Michael Jackson's Impact on the World: Advocating Change through the Arts

Michael Jackson's Impact on the World: Advocating Change through the Arts

"If you want to make the world a better place, take a look at yourself, then make a change"

by: Brad Weisberg, B.A. Sociology

Prelude: This blog is based on one of the assignments I had to for one of my courses at UNC. Enjoy!

The Ultimate Package

As discussed earlier in the semester, all of the elements mentioned above (wardrobe, dance, vocal, poetic and perfomative choices) all are a part of the complex image that Michael Jackson produced for himself an as artist.

After thoroughly evaluating Jackson’s sense of music, dance, dress and performative actions, I would identify his style as “individualistic” and as a “humanitarian artist”. One of the most interesting things about Jackson is his spontaneity. He was such a versatile individual. He was talented at so many different things and could carry his tune in any genre of music (excluding country). Behind his creative lyrics and glowing costumes, there was a strong message or messages for that matter. Like Jackson, Lady Gaga has carried his legacy with her songs and image that is reflective of the original identity that Jackson created for himself. Songs such as "Black and White" narrowed the racial barriers that existed between Whites and Blacks and taught people that diversity is a beautiful thing.

Besides providing courage and inspiration to our society, Jackson created music that promoted community involvement, social justice and global relief. As an elementary student, my favorite song to sing in chorus was "Heal the World", probably one of the greatest examples of how Jackson was a true humanitarian and used his music to convey his ideas and encourage others to do the same. A perfect example of how Jackson's humanitarianism has influenced modern society would have to be the Haiti relief. In order to provide relief and raise money for the earthquake in Haiti, 25 of the most popular vocal artists (ranging from Justin Bieber to Barbara Streisand) united as one and re-recorded Michael Jackson's "We Are The World".

Taking A Look in His Mirror

After watching “This Is It” and reading other people’s view on Michael Jackson as both an artist and individual, I would have to say that Michael Jackson does not identify as a simple individual. From his song “Black or White”, one can infer that Jackson does not assign a race to himself. He did not believe that one’s race, gender, sexual preference, age, etc. really was a true indicator of one’s identity``.

Looking at Michael’s life, I do not think he identified with any one generation. For example, his estate Never-Land Ranch was a fantasy- land, with rides, a candy shop and other magical elements. It was not hard to see that Jackson was intellectually developed and mature in the way he thought (just look at the complex meanings of his songs), though Jackson was also a kid at heart who never wanted to leave his childhood. Apart from his detachment from racial and age identity, Jackson saw beauty in everyone and his songs were reflective of his open-minded and non-judgmental personality.

Another vital element of Jackson was his connection to humanity and the earth. As mentioned by many in their posts (and myself), Jackson’s involvement in his life as an artist extended beyond the studio and sold out stadiums. Songs such as “Heal The World” expressed the inspiration, hope and notion for change that Jackson exercised through his music and collective actions. He was a true humanitarian and this was not just done through his music, but through his daily actions. For example, in his video for “Heal The World”, as stated by one of the students in the class, “The clothes he, and his crew, were going to wear during the “This Is It” concerts were made from materials all across the globe, and the people designing the clothes were also from different parts of the world. He did not have just one company make all of the clothes for his concert” (Alan Karnofsky). His use of materials from all over the world incorporates his beliefs of equality.

Total Involvement in His Art

Although this medium is not tangible, Jackson’s hands-on involvement in his career as an artist was incredibly intriguing to me. Throughout the film, it depicts Jackson as this super dedicated and perfectionist individual. Since it’s been a while since I watched film, I cannot recall what segment of the movie it was, but there was a scene when he was rehearsing for a performance and kept going over the choreography for the song until it was flawless. Though it was not touched upon as much in the film, when compared to other popular artists, Jackson wrote MANY of his songs. His connection to the words was deeper and meaningful, since his songs were genuine and an accurate reflection of Jackson’s values and beliefs.

This nonmusical medium matters because it further illustrates the passion and authenticity that Jackson expressed through his music and artistic image. He was very involved in all aspects of his career, while still leading a normal life with a family. Today we do not many if ANY artists that are as involved as much Jackson was in all areas of his career, all more a reason that he truly is the “King of Pop”.

Motives for "This Is It"

This question is really hard to grasp for me for some reason, so I’ll try to answer it in the best way that I can. Again this product is not graspable and my response is connected to my next answer, but I think that one of the motives behind the production of “This Is It” was for the public to consume the truth and overall good” that Jackson brought to society, through his music, civic engagement, and relationship with the public.

During his later life, the media was always portraying Jackson as a bad influence on society. From dangling his baby over the balcony to the Neverland Ranch scandals, Jackson was constantly being shone in a negative light. I think the film focuses on Jackson as a colossal for humankind. Not only was he super talented, but also he was extremely involved and concerned with doing well for society. “This Is It” depicts that side of Jackson and glorifies Jackson as an exceptional individual, not just an artist. All of these views are reinforced throughout “This Is It” for the public eye to get a real and authentic view of Jackson as an artist and individual.

The Public and Corporate Connection to Michael Jackson

Watching the film, it is not hard to see that many of the people who are involved in the production and backstage work of Michael’s life are die hard fans. Throughout the film, one can see the deep bonds that Jackson builds with producers, dancers, costume artists, makeup artists and all other figures that have been involved with Michael Jackson in one way or another. At many scenes in “This Is It”, he refers to his entourage as “his family”.

