Final Post

This class was unlike any I have ever taken, and it's difficult for me to put into words how much it meant. I'll do my best to summarize:

At the beginning of the course, I was confused as to how I could bring in all this material from the readings and songs into a single art piece each week. Now I cannot imagine doing a project without understanding the context of the time, the people, and the place. Tony would often say in class "see where it takes you", and I get that now. He wasn't expecting us to translate history into art; he wanted us to interpret what we learned through our own understandings and experiences. And in this way, learning about American folk songs became extremely personal.

I remember at the beginning of the course, I would get confused when Tony would mix up verses of a song or change the wording. Now, I understand that that just doesn't matter. Each time these songs were sung, the words were altered. But the meanings remained constant, and that is something that ultimately carried through in our art work as well (I hope). In other words, our art pieces were reflections of what we took from the songs each week, in the context of the time period and place. Sure, everyone's work varied and reflected a different interpretation, but the meaning and soul of the songs came through - at least in the ones we were able to connect with on personal levels. These songs are a part of American culture, and they are a part of all of us as Americans. 

This was the only class I've gotten to take where the instructor really got to know each student individually. It became apparent very quickly that Tony has a real knack for reading people, and he would offer individuals advice that was specific to them. I really appreciated this, and I think that it is what allowed me to grow from beginning to end of the course. I liked that Tony never pushed me to use a larger scale or switch to a different medium; he was conscious of my style and knew where I hoped to end up (working in graphic design), so he instead helped me accomplish what I could within my own art realm. And he did this for every student in the class.

So thank you, Tony, for taking the time to look at us as individuals instead of as a group. I think you actually know more about my art style than I do..for example, when you told me to look at New Yorker magazines, I didn't expect to become so inspired by them. Thank you for letting me into this class, I cannot express how grateful I am for that. And thank you to all the other students as well; every one of you added something to the class that made it all the more special.

Thank you, and Goodnight (Irene).

Crossroad Blues

This piece was inspired by Delta Blues as a whole. It symbolizes the black and white struggle through the colors, a guitar through the cut outs, and a prison through the lines and image of Robert Johnson.

Robert Johnson's songs really stood out to me because of the sheer intensity of them. His expressive lyrics and mastery of guitar make him impossible to overlook, even among so many talented artists. Johnson had a way of romanticizing and making poetic the extreme hardships that he experienced. There is little known about Johnson, and his life was short, but his musical legacy will never be forgotten.

From the Delta Blues come stories of loneliness, torture, terror, and sadness that African Americans experienced during the Great Depression. Listening to these songs was difficult for me because I could hear how personal the experiences were to the artists, and I feel for them. These were real, terrible occurrences, and the Delta Blues are a reflection of the horrible pain and great emotional toll that African Americans suffered during this time.

This Land is Your Land

When I read about Woody Guthrie's life, I found that he spent large amount of time wandering about: hitch hiking, riding freight trains, singing his songs and sharing his music as he went. This piece was inspired by the dust bowl and the constant pull he felt to keep going, to keep wandering.

At first, Guthrie's wanderlust automatically made me think back to Leadbelly and the question of "Who is Leadbelly?" I thought that perhaps Guthrie's inability to stay in one place had something to do with his inability to find himself. Then I realized that Guthrie really was just content moving about. Wandering was a part of him.

The colors and textures I used were inspired by the material I found about Guthrie. I didn't really have a plan when I began the piece, but I think that that's fitting for him. 

In The Pines

This piece's art was primarily inspired by the question "who was Leadbelly?" I found myself more and more confused the further I researched him. I think that's fitting, though, because I'm not sure Leadbelly even knew who he was. I titled this "In The Pines" simply because I love that song. It's probably because I've heart Kurt Cobain's version so many times.

Watching clips of Leadbelly acting or singing added to my confusion because it was difficult to tell which performances were coming from the heart, and which were just attempts to increase his fanbase. Seeing him act was a bit amusing because it was so clear that he was reciting a script; there was no emotion or soul tied to his words. And as Tony pointed out in class - Leadbelly had a very strong, distinctive face that just did not correlate to the weak, submissive characters he often tried to portray.  I also find his eyes particularly striking. Not quite sure why.

For this illustration, I used a mixture of pen and ink and charcoal. I wanted to portray a lack of identity through these similar, gray people because that is how I ultimately interpreted Leadbelly. 

Tony mentioned in class that he feels I have been putting more of myself into my art recently, and that my style has a New York/1920's flair (thank you for the compliment, by the way). I've been thinking about this a lot, and trying to figure out how these newer pieces are different than the older ones. In a way, I think it is because I put less thought into them - I was less concerned with tying the illustrations directly to the songs, and instead, just drawing whatever came into my head after I had listened to the songs and done the readings. Drawing without planning out the details is something I couldn't do before this class..so I'm really excited to see where this takes me. Maybe it really will be to New York one day!

Sitting On Top of the World

I really appreciate the message in "Sitting on Top of the World". Like many of the other songs , the lyrics are about past lovers. Yet rather than threatening to kill her or get revenge, the singer is simply saying the he is going to be okay. Life will go on. "And I don't worry/Lord I'm sitting/On top of the world".

 I particularly appreciate the part of the song that says: "If you don't like my peaches/Don't shake my tree/'n Get out of my orchard/Let my peaches be". Truer words have never been spoken.

The shoes I drew here were intended to have a more rugged look to them. They were supposed to be ones that could have been worn in an orchard or by Doc Watson as he sang this song. They were supposed to reflect manual labor and rural living. But they ended up with a polished, city look that I was pretty disappointed with. But Tony told me that this was only natural; I was relating the song to my world, and in my world these are the types of shoes I know.

I Shall Not Be Moved

I love listening to Mississippi John Hurt's music. He has a distinct style that is unlike any musician's I've heard. There is a gentleness and warmth that comes through in his voice and through his lyrical fingerpicking guitar style. This tree symbolizes his music for me - delicate and beautiful, yet steady, and powerful.

I based this piece of of the song "I Shall Not Be Moved". I listened to a version of Mississippi John Hurt singing it and found it extremely powerful. The song is an African American spiritual that describes how African Americans' faith in God overcomes all obstacles. The song later gained popularity as a Civil Rights Movement unison song.

Down by the Sally Garden

The more I read about Appalachian history, the more I realize how little I know about it. I really enjoyed hearing and listening to this week's British Ballads. I find the consistency in theme intriguing; the ballads seem to personal, single narratives about love affairs, revenge, escape. I think a majority were written by women because they concern sexual struggles from a female standpoint. It is interesting that "love" emerged as such a powerful theme in the British ballads, above religion, death and afterlife. