Category: Uncategorized

Some people really dislike country music

by Jake Kavanaugh

When asked, “What’s your favorite kind of music?” the typical answer from today’s Generation Z is “Oh, I’ll listen to anything but country.” This answer conveys the contested reputation that country music has endured since the pre-war era. Is this reputation because of the music itself? Or is there a deeper issue that plagues this genre before one even indulges?

An answer to why country music is so disputed is the political headlock that the genre endures. Listen to Ted Cruz’s quote following 9/11:  

“My music taste changed on 9/11. I actually intellectually find this very curious, but on 9/11, I didn’t like how rock music responded, and country music collectively, the way they responded, it resonated with me, and I have to say just at a gut level, I had an emotional reaction that said these are my people.”

Did Cruz mean my country? Or is he adamant on the distinction between “my people” and those who oppose? These questions reveal the dynamic between politics and country. Songs such as “The Taliban Song” by Toby Keith and “Have You Forgotten” by Darryl Worley are two odes that came out after the tragedy. However, these artists weren’t forced to write these songs, they were simply proud to do so. This dispels any recent politicization of country music, as President Nixon already claimed, “love of country and love of country were one and the same,” expressing that country and politics are intertwined (hence the name). An example is the Republicans 1970s “Southern Strategy,” which sympathized with conservative white southerners. Regarding popular culture, no other music genre abided by this campaign like country music did. The individualism of a true country boy, burdened by crime from outsiders who exploited hard-working Americans, was depicted through country music, and it is foundational examples such as these that underscore the stigma today.

“Southern exceptionalism” is another example of country music straddling the fine line between actual music and political rhetoric. This term establishes the belief that the American South developed separately from the rest of America. This idea has been contested in country music studies for decades, and as a result, has materialized today as the “southern thesis,” which states that country music is intrinsically southern, arising from traditional folk music in the rural South. Regardless, experts within the field still aren’t convinced with country’s southern alliance. The reason for this is its national appeal, as its audience has traversed beyond the Mason-Dixon Line as a result of rigorous postwar transformations and the mass culture that followed. According to mid-70s authors Richard A. Peterson and Russell J. Davis, the audience has transformed, as most country music fans “have never lived in the crescent-shaped homeland of country music.”

So, if country music’s audience goes beyond the South, what exactly is the problem? Is it the repetitive nature? Overused, sometimes even forced southern twang? Not exactly. Instead, this answer goes much deeper. A potential answer again comes from Nixon, who claims that country music “radiates a love of this nation, a patriotism.” This claim raises the stakes for country and defies what some might feel about America as of late. America stands for the love of guns, oil, and strong nationalism. All are highly debated undertakings in American politics and, of course, central topics in country music.

In light of these divisive issues involving country music, it’s critical to understand that the genre today isn’t all just black and white. We should take note of the artists who inspired the genre’s early growth while opening the door to its later hybridization. These individuals are black musicians, and their contribution to country music is much deeper than country fans might know. One of the most popular country songs of all time, “Will The Circle Be Unbroken?” began as an African American gospel. Additionally, Ray Charles’ early 1960s album, Modern Sounds in Country and Western Music featured a plethora of country song covers, all of which received high praise and exposed country to stylistic changes and a broader audience. As Willie Nelson put it, “[Charles] did more for country music than any one artist has ever done.” Charles even noted that country music and black music are “the same goddamn thing.”

Recently, the shared roots of these genres have pushed country much further than one could’ve ever imagined. Due to commercialization, we are seeing a blend called “hick-hop.” This term alludes to the identities of country and hip-hop. The hillbilly-esque vocals paired with rap language has become much more mainstream. Musical genres aligned with race aren’t much of a surprise; what is striking, however, is how hick-hop combines the common elements of hip-hop with a white identity. The classic hip-hop elements of resounding bass and higher tempos conjoin with a country boy singing about either his faith, family, or even first love, perhaps even all three. This division of labor within hick-hop directly opposes the divided country, as an embedded relationship between two clear-cut genres attributed to two diverse identities has emerged.

This idea results in a seamless union between the biggest names in country and rap. An example of this is “Broadway Girls” by Lil Durk and Morgan Wallen. The song begins with Wallen’s southern twang rapping traditional country themes, and surprisingly, it works. Then Lil Durk enters, and his lyrics, too, encapsulate southern themes of how he “oughta settle down” and bring someone back to his “hometown.” It’s important to note that Lil Durk doesn’t fully subject himself to country, indicating that his “horse is Porsches,” in order to distinguish and respect each genre’s creative differences. Audiences also responded well, as the song topped the charts in the 2022 US Hot R&B/Hip-Hop Songs and peaked at #14 in the US Billboard Hot 100. Sure, this may convey that hick-hop is a commercially successful genre, which might explain its recent expansion, but what is most important is how two distinct genres have come together in the realization that they aren’t as different as they once thought they were.

What makes this no-shotgun marriage between hick and hop possible? An underlying truth to this union lies within a rather bleak commonality: poverty. Hip-hop artists are very vocal about their impoverished beginnings, but so too are country singers. For too long now, poverty in black urban areas has received much attention when the reality is that impoverished whites, or, as demographers put it, the “invisible poor,” are experiencing the same struggles. When separated, country music and hip-hop invoke whiteness and blackness differently. But when united in hick-hop, they seem to go against the status quo, bringing together shared experiences. Politicians might say that country music is destined for American apologists and to produce nationalism, but hick-hop says otherwise, enabling companionship and creativity while bridging the gap between two distinct genres. Though different in style, these genres give voice to similar predicaments—no longer a country divided but joined through music.

The Magical Workings of A Cappella

By: Andrew VanOverbeke

Instruments have become a fundamental part of music. But what happens when you take away the foundation? You get a cappella music! You have probably heard plenty of a cappella music – take this iconic Anna Kendrick cup song scene from Pitch Perfect as an example:

Anna Kendrick isn’t the only one who sings a cappella. J.C. Tolentino remarks about the numerous places where a cappella music is a part of the music world, including religious settings, barbershop groups, and of course, college. Pitch Perfect is a movie centered around collegiate a cappella groups, and while it is very dramatized, the existence of collegiate a cappella groups is very real. Musical historian Joshua Duchan traced the emergence of collegiate a cappella groups in the United States all the way from the first group in Yale to now, and presented it in the graph below: 

Among other things covered in his study, it is remarkable to see the huge increase over time. What in the world could cause such a sharp increase? Duchan made some claims about it being an expressive outlet and a close community. To test Duchan’s claims, I interviewed Grace Organ, a member of the University of Notre Dame’s premier co-ed a cappella group, Halftime ND. One of my questions was about how many creative outlets Organ had: “I sing for [my dorm]’s Mass, but other than that Halftime is my primary creative outlet.” Halftime ND meets twice a week for four hours total, according to Organ, which is the perfect amount of time for her to exercise her creative side. There are 17 other members of Halftime ND, all of which could call their group an expressive outlet. There are a few members that are involved in other creative groups (such as Notre Dame’s theater group PEMCo) but in general Halftime ND is the main creative activity. This agrees with the first of Duchan’s claims, but what about the community part? As a first-year student, Organ was able to comment on both felt and perceived community: “I’m pretty new, so for me, it’s [just] a group of friends. I definitely see the bonds of the older members though, and would say that they are closer to family.” This is rather common when it comes to most college clubs, though. As college students put more and more effort into an extracurricular, the relationships between the members of the club grow closer and closer. There are two resulting conclusions: Duchan is not wrong that people join a cappella groups (in part) for the community, but it doesn’t seem to be a unique reason. 

Another remark that Organ made was when asked about the feeling of singing and harmonizing with the group. “It’s amazing: there’s nothing like it. There’s something special about creating something beautiful as a group and knowing that a part of you – your very voice – is contributing to that beauty.” Halftime ND performed an excellent concert on May 3rd, and it certainly lived up to Organ’s description.

What makes a cappella music so special, though? How does a cappella reach the status of “amazing,” as Organ describes it? The Calgary Children’s Choir lays out three specifics that outline the benefits of a cappella over singing with instruments. The first of the three is the timbre of the voice. The sound that the voice makes while singing is the most unique sound that is used in music – no other instrument can produce words to a song or the sound of a voice harmonizing with other voices. In addition, the audience gets a much more intimate, human-to-human connection to the music. Another important phenomenon of a cappella sound is overtones. While overtones can be created with instruments, it is often hard to figure out how to overcome the limitations of an instrument. Since singers have full control of their voice as their “instrument,” the overtones generated while singing are clear and exquisite – these additional, extra-intentional sounds add so much; the timbre of rich overtones in the human voice can be heard to the fullest. In fact, the addition of instruments, unfortunately, takes away from the impact that overtones can have while singing a cappella. 