All of those individuals that were involved in his life have nothing but the highest honors to say about Michael Jackson. He was just celebrated as a monumental artist, but as a highly special human being. They all spoke highly and had utmost respect for him.

Personally, Michael Jackson has always been one of my favorite musicians. His music was revolutionary and forever changed the sound of pop music. I’m not just a fan of his music, but I admire him for all of the challenges that he had to overcome with family troubles and bad publicity. Being a star is not an easy task; famous people suffer from a double standard, similar to women. If a star gets caught cheating on his wife, it becomes national news, whereas no one knows about your personal business and your not chastised for your poor decisions. I think this film reinforces the power and beauty that Jackson instilled into humanity through his music and engagement with his fans and on a wider-scale, the world. The film glorifies Jackson as the superstar he was, while still embracing the humanitarian side of Jackson.

While watching “This Is It”, I found that someone was pulling at my heartstrings and at points, I found myself tearing a little. I think that for a film or documentary to be effective, it must force the viewer to realize the strong meaning and thought behind the imagery, words and other aspects of the production.

During the “Heal the World” rehearsal, I started balling in tears. The combination of the visual imagery, the sound and texture of Jackson’s voice, and the words of the song just made me really think about the world and how Jackson really forces listeners to think and make CHANGE. From the little girl on the stage to the backdrop of the rainforest, it just really triggered something in me that made me feel responsible for the world and how it is my job as a human being to make it a better place.

Setting New Standards for the 21st Century

There is no argument that Michael Jackson was indeed a progressive artist. While holding onto his views and beliefs, he was still adapting to the changing parts of society, such as technology. The film really does show us the amount of pyrotechnics, clarity of sound (use of ultra high tech sound systems). Apart from the film, the biggest digital innovation that comes to mind in regards to Jackson was his music video for his song “Scream”. For years, it was the most expensive music video to ever be made the level of technology and digital art involved in the production of it is astonishing. Watching the video, I feel like we’re heading into a spaceship and diving first into a world controlled by robots and complex apparatuses.

I think Michael’s use of digitized media is a perfect barometer for how Jackson was an artist who was always taking it to the next level. Before his “Thriller” video, there was not advanced production. With the influence of Jackson, artists have become a lot more artistic with their music, in the way that music videos have become sensualized. Watching a music video today feeds on our senses and is highly realistic. His connectedness to the changing technological structure really shows his dedication that he had for his fans; adapting to new structures to uphold his fan base and really give the public what they wanted.

The Folk Rock Revival

The Folk Rock Revival

Introduction

Folk music, a genre of music that combines the style of folk music and rock music, became popularized in the mid-1960s. The political and social setting marked its origination. The urban folk groups, rising folk-protest singer -songwriters, and the revival of North American rock were influential in the popularization of folk rock music. Celebrated musicians such as The Byrds and Bob Dylan, Simon and Garfunkel, and The Beatles set an image for folk rock of the 1960s. Folk rock is recognizable through its’ acoustic instrumentation and clear, thought provoking vocals. The hybridization of folk music and rock music created a pathway that set mainstream rock apart from folk rock.

Using Acoustics to Express Social and Political Beliefs

The Folk Rock revival was led by indifferent, white teenagers who used music to exercise their political beliefs on groundbreaking historical events. Events such as the Civil Rights movement and the draft for the Vietnam War troubled teenagers who were just beginning their lives. One of the elements that make folk rock distinguishable from other form of rock music is the incorporation of social and political issues with the utilization of acoustic and light brass instrumentation.

Artists such as Bob Dylan, Paul Simon and Art Garfunkel and Creedence Clearwater Revival embellish the attributes of iconic folk rock legends. Listening to Bob Dylan’s “The Times They Are A Changing”, one can hear the politically rooted messages that Dylan sings about. Ethnographers and historians of music have claimed that it is a prime example of the protest chants that folk rock artists created in the 1960s. In an interview with Cameron Crowe, a former editor of Rolling Stone magazine, Dylan discloses his purpose for writing “The Times They Are A Changing”. Dylan states,

This was definitely a song with a purpose. It was influenced of course by the Irish and Scottish ballads […]. I wanted to write a big song, with short concise verses that piled up on each other in hypnotic way. The Civil Rights movement and the folk music movement were pretty close for a while and allied together at that time.

Soft-Seriousness in the Artist’s Vocals

Besides the political narrative aesthetic, folk rock music also exhibits an aesthetic that I’m going to term soft-serious vocals. When listening to the music of Dylan and his colleagues of the folk rock genre, one can simply understand the lyrics. These vocalists sang in a soft tone with a serious texture. Unlike artists of other rock movements who relied on yelling and violent vocal delivery, folk rock musicians sang with a real authentic voice. For example, listening to Simon and Garfunkel’s “America”, one could feel the emotions of Paul Simon. These artists were singing about real issues that effected their lives and listeners could both feel and relate to it.

