Leaves. YouTube, YouTube, 8 Feb. 2017, www.youtube.com/watch?v=nn0Pu2Qun-E.