{"id":1263,"date":"2019-03-22T16:59:23","date_gmt":"2019-03-22T16:59:23","guid":{"rendered":"http:\/\/www.wri-101k-s19.andrewrippeon.com\/blog\/?p=1263"},"modified":"2019-03-22T17:01:22","modified_gmt":"2019-03-22T17:01:22","slug":"truth-outside-of-reality","status":"publish","type":"post","link":"https:\/\/www.wri-101k-s19.andrewrippeon.com\/blog\/writing-project-2\/truth-outside-of-reality\/","title":{"rendered":"Truth Outside of Reality"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\">\u201cYou&#8217;ve got a song you&#8217;re singing from your gut, you want that audience to feel it in their gut. And you&#8217;ve got to make them think that you&#8217;re one of them sitting out there with them too. They&#8217;ve got to be able to relate to what you&#8217;re doing.&#8221; Johnny Cash\u2019s words on artistic integrity and authenticity regard music as a means to relate to others. Even when Johnny Cash sings about fictional events, he upholds this principle. Murder ballads, for example, are a genre of music that detail killings, and are most times sung from the perspective of the murderer. Often, the subject matter deals with vengeance for infidelity or unrequited love. A song that is archetypal of this genre is Johnny Cash\u2019s rendition of <em>Banks of the Ohio.<\/em><em> <\/em>The slow and rhythmic style is similar to folk music, and the song begins, as most in this genre do, as a song of longing for love, as the chorus of the song is:<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In no others arms entwined.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cAnd only say that you&#8217;ll be mine<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Down beside where the waters flow<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Down by the banks of the Ohio.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Johnny Cash - Banks Of The Ohio\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/GmwLUhejboo?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Other modes of media, such as scary stories use multiple sensory stimuli to provoke fear, using both vocal intonations and physical expressions to add suspense and shock. Other songs describing violent acts or murder such as death metal vocals use growling and screaming tones and frightening instrumental composition to create a uniform piece of dark, violent entertainment. Contrast the above murder ballad with $uicideboy$&#8217;s <em>Carrollton<\/em>, another a song exploring violence, in which the overall sound reflects the subject matter. The explicit lyrics, thumping bass, and violent pitch of the artists&#8217; voices function to disconcert the listener. $uicideboy$  are remarkable manipulators of the aesthetic relationship between lyrics and composition.<\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Carrollton\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/AOlVSngnC-o?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">When contrasted with <em>Carrollton <\/em>Johnny Cash&#8217;s <em>Banks of the Ohio<\/em>, does not strongly indicate the disturbing story being told apart from the lyrics. Murder ballads create sinister narratives without manipulating the musical notes or the artist\u2019s vocal tone. While genres such as death metal and horrorcore reflect the lyrical meaning in the sound of the song, in murder ballads, the lyrics do all the work of telling the story. Murder ballads are soulfully performed in the same way as other songs, but do not employ dramatic expression as a performative element. Murder ballad artists are not necessarily drawing from true, first-hand experiences with murder, but are instead taking on roles and acting as performers. The artist\u2019s voice and instrumental accompaniment translate a fictional narrative into an engrossing and tragic piece of art, devoid of grand performative flourishes and frightful musical arrangement. The compelling, narrative nature of the songs gives them value and authenticity, regardless of whether they are based in experiences in reality. Our ideas of authenticity are subverted; the distance grows between what is real, and what is true. Truth, or authenticity, can be achieved through the soul and emotion present in a piece of work. Poet Danez Smith treads this line expertly as they compose pieces surrounding their identity. Conceptually, performance seems to imply an act, but Smith is able to use performing as a means to authentically express their identity through the use of theatrical displays and passion in their voice. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Performative work allows the listener to engage with the experiences of the performer. Poetry is often considered a very personal and introspective art form and is therefore many times questioned regarding its authenticity. Poetry seeks to evoke feelings and engage readers through prose. One aspect of written poetry that seemingly cannot be repeated in spoken verse is the ability the reader has to connect or associate with the emotions, experiences, and memories evoked through literary prose or word choice. For example, in Danez Smith\u2019s poem <em>Self-Portrait as a 90s R&amp;B Video<\/em>, the long, rambling sentences and lack of capitalization convey the broader meaning behind the piece. Their detailed, twisting fantasy is full of rage, lust, and jealousy, but is also a vision of perfection. The imagery and prose create Smith\u2019s new world. Author and critic Dan Chiasson claims that Danez Smith\u2019s written poetry \u201cforces you, the reader, to say aloud, to embody, the words, while leaving a gap for the inevitable differences of race or gender identity, of illness and health, that might sometimes seem unbridgeable\u201d. However, I would argue that written poetry allows the reader to bring their individual experiences or identities to the work, rather than reading the poem strictly from Smith\u2019s perspective. This poem is not read the same way by a black, genderqueer HIV-positive individual such as Smith as it would be for a straight white individual. Internalized privilege, bias, and experience create latitude for how the reader reads the piece, whether the reader wishes be totally enveloped in the poem, recall their own experiences or familiar aspects of the poem, or read as a detached observer. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, Smith chooses to present this work through spoken verse. Here, Smith is enabled to set the scene on their own terms. Through vocalized poetry and Smith\u2019s choice of emphasis, tone, volume, and expression, the reader is afforded a glimpse into Smith\u2019s personal identity and motivation behind the poem. When Danez Smith is the reader, the listeners understand that the poem is about Smith\u2019s experience, taking in the poem and applying it to themselves. This is is prone to happen when written poetry is detached from its author. Though it is a recollection of personal experiences and a manifestation of personal feelings and insecurities, Smith\u2019s work is intentional, dramatic, and performative, as they display their identity to the viewer through differing vocal modes, dramatic expressions, and flourishes. This is an attempt for the viewers to try and glean some knowledge of the identity of a person who may come from a wildly different background. When Danez Smith chooses to perform their work, it is deeply authentic not only to their own identity but to the audience as well. The crowd does not make the performance less personal. The audience is invited to understand a part of their story, so Smith\u2019s poetry clearly demonstrates how poetry can be a form of authentic, performative education through artistic expression. Danez Smith chooses different inflections, gestures, and emotional emphases dependent on their poems, but their recital of poetry reflects the performative nature of their work, retaining the aspects that give it authenticity throughout. Regarding the audience, Smith asserts, \u201cI never want them to feel the same at the beginning of a poem as they do at the end\u201d. The goal is to sway the reader and to evoke feelings in them. It is understandable, then, that Smith would use theatrical performance to draw the audience in.<\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Danez Smith - Self Portrait as a 90s R&amp;B Video\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/tOE7O9pkczY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"> Smith takes a different approach to performing the poem<em> Undetectable<\/em>. The only available mode of listening to Smith recite this poem is through a vocal recording. <em>Undetectable<\/em> uses symbolic imagery and attention-grabbing statements to explore the individual and societal consequences of Smith\u2019s HIV-positive status. In this poem, Smith is speaking about their undetectable HIV, which is when the bloodstream is almost completely ridden of the virus but still contains trace amounts. Danez Smith recites the poem in an uncharacteristically non-dramatic way. They do not emphasize the powerful, dramatic lines, such as the consideration of a murdered boy who &nbsp;\u201cmakes the whole forest a grave.\u201d The meaning of the poem is undetectable in the way it is performed, echoing the \u201cundetectable\u201d nature of the virus. However, these lines that Smith practically whispers are laden with passion, emotion, and spirit. The poem sounds somber and subdued, but certainly not uninspired, and rather than being prosaic, the poem is deeply personal. Similar to the murder ballads, this authenticity stems from the way it is performed, and not from dramatic reading. Reading this poem, all sorts of emotions could be interpreted from the descriptive imagery. Listening to Smith read this poem, however, the reader can experience the poem the way the author intended it to be experienced. Even when stripped of dramatism in the voice and physical expression, the poem is still deeply authentic. That authenticity makes the poem vibrant, and that vibrancy lends itself to the performativity of the poem. In Danez Smith\u2019s work, there is a reciprocal relationship between performativity and authenticity. <em>Self-Portrait as a 90s R&amp;B Video<\/em> shows how Smith uses dramatic, performative flourishes to exhibit authenticity and genuine feeling in the poem, while <em>Undetectable<\/em> exhibits Smith\u2019s ability to draw on aspects of their identity to create an authentic, engaging performance.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">While Danez Smith\u2019s work tends to be reflective of their identity, not all work requires experiential authenticity, only authentic feeling in the performance. This is the way in which poetry ought to be approached. In class, we set time discussing the unfortunate phenomenon of poet\u2019s voice, and its relationship with sincerity in poetry. Poet\u2019s voice, referred to by Cara Giamo as a \u201csonic uniform\u201d donned by poets, is a facade of traditional artistry masking an insincere cultural norm. Poet\u2019s voice is monotonous, with a distinctive, halting cadence and pattern, and an emotionless, lofty way of reciting poetry. Danez Smith\u2019s style of reading poetry defies this artistic standard. Through genuine and powerful expression, Smith is able to attain truthfulness in fiction, and performativity in simplicity. Smith\u2019s focus on passion and expression highlight a way in which performance can be transformed into personal introspection and exploration. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Works Cited: <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Barker, Emily. <em>The Wise Words Of Johnny Cash. nme.com, <\/em><a href=\"https:\/\/www.nme.com\/photos\/the-wise-words-of-johnny-cash-1428023\">https:\/\/www.nme.com\/photos\/the-wise-words-of-johnny-cash-1428023<\/a>. Accessed 20 March, 2019.<br><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Rick Rubin. <em>Banks of the Ohio, Johnny Cash<\/em><em>. Genius, <\/em><a href=\"https:\/\/genius.com\/Johnny-cash-banks-of-the-ohio-lyrics\">https:\/\/genius.com\/Johnny-cash-banks-of-the-ohio-lyrics<\/a>. Accessed 1 March, 2019. <br><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">User ricdmt101. <em>Johnny Cash &#8211; Banks of the Ohio. YouTube, <\/em><a href=\"https:\/\/www.youtube.com\/watch?v=GmwLUhejboo\">https:\/\/www.youtube.com\/watch?v=GmwLUhejboo<\/a>. Accessed 28 Feb., 2019.<a href=\"https:\/\/www.youtube.com\/channel\/UCU5AbNuMPGB491GcqXuzwKw\"><br><\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em> <\/em>G*59 Records. <em>Carrollton. YouTube,               <\/em><a href=\"https:\/\/www.youtube.com\/watch?v=AOlVSngnC-o\/\">https:\/\/www.youtube.com\/watch?v=AOlVSngnC-o\/<\/a>. Accessed March 18, 2019.<br><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Button Poetry.<em> Danez Smith &#8211; Self-Portrait as a 90s R&amp;B Video. YouTube, <\/em><a href=\"https:\/\/www.youtube.com\/watch?v=tOE7O9pkczY\">https:\/\/www.youtube.com\/watch?v=tOE7O9pkczY<\/a>. Accessed 22 Feb., 2019<br><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Smith, Danez. <em>DARK CHILD NAH NAH (OR SELF-PORTRAIT AS 90S R&amp;B VIDEO). The Adroit Journal,<\/em> <a href=\"https:\/\/theadroitjournal.org\/issue-nineteen-danez-smith-the-adroit-journal\/\">https:\/\/theadroitjournal.org\/issue-nineteen-danez-smith-the-adroit-journal\/<\/a>. Accessed 1 March, 2019.<br><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Chiasson, Dan.<em> Danez Smith\u2019s Ecstatic Body Language. The New Yorker, <\/em><a href=\"https:\/\/www.newyorker.com\/magazine\/2017\/10\/02\/danez-smiths-ecstatic-body-language\">https:\/\/www.newyorker.com\/magazine\/2017\/10\/02\/danez-smiths-ecstatic-body-language<\/a>. Accessed 10 March, 2019.<br><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Staff, Harriet. The White Review <em>Interviews Danez Smith<\/em><em>. poetryfoundation.org, <\/em><a href=\"https:\/\/www.poetryfoundation.org\/harriet\/2018\/06\/the-white-review-interviews-danez-smith\">https:\/\/www.poetryfoundation.org\/harriet\/2018\/06\/the-white-review-interviews-danez-smith<\/a>. Accessed 12 March, 2019.<br><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Smith, Danez. \u201c<em>Undetectable\u201d. The New Yorker, <\/em><a href=\"https:\/\/www.newyorker.com\/magazine\/2018\/10\/08\/undetectable\">https:\/\/www.newyorker.com\/magazine\/2018\/10\/08\/undetectable<\/a>. Accessed 22 Feb., 2019. <br><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Giamo, Cara. <em>An Algorithmic Investigation of the Highfalutin \u2018Poet Voice\u2019. Atlas Obscura, <\/em><a href=\"https:\/\/www.atlasobscura.com\/articles\/cultural-analysis-poet-voice\">https:\/\/www.atlasobscura.com\/articles\/cultural-analysis-poet-voice<\/a>. Accessed 22 Feb., 2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u201cYou&#8217;ve got a song you&#8217;re singing from your gut, you want that audience to feel it in their gut. And you&#8217;ve got to make them think that you&#8217;re one of them sitting out there with them too. They&#8217;ve got to be able to relate to what you&#8217;re doing.&#8221; Johnny Cash\u2019s words on artistic integrity and [&hellip;]<\/p>\n","protected":false},"author":51,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[28],"tags":[],"class_list":["post-1263","post","type-post","status-publish","format-standard","category-writing-project-2","entry"],"_links":{"self":[{"href":"https:\/\/www.wri-101k-s19.andrewrippeon.com\/blog\/wp-json\/wp\/v2\/posts\/1263","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.wri-101k-s19.andrewrippeon.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.wri-101k-s19.andrewrippeon.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.wri-101k-s19.andrewrippeon.com\/blog\/wp-json\/wp\/v2\/users\/51"}],"replies":[{"embeddable":true,"href":"https:\/\/www.wri-101k-s19.andrewrippeon.com\/blog\/wp-json\/wp\/v2\/comments?post=1263"}],"version-history":[{"count":9,"href":"https:\/\/www.wri-101k-s19.andrewrippeon.com\/blog\/wp-json\/wp\/v2\/posts\/1263\/revisions"}],"predecessor-version":[{"id":1285,"href":"https:\/\/www.wri-101k-s19.andrewrippeon.com\/blog\/wp-json\/wp\/v2\/posts\/1263\/revisions\/1285"}],"wp:attachment":[{"href":"https:\/\/www.wri-101k-s19.andrewrippeon.com\/blog\/wp-json\/wp\/v2\/media?parent=1263"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.wri-101k-s19.andrewrippeon.com\/blog\/wp-json\/wp\/v2\/categories?post=1263"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.wri-101k-s19.andrewrippeon.com\/blog\/wp-json\/wp\/v2\/tags?post=1263"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}