It’s Our Generation: Folk Rock of the 21^st Century

In modern popular culture, folk rock music is still very alive. Though, the changes in technology, American ideologies, and other factors have opened doors for a new emergence. Some of my favorite musicians today are apart of the modern day folk rock generation. John Mayer, an American singer-songwriter, is best known for his lyrics that combines social, political and cultural issues with his unique acoustic sound. Songs such as “Waiting On The World To Change” are reflective of Dylan’s “The Times They Are A Changing” and CCR’s “Have You Ever Seen The Rain”, highlighted by their vigorous social and political challenging messages.

Though as technology and personal taste are changing, folk rock music has been evolving in certain ways. One of the changes that I have seen taking place is the collaboration with other artists from neighboring musical genres. At its peak in the 1960s, folk rock musicians did not collaborate with other artists, not even artists who produced the same image and messages. Living in a more progressive and liberal society, it is not uncommon to see artists such as John Mayer and Jason Mraz co-produce songs with other artists, such as female vocalist Colbie Caillat or rap artist Kanye West. These collaborations are indicative of the changing social conditions that Americans have witnessed in the past fifty years, such as the illegalization of racial and gender discrimination. Also, I can see the utilization of robotic modules of production. For example, techno elements that were popular in European disco music are gaining strength in popular music. I could see artists like Mayer and Jack Johnson using auto-tune and incorporating stimulating, electrical sounds into some of their more mainstream music, in order to hold onto their dynamic audiences.

Lesbian Awareness and Women's Independence through Performance

Lesbian Awareness and Women’s Independence through Performance

by: Brad Weisberg

Introduction

Female artists have been evaporating out of the music industry for many years. Though, Madonna has remained an iconic artist in the music industry for the past thirty years. She has managed to adapt her original vocal style to fit the demands of the 21^st century. In my personal opinion, Madonna is one of the most talented female musicians that has had the opportunity to perform all over the world and set an image for other aspiring artists to follow. Musicians such as the ones that can be seen in the 2003 MTV performance of “Like A Virgin”/ “Hollywood”/ “Work It”, such as Britney Spears, Missy Elliot, and Christina Aguilera have idolized Madonna. Her work has inspired each of them to pursue their dreams, as well as other artists, such as the modern day equivalent of Madonna, Lady Gaga.

At the 2003 MTV Video Music Awards, Britney Spears performed Madonna’s risqué and top hit of the 1980s, “Like A Virgin”. Her reenactment was similar to Madonna’s 1993 VMA performance of “Like A Virgin”. Though, the content and choreography was slightly adjusted to account for the changing social structure. In the 1980s, women were not as independent and powerful, as they have been becoming in the last two decades. The performance highlights the changing power dynamic between men and women. By having three of the highest-grossing female singer on stage together, all of which are from different racial and social backgrounds, it is suggestive of the growing independence of all women.

Lesbian Commemoration and Women’s Independence Expressed Through Shocking VMA Performance

On a similar note, the element that marks this performance, as a breakthrough for the music industry is the kiss shared between Britney Spears and Madonna and Christinia Aguilera and Madonna. Prior to recent years, lesbian and gay relations were considered deviant and highly criticized by the media. Though our highly focused individualistic ideals and a growing tolerance has allowed the media to cross a gender-relation bridge. Performances and public appearances have opened a gateway for gay, lesbian and transgender awareness and promotion.

This performance left an imprint on society. For days and even months, it was the only thing, that pop culturists and entertainment reporters spoke about. Select sources remained neutral with their coverage of the event, while other media conglomerates like MSNBC referred to it as “Calculate Girl on Girl Shock Tactics from Madonna”. Both Christina Aguilera and Madonna have been priming the LGBQT rights movement, while Spears has not been shown in the media, fighting for the lesbian and gay rights. In an interview, Spears admitted that the kiss was a mere publicity stunt, in order for her to gain media attention and with hopes to improve her career.

Changing Gender Relations and Social Constructs from 1983-2003

In my opinion, I believe that this was a monumental move in each of these ladies career. By combining sexual appeal with social issue awareness, these three women were able to use their music and performance to express their beliefs and values. In Madonna’s performance of “Like A Virgin” at the 1984 MTV Video Music Awards, she is singing to a tall, slender male statue who is dressed in the stereotypical groom attire. Differently, in her appearance at the 2003 VMAs, Madonna, Spears and Aguilera are all singing to each other. They are all dressed in scanty, white dresses and moving their bodies in seductive ways. The distasteful movements are reflective of our hyper sexualized society and a right of passage for women, with their strides they’ve made with gaining power and independence. Through partaking in same-sex relations on the stage, Madonna, Aguilera and Spears are acknowledging that there is no longer a binary gender relationship structure. The presence of gay, lesbian and bisexual relationships has overcome hurdles and is becoming more common in today’s world.

Shortly after this performance, lesbian and gay relationships became more evident in the media and entertainment industry. Artists such as Katy Perry performed songs such as “I Kissed A Girl” which was expressive of same-sex relationships and how they felt good, just like heterosexual couples. Also, it is important to realize the image that these ladies set for lesbians. Government publications and the media produce images of lesbian couples that present them as big, unattractive and masculine-like. Madonna and her followers changed that stereotype with their performance. There are plenty of beautiful, model-like women who practice same-sex relationships.

Not only has this performance encouraged others in the music industry, but has set a precedent for both television shows and movies. Television shows such as Glee and Pretty Little Liars feature cast members who are lesbians on the show and involved in lesbian relationships. Similarly, movies such as V for Vendetta and RENT highlight the lesbian relationships that are becoming normalized in society. Apart from lesbian relationships, these three women have shun a light for others woman to glow in. Talented artists such as Lady Gaga and Beyonce use their music as an avenue to embellish women’s independence and rise in social-status.

Putting It All Together

Over the years, female artists have gained a voice in the media and entertainment industry. Divas such as Madonna, Christina Aguilera, Britney Spears and Missy Elliot have utilized their music, in order to project their personal beliefs, values and moral judgments. The 2003 performance of “Like A Virgin”/ “Hollywood”/ “Work It” is a prime example of how female artists are using their talents and molded performances to show how they’ve evolved from subordinate and controlled individuals to independent and powerful beings. Evaluating their performance further, the audience can see how powerful women are using their music and live venues in order to fight social issues, such as gay and lesbian prejudice. The performance was a staple and has influenced other artists, television and movie producers, and thriving authors to use their talents to let their voices be heard.

Experiences Created by the Orchestra

Experiences Created by the Orchestra

The Boca Raton Philharmonic Symphonia is 95-100-member ensemble, which rehearses two times per week and performs many concerts each year. Last Wednesday night, the orchestra put on their “Sounds of Summer” concert, which featured compositions such as Schumann’s Symphony. I’ve never had the experience of witnessing an orchestra first-hand and thought that reaching outside of my comfort zone would maybe help me understand more about the components that influence the popularity and beauty of music. Orchestrated music has always been considered a high form of art, catered to a specific sector of the population. However, through the years it has evolved into an art that is now enjoyed by individuals other than just upper-middle class and upper class Caucasians. Though, orchestrated ensembles have managed to uphold to their original demands such as enforcement of proper mannerisms and the usage of a passive audience. Through the balancing of vital components, such as the concert’s setting, the audience, moderate commercialization, and light interactions between the audience and performers, orchestrated music has managed to hold onto its’ strong values and standpoints while at the same point broadening it’s market base, thus allowing individuals of different ages and backgrounds to partake in the experiences created by these art forms.

The audience at the Boca Raton Philharmonic Symphonia concert was a representation of the increasing fan-base for orchestrated music. There were two distinct groups marketed for the concert for this production, younger individuals and middle age and older citizens of Boca Raton and surrounding areas. Between both of these sectors, Caucasians made up the bulk of the audience. Since its’ birth, the orchestra has appealed to citizens of higher classes, primarily wealthy white people. However, it has progressed and now individuals of all social class and racial background can enjoy the beauty created by this form of music. Though, certain principalities have managed to live on such as proper expectations of the audience. From the moment I took my spot in line to the second I sat down in my seat I could not help but notice the audience’s attire. For the most part, the dress was very casual. Almost everyone was wearing either jeans or khaki-pants and respectable summer attire, such as an appropriate sweater vest or jacket. This aura of casualness made its’ way onto to the stage. All of the musicians performing were wearing the same black suit that helped attributed to the mood and overall experience of the orchestra.

Advertising and other forms of commercialization were not extremely heavy for this particular concert. Personally, I did not find out about the concert until a week beforehand through a close family friend. Ticket presales were not popular for the concert as was implied by the growing line outside of the building. The absence of mass marketing explains the reason for a small audience. Walking into the venue, it was not your typical entrance. There were no booths with merchandise, not even records were available for sale. The closest things to physical memories from the concert were the concert programs that were freshly, printed on plain computer paper. Besides word of mouth, information about the concert was only available to those who had a desire to know. The small amount of commercialization can infer that the exclusiveness of orchestrated and other higher art forms of music has managed to live on. Orchestras as well as classical forms of music are not appreciated by the masses. Since its’ pretentious beginnings, orchestrated music has managed to uphold a niche market while allowing a more diverse support group to live and appreciate the experiences created by the orchestra.

Roberts Theatre at Andrew Hall’s Center for the Performing Arts, a structure that was reminiscent of the colonial period, was the venue for the concert. The elaborateness and elegance attributed to the experience that orchestras and high forms of music were originally suppose to indict on audiences during the birth years of these sophisticated styles of music. The main concert hall had sparkling and shimmering chandeliers hanging from the ceiling that help connected the audience with the feeling of being dignitary and elite, the senses that orchestras originally provided for its’ higher based audience. The walls were painted a very neutral, creamy white color and setout by the gold encrusted lampposts that were spread throughout the hall. For $10, individuals could sit in the plush, royal blue seats and immersed themselves in a world of riches and beauty while listening to a distinguished orchestra, something only people of higher social classes could partake back in the earlier parts of the 20^th century. Inside the venue, the attendants contributed to this notion of wealth and power by preserving the expectations with their casual attire, mainly black pants and white button-downs.

As the curtains slowly opened, an orchestra comprised of individuals of all different ages and backgrounds appeared and began to create art. The stage was spread out and large which made it hard to physically see all of the musicians. This imperfection made it harder to establish a connection between the audience and performers. Looking around the concert hall, one could notice the mannerisms and behaviors displayed by the audience. To the left of me, was a female who was politely resting her eyes, whereas a few rows in front of me, sat a middle-age couple who appeared to be fully engaged by the various signs of heavy focus on the stage, such as their eye placement and light nodding of the head. At orchestras, the behavior patterns differ tremendously from other contemporary concerts. For the most part, the audience tends to be very polite and act in a passive manner. Behaviors, such as loud coughing and sneezing are frowned upon and rarely ever seen in these types of environments. The mannerisms displayed by the original viewers of these orchestras have lived on and audiences continue to fulfill these expectations.