Lastly, intonation matters. Similar to overtones, singers have the most control over their voice when it comes to pitch compared to musicians that use instruments. Not only this, but all of the singers in a cappella groups have the ability to adjust their intonation to sound good with their group members. Professor and missionary David M. Howard addressed this in his breakdown of the typical choral singing formation. He acknowledges that the typical expectation of a performance is that they stay in key throughout the duration of an entire song. While most would agree that this is the general expectation, Howard also recognizes that this is not as imperative for a cappella performances. With the foundation of instruments, there is a set key that the ensemble agrees with, but for a cappella ensembles, there is no anchoring instrument. This means that as long as the ensemble starts and continues to stay in the same key relative to the rest of the group, it is still acceptable. In his research, he found that a group that he listened to flattened by a full semitone, which would be horrendous in groups with instruments. Thankfully, though, it was a cappella, so it was okay.

There is another, unexpected aspect to a cappella music: gender. The most famous a cappella group, Pentatonix, is made up of 5 members: a soprano, tenor, baritone, bass, and percussion/bass. Unsurprisingly, the soprano is the only female member of the group.

Something that is special about this group, though, is that the “tenor” has the same vocal range as the soprano. This would not be uncommon many years ago when there were not as many societal implications in part assignments, but nowadays, this is quite uncommon, and it raises the question of modern gender identity in relation to a cappella groups. Grade school choir teacher Stephanie Trump talks about gender identity in relation to singing voices in unusual cases. Through an interview with a transgender student (alto, male) and a gender non-conforming student (tenor/alto), Trump provides some insight into their thoughts. The first student, who is a member of the women’s choir, and the second student who couldn’t fit in with either the men’s or women’s choir, both felt out of place in the singing community. This issue is not unique to these two students – irregular voices (like the one in Pentatonix) have always been present in singing. It presents both a unique opportunity for these singers to stand out, but also a challenge that they are irregularities in the singing community.

Overall, these are some of the features that make a cappella music so awe-inducing, all the way from collegiate to professional. The things that singers can do and the unique styling that the lack of instruments can give both make this type of music  uniquely excellent. So now, when you listen to a cappella music, I hope you remember not just how amazing it is but also why!

Attuning Music to Your Daily Rhythm 

by Emma Prestage 

There is something to be said for using music for pleasure, but what about using music to boost  productivity? As humans, our circadian rhythm is dominated by diurnal cycles. Our days possess patterns which our body clocks regulate. Within those patterns are peaks and troughs: our highest and lowest functioning levels of the day. Music can play a significant role in enhancing productivity at those critical times.

On average, a person listens to over one thousand hours of music each year. So many activities are intrinsically linked to it. When I awake each morning, the very first thing I do is turn on my beach house playlist: a calm and nostalgic blend of Jack Johnson and Norah Jones. When studying in the library, the classical compositions of Mozart and Beethoven carry me through hours of schoolwork. When someone hands me a karaoke mic, you better believe I’ll be belting out “Drops of Jupiter,” “Dancing Queen,” or “Man! I Feel Like a Woman.” At night before bed, Mac Miller is my substitute for melatonin. This routine rarely deviates; it is not intentional, but instinctual.

Music’s influence on humans has been known since antiquity. Musicologist Ruth A. Solie notes  in her book Music in Other Words: Victorian Conversation daughters would spend hours practicing piano so that they could play for their fathers and relax them after long days at work. In the mid-twentieth century,the company Muzak devised   tools to optimize working  environments. Joseph Lanza’s Elevator Music: A Surreal History of Muzak, Easy-Listening, and Other Moodsong explores how  specific techniques and types of music were used to enhance productivity in the workplace. Intentional stimulus progression was fostered by alternating 15-minute blocks, one with increasing tempo and loudness and one silent.

From Victoian daughter’s “girling” at the piano and  the mercantile workers to me and my carefully curated running playlist, music has historically proven its impact. The only difference between companies using Muzak in 1950 and my using Quinn XCII in 2023 is that intentionally listening to music for its effects is now widely practiced – even Spotify provides an auto generated “Time of Day” playlist!  

