Shifting Standards

"When the mode of the music changes, the walls of the city shake." –Plato

African American slaves sang songs to communicate with one another without the knowledge of their owners.  The peace movement during the Vietnam War facilitated the folk music era.  Jazz was born through the integration of “Race Music,” and the subsequent fight for equal human rights.  It is apparent the extent to which society influences and determines music.  Melodies are a reflection of the times, and progressive technology makes music increasingly accessible.  The production that was once restricted to complex recording studios can now be performed with a laptop computer.  Children that used to gather around a family radio to hear the latest tunes now simply launch a smart-phone application or open a browser tab.  Music is at their fingertips, and they are constantly subjected to its messages.  Catchy songs go viral on YouTube, gleaning millions of views in days.  Every child is singing, humming, or whistling the sounds and implicit values of current culture, put forth by musicians revered as idols.  Although music remains an echo of culture, culture is becoming increasingly subjected to and strongly influenced by popular music. 

This is an excellent prospect when we consider songs such as “Brave” by Sara Bareilles, where she highlights the power of language.  “Let your words be anything but empty,” Bareilles sings, “…I wanna see you be brave.”  She effectively promotes courage, speaking out, and not being trampled through insecurity or the harsh opinions of others.  Songs such as this uphold principles that support the development of youth into individuals with a sense of value and purpose.  Lively and catchy, these songs spread quickly, and their positive messages reach an enormous audience.  Unfortunately, there is an insidious aspect to this occurrence—the popularity of upbeat songs that effectively spread negative and detrimental values.  Particularly, popular music invariably allows, and even encourages, the sexual objectification of both men and women.  What once was Bob Dylan’s “Blowin’ in the Wind” streaming through speakers, discouraging social injustice and violence, has now become “Tonight I’m F**king You” by Enrique Iglesias.  I will leave the message of the latter to your assumption.  Because of the powerful role music plays in determining and affecting societal values, musicians who are intentional to promote positive values hold my respect and listening ear.  Recently released was a song that does just that: “Beneath Your Beautiful,” by Labrinth featuring Emeli Sandé. 

The majority of popular music focuses on superficial physical features in men and women—effectively treating them as objects.  Consider the sweetheart love song “Just the Way You Are” by Bruno Mars including the lines, “Her eyes make the stars look like they’re not shining/her hair falls perfectly without her trying/she’s so beautiful.”  Although complementary and genuine, all the artist focuses on is the appearance of the woman.  Similarly, “You Don’t Know You’re Beautiful” by European boy band One Direction focuses solely on the physical dimension of the female subject—highlighting it as the primary aspect by which to measure value.  This objectification is not confined to male artists; consider Selena Gomez’s “When You’re Ready Come and Get It.”  Throughout the song she communicates her “addiction” to this boy’s “love,” but never specifies her emotional desire for him otherwise.  We then encounter music rated as explicit, which makes no attempt to hide under a façade of innocence.  A thorough examination of this type of music would notably degrade the quality of this post; I will outline just a few hits.  “Shake That” by Eminem feat. Nate Dogg states the line, “I'm looking for a girl with a body and a sexy strut.” We next have “Hold It Against Me,” which much to the chagrin of classic country music fans, renovates the original song with a pop tune and the lyric, “If I said I want your body now/would you hold it against me?”  Finally, “The Bad Touch” by the Bloodhound Gang’s catchy tune goes, “You and me baby ain't nothin' but mammals/so let's do it like they do on the Discovery Channel.”  The final is certainly beyond innuendo, leaving no meaning to be inferred.  The ears of society, from malleable children to influential adults, are constantly being penetrated and shaped by the pervasiveness of popular music.
            “Beneath Your Beautiful” takes a different tune.  The opening verse leads: “You've carried on so long/you couldn't stop if you tried it/You've built your wall so high/that no one could climb it/but I'm gonna try.”  Although popular music would prescribe the chorus to include a sensual statement about the woman’s desirability, Labrinth takes an alternate track with the line, “Would you let me see beneath your beautiful?/Would you let me see beneath your perfect?/I wanna see inside.”  In a culture that constantly fills women’s heads with unrealistic beauty standards, esteeming the visible above all else, “Beneath Your Beautiful” is a powerful anthem.  Although its message remains in the minority among the tunes of today, “Beneath Your Beautiful” was noticed for a meaning that spoke beneath the superficial.  Music is a powerful driving force behind society, and songs like this are needed for the redirection of popular music culture.   While beauty standards remain arbitrary, determined by the culture in which a population resides, the unwavering internal values of courage, confidence, honesty, and perseverance need to be promoted for the beauty they are.  The musicians of today are instrumental in developing the attitudes of a culture.  Consequently, there has evolved an ethic in music.  There is no wrong in complimenting physicality, but artists should be intentional that their music does not promote an unhealthy imbalance or distorted perspective.  The tunes of society will imperatively infringe into actions, mentalities, and identities.  Given this weight, musicians become powerful forces; ones that can succumb to the popularity and sell-ability of sexual objectification, or be advocates for the importance of values within. 

Reflective Qualities

                      Scenes of childhood involuntarily moved through my mind, as I quietly explored the Emerson Cultural Center.  Pausing to appreciate and ruminate on the art, some pieces captured more of me than others.  I was not viewing canvas and paint, I was walking by manifestations of emotion, experience, beliefs, and thought.  Art is multi-dynamic; as much as it is a representation of the author’s personality, it is also viewed reflecting oneself.  The artist certainly guides the viewer, through lines, color, focus, etcetera.  One could even say that is the “point” of art—to represent and communicate.  Yet, it has another function.  It reveals to us what we value, believe, and know.  It helps us recognize how our history shapes our perception, and the lens of our personality through which we observe and judge.  Reflecting art is an essential piece of understanding human history, development, and identity.