At intermission, the interaction between the audience members was at a bottom. As I scanned the hall, I saw very few conversations taking place. The larger venue created a sense of cold emotions, as individuals were more prone to sitting in the silence than experiencing the moment with the person sitting next to him. Behind me, there were two middle age women who were holding a conversation and later joined by their friend. However, the girls to the left of me shared the same feeling of boredom and anticipation that I was having. Focusing on the stage, I saw very few musicians as they were backstage. However, there were a few of the performers that were speaking with people from the audience. The large venue and performing space made it harder for individuals to connect with one another as was displayed during this twenty -minute intermission. This relates to the interactions that originally took place at orchestras due to the relationships that the audience shared with another; being that all members were elite socialites, they mostly knew each other and separation of class was not an issue.

Examining the conduct of the audience during the second part of the performance, I began to notice a few outliers in terms of proper behavior. A few rows up, a middle-aged male was on his cellular phone, I presume checking his voicemail, as the audience clearly did not hear any speech come out of his mouth, as I did not hear any of the audience member’s reprimand him. As if that was not enough of a shock to the experience, another male member from the audience decided to get up and leave halfway thru the second portion. Both of these behaviors are highly frowned upon, as these individuals were not complying with the expectations that are expected by both the audience and musicians. Connection between the audience and musicians are harder to feel at concerts where musician do not use their voice to communicate with the audience. At times, members of the audience could be caught dosing off or whispering softly to the person sitting next to them. The lack of verbal and body communication made it harder to understand the messages that the musicians were trying to convey to the audience. The audience had to hold a focus to understand the messages that each piece was trying to convey.

Throughout the past hundred years, orchestras and other higher forms of art have undergone an evolution A form of art that was once only enjoyed by the world’s richest and most powerful individuals is now appreciated by many different types of individuals, who come from all different and social, ethnic and racial backgrounds. With that, these orchestras and similar variations of music have managed to withstand its’ exclusiveness through the moderate commercialization, preservation of original behaviors and mannerisms expected by the audience and performers, and providing an aura of royalty and beauty through place, costume, and interaction. The experiences felt at any contemporary concert are reflective of all these components and the fulfilling the commitment between the audience and performers.

Exercising Political and Social Belief Through Music: The Acoustic Genre

Exercising Political and Social Belief Through Music: The Acoustic Genre

by: Brad Weisberg, B.A. Sociology, UNC

Although acoustic music may sound soft, gentle and soothing at the surface, there is a deeper level of thought involved that one must decipher through the artist’s words. Artists such as John Mayer, Jack Johnson, and Ben Harper are a few of the talented and thought provoking of the acoustic genre. There is more to the music than the creative sounds of the instrument and the clarity of the musician’s vocals. All of these artists attract a wide range of individuals, but most of these individuals can connect to each other through a collective bond that is conjoined through political and social thought.

Listening to songs such as Mayer’s Waiting on the World To Change” and Johnson’s “Hopes”, one can realize that these songs are symbolic of inspiration and change. The general listener of John Mayer and Jack Johnson could be built on this socially constructed image. He is usually a free-spirited, relaxed teenager who participates in both adventurous and risky activity, such as surfing, speaking of politics in the open, and participates in the recreational usage of marijuana and other illegal substances, that are representative of one’s social freedom.

You may ask yourself, who is responsible for creating these images? The answer is not simple. It is a multi-faceted idea. There is not just one actor involved in building up the hype of any genre. Two of the most important sources in the process are the record industry and media outlets, such as MTV and VH1. The way in which they present an artist is crucial to his or her image, as both an individual and talent figure. Though, the public image that the artist creates for himself is vital for his identification with society and within the genre’s development. Being complex being, we are not all attracted to the same genres of music.

An artist and genre builds it following through the way in his he or she expressed his identity, which is done through verbal and visual apparatus. Followers of the genre will begin to emulate the thoughts, actions and style of their role models through their own creative practices. For example, people who view rap and hip-hop as the genre of music that they can relate to and/ or like the most, may begin to start writing rhymes and participating in rap battles in the community or take up break dancing. Also they may emulate their popular artists through the way they dress, communicate and socialize. In example, Lil’ Wayne has had a large impact on select youth’s verbal actions, with popular terms such as “like a lollipop” and “get money”.

For an artist to appeal to an audience, there has to be a common trait that both the artists and his audience share. This element is not always visible, it often requires heavy listening and serious comprehension. If you look at the following for the acoustic genre, you can see that it is diverse in many ways, but there are some common features. Artists relate with their fans through their music, symbolic representation in music videos, at concerts, and their social involvement. Artists such as John Mayer and Jack Johnson are storytellers, or as I like to term, have folk narrative aesthetic. They use their guitars to add to the depth and meaning of their mostly nonfictional accounts of their life. Watching “Waiting on the World To Change”, you can see John Mayer just walking down the street, sitting in a café, typical daily activities of common people.