While some hold very strong opinions about the quality of certain songs and albums, listening to music is an entirely subjective experience. It is an art that truly is best appreciated in the ears of the listener. Every person has different musical tastes, not any less valid than another’s, yet despite such variety  we all seem to follow similar daily musical trends. When music transitions from being used for leisure to being used with labor , it can be categorized by time for optimal effect. But, how can one place compositions from the varying genres of music into simple categories for times of day? The answer is actually quite simple: by analyzing each song’s features and the responses they trigger. 

In a 2021 research study, Ole Adrian Heggli, Jan Stupacher, and Peter Vuust used Spotify’s listening data to show general shared preferences for music throughout the day. They were able to illustrate “how even something as individual as musical preference is influenced by underlying diurnal patterns.” 

The general trends were somewhat predictable: loudness was low in the morning, tempo was high at night, beat strength and danceability were also high at night, and other components followed expected trends. It makes sense that the fluctuations in energy levels we typically experience throughout the day are matched by our music choices. It is a bit of a chicken-and-egg situation: our energy dictates our musical preference while the music we listen to directly affects our energy. Diurnal preference depends on the specific blend of audio features that make up the songs we listen to, each feature evoking a different physical and psychological response – whether that be high energy, drowsiness, focus, etc. 

But, how exactly does music trigger a response at all? Surprisingly enough, the reaction we have to music is closely tied to heart rate and blood pressure. Music that quickens heart rate also heightens energy and alertness, whereas music that slows heart rate calms and mellows. A 2016 study by Hans-Joachim Trappe and Gabriel Voit compared the cardiovascular effects of works by W.A. Mozart, J. Strauss, and ABBA, all of whom provide clearly different listening experiences. 

The instrumental works of Strauss and Mozart slowed heart rate and blood pressure, calming listeners. ABBA’s music, on the other hand, showed little to no effect on heart rate or blood pressure. Trappe and Voit’s study concluded that while there is no known single musical variable that directly affects the cardiocirculatory system, pleasant keys and consistent volume and rhythm are few of many factors that may trigger calming effects on the body. This brings up another notable component of music: lyrics. Studies have found that music with lyrics provokes greater neurological responses and activates different regions of the brain. This can interfere with the body’s physical reaction to certain instrumental triggers, adding another layer to the study of music’s effects. 

Moving from the  scientific side of music’s attunement to human routine to the fun part: how exactly can we put this into practice in order to self-optimize? A 2014 article by Jordan Taylor Sloan gives guided instructions for how to listen to the right music at the right time in order to induce specific responses. Sloan writes that “if you know enough about how music affects you, you can harness its powers to make your day better.” 

In the mornings, we seek calm music that increases in tempo over time, raising our energy levels. Studies have shown that songs with heavy bass trigger feelings of power and confidence, surging our levels of conceptual thinking and starting our days off strong. In the middle of the work day, music can help stabilize and maintain productivity levels, as long as it’s not music we like. Dopamine releases are great, but they decrease focus, so it is best to stick to an unusual genre while working. When driving, upbeat and fun music raises energy levels, indirectly causing more speeding and collisions. Instead of pop radio, calm classical music that keeps us alert but doesn’t get our blood completely pumping is the way to go. And on the treadmill, rap music has proven to provide tempo and motivation for workouts. 

Whether or not one wants to chill out with music or charge up for work, in the end, it’s important to know yourself and the typic of music that helps you feel most productive – and happy – at any given time.

Hip hop artists truth-tell the past

by Mena Brook

Hip hop and rap has always been a genre of music that speaks to the experiences of Black and Brown communities. It emerged as a response to the political and social turmoil of the 1970’s and 1980’s, a time of great inequality and injustice for marginalized communities in the United States. Music became a form of protest against racism, poverty, and police brutality. Today’s artists continue this tradition not only to tell the truth about past struggles but also to connect with their listeners emotionally and to inspire change.

But before we talk about history, let’s talk about reality. Eric Harvey who teaches at the School of Communications at Grand Valley State discussed how the emergence of reality TV was influenced by gangsta rap which contrasted with  mainstream entertainment while also utilizing similar techniques. So-called  “reality rap” by artists such as Ice Cube and Ice-T, it played a part in a larger cultural movement seeking to redefine popular entertainment as a means of conveying truth. If history is “past reality,” current reality is “future history” in the making.

African Americans and Latinos in particular who have long endured systemic racism and persecution have not only found their voices via hip hop and rap music, but also found a way to retell the past. Rappers have brought attention to social concerns by expressing their experiences and tales thereby creating a forum for debate and activism. Rap music has been used as a tool for cultural expression and empowerment enabling people to connect with others who share their experiences and values and express themselves creatively.

One example of history rappers is a verse from N.W.A’s “f**k tha police”: “Police, Im saying f**k you punk readin’ my rights and shit, it’s all junk pulling out a silly club, so you stand with a fake ass badge and a gun in your hand.” This verse reflects the historical context of police abuse of power and excessive force towards Black prevalent during the 1980’s and early 1990’s such as the Rodney King beating which was caught on camera—, allowing hip hop artists to capture the true experience in their “verses” and comment on it. The mention of a “silly club” and a “fake ass badge” implies that the police are not deserving of the authority they hold and that they are abusing their power to intimidate and harm Black individuals.

While accurately depicting reality has become an important aspect of hip hop music, the ultimate goal is often to effect change in the world by inspiring action or sparking a conversation about change. American humorist Mark Katz reports  in his introduction to “Build.”“Hip hop saved my life”, It’s often said quite literally—that hip hop offered an alternative to addiction, crime, poverty, or despair.” One of the teens he worked with even wrote that ,Hip-Hop is the “guiding thread of a light that rescues young people from crime and makes them think that through culture there is a way out.” He is not alone. Numerous Hip hop fans and artist communities have emerged uniting over one’s hardships in history.

The urge to reshape history often stems from a profound appreciation for the lessons of the past and a commitment to ensuring that its crucial narratives are told and retold, so that they remain firmly engraved in our memory. Another example where an artist’s rap invokes history is in Kanye West’s  “All Falls Down” whose line “40 acres and a mule,” refers to a promise made to formerly-enslaved African Americans during the Reconstruction era in the United States. This promise, which remained mainly unfulfilled, was made in order to provide freed slaves land ownership and a means of achieving economic independence and self-sufficiency. West’s verse, “we tryna buy back our forty acres,” suggests that the Black community is still fighting for social and economic equality and trying to reclaim what has been lost and taken from them. Here is a rap historian’s reminder of the need to both literally and symbolically recover a sense of ownership.

Juan Siliezar, a Harvard Staff Writer titled “Protesting police violence, a playlist” makes one think of hip hop as a “historical record of the nation’s racial violence and injustice.” In an interview with Marcyliena Morgan, who teaches African and African American Studies and who founded the Hiphop Archive and Research Institute, discusses how hip hop tells amazing tales about your neighborhood. At the very beginning of hip-hop, she notes, you had to deal with contradictions like, “New York is terrible! I cherish New York. And once it becomes evident that hiphop rejects simplification when addressing injustice—that is, that there will never be a time when everything will be perfect or the notion that there will always be an idyllic setting—you are prepared for hip hop. 

If history is a way of learning from the past, music and activism have the power to bring people together in a shared understanding of their past and a collective vision for a better future. The video, “ Public Enemy Is Joined By Nas, Black Thought & More For Rendition of Fight The Power” lets us recognize that “this generation hasn’t simply started a movement, they’ve joined one.” Hip Hop heads who have been there, heard that, and have seen and encountered the struggle that has been discussed will influence the next generation. This video celebrates resistance, emphasizing that giving up is not an option. This video and music can inspire listeners to keep moving forward and find strength in their struggles. It fosters a sense of community and understanding among those who share similar experiences and encourages them to fight against oppression and injustice. As part of the hip hop nation listeners can find empowerment and realize their ability to effect change, ultimately leading to a commitment to continue fighting for a better future.

In another song by Nas, “Accident Murders,” one verse stands out: “The system is twisted, false representation, We livin’ in the downs, where the up is mistaken.” In this verse, Nas is commenting on the systemic issues that have plagued America’s justice system for decades, notably “false representation” which has been employed to defend institutionalized racism and oppression. Nas also touches on the theme of economic inequality by saying that “we’re living in the downs, where the up is mistaken.” This is a reference to how historically disadvantaged populations, especially those in cities, have been denied access to opportunities and resources that are available to wealthier, more privileged people.

Overall, then, hip hop music quickly became a powerful means of connecting with history and the past. By incorporating historical references and samples, addressing social and political issues, and sharing personal stories and  experiences, hip hop artists create music that speaks to the struggles and challenges faced by marginalized communities. Through their music hip hop and rap artists bring attention to important issues and provide a platform for individuals to connect and share their experiences creating a sense of community and solidarity that is vital for achieving future social change.