                    Were I to own two pieces from my explorations, they would be “At the Gate” by Dana Aaberg, and “Canning Gold,” by Grace Dyk. “At the Gate” was a photograph in an encaustic coating.  The waxy substance covering the piece blurred the edges and spotted the surface, reminiscent of an older image.  The picture depicted a collection of cowboys at a rodeo.  Eight characters stood in the foreground; the background showed a handful more in the stands.  Upon viewing this piece, the attention is immediately directed towards two of the ranchers.  One is walking directly towards you, his weathered hands resting habitually in his pockets.  His head is down, but the visible portion of his face is relaxed, suggesting happiness.  He walks with intention, but not hurry.  The second cowboy stands further back, left.  His body language hints at a younger age, as he leans against the fence with one leg relaxingly bent behind him.  He is the only “curved” cowboy; all the others all stand straight.  Aside from the first character, he is the only other who faces forward.  Additionally, it is noteworthy that his face along is fully visible.  He has an intent, distanced look in his eyes that suggests contemplation of depth.  Dusty gravel lines the ground under their neutral-toned cowboy boots.  The many sets of legs are strong vertical lines, directing your attention upward, while simultaneously grounding the piece.  The distinguished wrinkles in their clothing are a prominent feature.  It suggests not sloppiness, but rather history; the fabric is worn, to the point of creasing with their specific body shape.  The tones are soft browns, blues, greys, and pinks.  A light source steadily comes from above, illuminating the tops of their hats and shoulders.

                 I appreciate this piece, because of the character and culture the artist is meaningfully representing.  A strong common bond, a camaraderie, is perceivable.  These cowboys have a sense of rugged classiness; although their apparel is dusty, jeans and shirts are tucked in, and hats straight.  Being raised in a Montana ranching town helped me to understand and appreciate the cowboy culture.  It is one that values hard work, resourcefulness, team effort, responsibility, and honesty.  The fact that the piece was a photo also bears significance.  The artist did not construct a specific arrangement—he had the eyes to see meaning already existing.  The piece is not chaotic or overwhelming, but its size —about four square feet— allowed for detail, and opportunity to focus on specifics.  It represents the rough beauty in a culture I admire for its values.

                 The second piece was watercolor and simplistic in its nature, but had depth in its formalism. “Canning Gold” depicted three jars of freshly-canned fruit, accompanied by three whole pieces of fruit lying in front.  The jars were arranged in a triangular fashion, and their shining lids directed your attention upward as they reflected light from an unseen source.  Bearing the glass emblem “Kerr,” two of the quarts contained sliced peaches, and one plumbs.  The contrast of the rich purple to light hues of pink, coral, and orange presented both balance and diversity.  The jars and fruit stood alone, against a dark brown background.  I appreciated the artist’s choice of highlighting only the foreground, as it was not distracting and encouraged focus.

                    This piece stood out to me initially because of the brand marked on the jars.  The writing was a contrast to the naturalistic sense of the piece, but added a relative aspect.  I perceived the artist wished to convey sentimentality, a portrayal of affection towards tradition, organics, and intention.  She seemed to paint with a familiarity, perhaps reminiscing personal experiences.  The art subtly promoted the values of responsibility, productivity, and provision.  I recall canning pickles, peaches, and pears as a child, with our neighbors up the hill.  We used Kerr jars and silver or brassy lids, similar to the watercolor.  Canning was work, then patience, then reward.  It also was an opportunity to learn from another’s experience and talent, and hopefully apply it to your own life.  Many conversations were facilitated over fruit chopping and sauce mixing; the kinesthetic element encouraged talk.  I would display this piece in my own home for similar reasons as “At the Gate.”  Viewing such a work of art can remind one of lasting values— community, work ethic, and responsibility, to name a few.  If one never had an opportunity to observe the ranching culture, or can fruit, art is an opportunity to learn.  Displaying these pieces opens a window to share about the value in experiences I have had and the principles I hold.  I appreciate the artists’ talent, and am thankful for the opportunity art is to continually contemplate my identity.  Understanding oneself and appreciating others are two harmonious ventures that, when done together, result in insight and knowledge.   

Beauty in Stillness

I am happy right now.  Has anything profoundly great happened that drives me to be so?  Not in particular, but happiness is circumstantial, and often uncontrollable.  I can choose to have a joyous attitude, but happiness is this wild creature, and surprises me with its random and unannounced visitations.  Sitting here quietly in a corner, reading about the brain, and drinking luke-warm coffee, it strikes.  The sunshine outside suddenly seems brighter and glowing.  The people passing by  appear to have secrets; their faces hiding unspoken mirth.  Two little girls are guided by their father, as he shows them the University.  Someday they will be great too, they imagine.  While I am encouraged to always maintain a positive attitude, I love these moments of happiness.  I soak them up for all their worth, and allow myself to become consumed, and high.  I know neither their source nor purpose, but embrace them wholly.

Perhaps my mood swings...I could categorize myself with a plethora of mental "disorders," but if random happiness is a symptom, I can't be all that bad off.  It balances the days of low spirits; which have a somber beauty to them as well.  The golden leaves sway in the invisible breeze, announcing their quiet presence.  A man reads the Exponent on a bench outside.  I wonder if he's reading the brief I wrote.

I miss home. Yet I am blessed where I am. I feel the constant, steady pressure of due assignments.  They can wait.  For now, I embrace the present.  What is happiness, but fleeting moments?  If there is to be value found in them, they must be enjoyed without distraction.  I close my eyes, breathe deeply, and allow myself to be renewed.  Thank You, God, for moments like these.