These artists use their music to make their listeners and other audiences aware of the social and political problems. With the growing influence that technology has on society, it is not uncommon for teenagers not to pick up a newspaper. In “Waiting on the World To Change”, Mayer shares his opinion of the media and how he does not think it’s a credible source. His opinion infers that the media is a source of brainwash, they only tell you what they want you to know, which might not be the truth. Through relaying their views and opinions, artists such as Mayer, Harper and Jackson are not just entertaining their audience, but educating them. That is one of the most important aesthetics of acoustic music, making listeners more worldly and aware.

Waking Up From His Coma: Eminem's RECOVERY

Waking Up From His Coma: Eminem’s RECOVERY

by: Brad Weisberg

Background

Marshall Mathers, better known by his stage name EMINEM has traveled a challenging road to stardom. Mather’s was brought up in a broken home; his father ran away soon after his birth and his mother was a drug-addict who could not hold a single job. His mother and him were forced to move around, from low-income neighborhoods every few years. Being a lonely Caucasian boy forced him to survive in a society that was based on black culture and values. His disruptive upbringing was the fuel that ignited his powerful songwriting and inspiration to set a precedent for other troubled and at-risk individuals. As a lyrical artist, Eminem’s music was unique and diverse. His first album featured top-selling singles like “My Name Is”.

Though his early material is playful, most of his music was focused on his alter ego “Slim Shady”. As he began to dominate the hip-hop industry, his material was more powerful and authentic. His artistry as a genuine hip-hop artist emerged out of his second album, The Marshall Mathers LP. Songs such as “The Way I Am” and “Stan” introduced us to the troubled life of Marshall Mathers. His next albums, The Eminem Show and Encore, were a continuation of his real-life narratives. Though as he evolved into a hip-hop mogul, he felt powerless, which was evident in the negative turn he took. His songs were reflective of his original material, parodies about society and degrading for gays, lesbians, women and other groups that were targeted. On the verge of death in both reality and the music-industry, Mathers knew it was time for a change.

RECOVERY is a symbol of Eminem’s resurrection as both an artist and person. At the surface, it may seem that the album focuses on Eminem’s comeback, but it provides much more than that. It provides truth and hope for society; for Eminem’s supporters and the city of Detroit, an honest depiction that infers that everyone goes through hard times and we can overcome, but it requires being true to ourselves and self-motivation and determination.

From Death to RECOVERY

Prior to recording RECOVERY, Marshall lost one of his best friends and was still fighting the lingering emotions from his damaging relationships with both his ex-wife and his mother. Suffering from psychological and emotional scars, he turned to prescription drugs. His recreational hobby became life threatening, when he was just two-hours away from death after overdosing on Vicodin. Mather’s took action; he went to a drug rehabilitation center in hope of becoming sober. In an interview with Skyrocket, Eminem asserts that RECOVERY was a growing experience for him; a token of his salvation.

RECOVERY was a complete turn-around for the image Eminem created for himself as an individual and rap artist in his previous album, Relapse. It is an album based on the mental and physical rebirth of one of the world’s greatest hip-hop artists. In the same interview, Eminem speaks of how he knows his material in Relapse was satirical and a vocal image of society’s problems, such as racism and prejudices for gays, lesbians, and women. Eminem attributes his material on RECOVERY to the beats of producers such as DJ Khalil, Just Blaze and Boi-1DA, which invoked his emotions for writing heavy and powerful songs such as “I’m Not Afraid” and “Love the Way You Lie”. These beats encouraged Eminem to look back at his older material like “White America” and “Like Toy Soldiers”, which spoke about serious problems and challenges of society. “I’m Not Afraid” was a marker for Eminem fans and society, to see that no matter who you are, we are all faced by problems. His admittance of his problem was a symbol of his courage and strength as both a top-selling artist and common person. Steven Smith, a music and pop-culture expert says, “Show your fans that you have a problem like they do”. “Love the Way You Lie” sent a message that rung true to the claim that any relationship has problems, maybe not to the degree of Eminem’s tumultuous marriage, but there are challenges that individuals must solve.

Another interesting parallel that was pointed out in an interview was while Eminem was recovering, so was the city of Detroit, his geographical birthmark. Soon after his performance in Detorit in 2005, Eminem cancelled his European tour and entered rehab. At the same time, Detroit’s auto industry took a nosedive, leaving 40% of the population below the poverty line. His opening concert on September 4, 2010 at Comerica Park is a staple to the RECOVERY for both Eminem and the city of Detroit.

Supporters and Those in Opposition of EMINEM

Over the years, Eminem has held onto a large fan-base but has also dealt with tremendous criticisms by large activist groups. His artistic talent attracts a wide-scale of audiences, from high-schoolers to troubled individuals, who are experiencing personal struggles like drug addictions, unemployment and abusive relationships. Eminem’s powerful words and stories are weapons for those living in low-income neighborhoods to make a change.

Though some of his previous material was threatening and damaging to certain groups such as GLADD (The Gay and Lesbian Alliance Against Defamation) and feminist groups. These individuals feel that Eminem’s music is offensive and only further perpetuates problems and legitimizes prejudice for gays, lesbians, and other unconventional social-groups. In order to combat the lyrical styling of Eminem, protests were held outside of major venues like the VMAs. Eminem has realized that his attacks on select groups were unnecessary and his motives were not guided by his actual beliefs, but by other artists’ material. Nevertheless, he has backed away from his satirical rhymes on gays and women and focuses his music on his challenges.

On the road to RECOVERY

Eminem has utilized aesthetic practices such as “white-America freedom calls”, “trouble triumphancy” and “redemption music” to re-establish his image in the eyes of the media. Key players such as top-grossing producers and his manager, Paul Rosenberg, have played a crucial role in his recreation as an artist in the music industry. Through producing beats that invoked emotion, Eminem was able to relay his personal accounts in a creative, aesthetic style.

As a devoted fan and supporter of Emimen as an artist and a struggling civilian, I believe that he is a unique individual who uses his talents and own life account to help others; through giving a voice to low-income individuals to providing the strength to people in abusive relationships. His music is a symbol of his intelligence and forever fighting character.

Making It Burn Bright At Bonnaroo

Making It Burn Bright At Bonnaroo

by: Brad Phillip Weisberg

The Woodstock Music Festival was much more than a concert. It was a revolutionary development for musical artists and their wide-scale fan base. Although it could be argued that there will never be anything comparable to the indentation that Woodstock left on American culture, music festivals such as Bonnaroo and Langerado operate in a similar fashion. Even though these music festivals do not get the media exposure and society’s attention, both Bonnarroo and Langerado are social havens. Individuals who collectively appreciate the music styling’s and artistic abilities of select artists travel from all the over the nation and even the world to come experience our modern-day Counter-Culture. Artists such as Ben Harper and The Roots exercise their beliefs on topics such as marijuana usage, freedom of expression, distrust for the WTO, and other ideals through their eclectic sounds.

Listening to Ben Harper’s classic song, “Burn One Dow”, one cannot completely fully comprehend the power and emotional belief behind Harper’s words. Most artists such as Harper are not as engaged in the studio, mainly because they’re recording not performing. Once you put the artist in a venue with thousands to hundreds of thousands screaming fans, the artist breaks out of his or her shell and not only sings but performs.

“Burn One Down” is one of my favorite songs that Ben Harper has recorded and been performing for the past fifteen years. Although it is a song that unites marijuana users, that is not the only emotion and thoughts that Harper invokes upon his listeners. While listening to this song on my iPod or iTunes, I cannot fully experience what Harper had intended for me to hear and feel. His calm and smooth voice can only provide me with a sense of tranquility. Through carefully decoding the lyrics, one can understand that the message that Harper is trying to convey is purely focused on the legalization and acceptance of marijuana. From a broader scope, Harper’s music extrapolates on ideas of freedom, tolerance and acceptance. Lyrics such as “So before you knock it, try it first, for you’ll see it’s a blessing and not a curse” do not just apply to acceptance of marijuana usage, but also the acceptance and tolerance of racial and gender groups, such as blacks and gays. Ben Harper, a black American, has faced a lot of obstacles in his development as an artist. In his interview with “It’s Your Nature. Org”, Harper expands upon his belief towards acceptance and appreciation of the Earth (http://www.fanpop.com/spots/ben-harper/videos/376814/title/ben-harper-burn-one-down-interview). As you listen, you may be able to gather some of his ideas, but you cannot fully grasp the strong feelings and emotions that he has for certain issues and expresses through his music.

While watching his live performance at Bonnaroo (http://www.youtube.com/watch?v=Ekd5L3a1s68) , one can get a better glimpse into the true identity of Harper as both a musician and civilian. Before he performs his song, he actively communicates with the audience through having a conversation on freedom, in the context to illegal downloading. As he states, “Free freedom, that’s my cry.” (Harper, Bonnaroo, 2008). Harper is a free-spirited, easy-going individual who is for the acceptance and tolerance of everyone and everything. An audience experiences the true passion and dedication that Harper has for the fight for freedom. While listening to the CD, you cannot watch the sweat drip down a musician’s face or the tears slowly roll down his face. Unlike Elvis Presley, Harper’s performance stems from his vocal abilities and strong stage presence. Watching an artist perform live, you can truly experience what they did when they were writing the song. At 2:10 into the YouTube video, we can see the strong emotions that Harper has for his beliefs, as he projects his voice while his eyes are closed. One can infer that the closing of his eyes is symbolic of his hope for a better day, a day in which no prejudice exists. The way Harper adjusts his voice to the words is representative of the personal attributes that he exhibits as a musician and a common individual, such as his laidback and carefree personality to his intestinal fortitude that he expresses in both his songs and live performances.

Clearly put, one cannot experience the feelings, emotions and passions that the artist intended for his committed fan-base. A live performance provides us with an authentic depiction of a musician, as both an artist and a common person. Listening to a CD, we can understand the manifest content that the artist lays out for us, but we cannot watch the artist perspire from the blood, sweat and tears that he pours into his music and performance.

Using Music To Promote Hardness and Overcome Racial and Gender Battles: The Many Sounds of "Bitches Ain't Shit"

“Bitches Ain’t Shit”, a classic of example of gangsta rap, set a precedent for other artists who classified their music as being a part of the gangsta rap genre. Over the years, the song has been performed and covered by other famous musicians such as Ben Folds, as well as notable acapella groups at distinct universities and colleges. However each performance presents a different image, as determined by the race, gender and socioeconomic status of the performer(s).

Dr. Dre, Daz, Snoop Dogg and Kurupt performed the original. All of these performers are Black men who were brought up in disadvantaged neighborhoods and ghettos in and around Los Angeles and Long Beach, California. Ethnographers can infer that their own experiences and their personal accounts influenced their music styling and lyrics. All of the images that are replicated by the edgy lyrics are representative of the stereotypical beliefs of hoods and Black men and women who are raised in these neighborhoods. In these neighborhoods, prostitution, violence and other forms of deviant behavior are highly valued and respected by select neighborhood residents (other Black youths). Growing up in society where hegemonic masculinity is the only true form of masculinity, black men resort to violence and sexual conquests with many women as a way to gain respect and power in an environment due to the over-dominance of the matriarchy in disadvantage neighborhoods (as a result of men getting incarcerated or death), since money is not prevalent and the major factor of power and dignity. Though others can argue that rap artists convey messages with such hard imagery because it is what the consumers the demand. In Misogyny in Rap Music: A Content Analysis of Prevalence and Meaning, the concept of hood narratives is introduced. Since the bulk of rap listeners are white youths who come from middle and upper middle class backgrounds, listening to gangsta rap is one way in which these teens can learn about another culture. Since demand is what drives the industry, the artists need to record songs that reinforce these stereotypes if they want to remain in the rap business game. Personally, I do not think that the original song was made because these rappers wanted to protect their identity as rap artists and they had to follow the orders of high profile businessman. I do not believe that artists who relay such messages actually agree with them, but do it to make the big money. In the article, it said that in order to remain in the business, you must throw away your morals and values. The tone of Dr. Dre and the others artists who collaborated on this project is reminiscent of story telling, as if these scenarios are real-life, which I’m sure many of them are. The beat and sound quality adds to the hardness of the song, which emanates violence and danger.

Ben Fold’s version produces a different image. To begin, the beat is much slower which creates a more subtle and dull tone the song. Knowing that the performer is white and from a middle-class background (originally) makes the narratives less believable, because his credibility on the subject matter is only heresy, not true-life experience. When listening to the song, an image of many students from my high school comes to mind; affluent youths driving expensive cars, smoking marijuana and hooking up with many insecure girls. As it could be argued that the original version as other forms of gangsta rap are seen as a way to legitimize one’s masculinity, I do not think that claim applies to Ben Fold’s version. His image is masculine and I do not think that was one of his motives for covering this song. In my opinion, I believe that Ben Folds covered this song because it appeals to a large audience, as does his music. His music is modern day folk, narratives about social experiences. Consumers appreciate artists who can combine different genres of music into their songs.

In the performance by the acapella group at Columbia, all the performers are college girls. Examining more closely, all the girls appear are Caucasian with the exception of one who looks like Indian or Middle-Eastern. Two of the girls are holding tennis rackets, which could be interpreted as a symbol of power and violence. Different than the male renditions (original, Ben Folds), this version is more dramaticized. In the article, it talks about how female artists usually sing about competition and fighting over man. This is exemplified in this performance, mainly by one of the soloists. The first soloist (green shirt) gets really into it, especially when she says, “That’s some real conversation for your ass” and later when she really expresses herself and says, “Man fuck that bitch”. Honestly, I cannot give you a confident answer as to why these girls choose to cover this song. The only conclusion that I can come to is that they wanted to tell the story from a girl’s perspectives, which focuses on emotion and women’s “cattiness” more so than the males performances. The way that they sing in harmony reinforces the idea that this song is a form of unity for feminism and female power, although not in the most positive light.

The Berkeley performance of “Bitches Ain’t Shit” was the most non-traditional cover. Not only was the racial and ethnic composition of the group the most diverse, but also the acapella group featured both college aged males and females. This distinct property created a different portrayal of the narrative. As Ben Folds sang softly, so did the white male in this performance (first soloist). This could imply that while he is not proud of boasting about his sexual conquests, it is something he must do with his male counterparts to prove his masculinity. Though, the Indian guy got a lot more into it, his words were a lot more emotional and emphasized in the pitch of his voice. Looking at the girls, the Asian girl made the portrayal a lot more dramatic with her tone quality, gestures and eye placement. Though, the white girl in the sweater almost seemed ashamed to say the words and spoke softly. I think that this group covered the song kind of for the same reason that other university acapella groups cover it. It is a song that most college aged students can relate to, as they grew up listening to it and hearing it in a different perspective (not by people who have real “street sense”) does not have the same implications then when the original artists recorded it. The sound quality and beat was not constant; it changed throughout the song to fit the emotional and music quality of each performer.

Each of these performances brings a different image to the table. First, you have credible sources of street knowledge, which are retelling what I presume to be actual true stories. Then, you have a popular folk artist who covers the song, probably for multiple reasons, though I’m sure he was forced by the record industry and then you have two separately different acapella groups who offer the narrative from a strict-female perspective and a coed perspective. Some ways in which these performances are alike are that they are told in a narrative manner, as this song is meant to be sung. Though it becomes more of a dramatic performance for the two acapella groups than with the original and Ben Fold’s version. They are not alike in the sense that the original version has actual Black men who come from these neighborhood conditions, while the others are all middle-class children (implied by variety of factors that include but are not limited to clothing, assumption that they can afford college tuition). While most of these performances are stereotypical as is portrayed through the clarity of language and movement, the Berkeley performance struck me as resistant when the white girl really slowed down her words, it gave it a different spin.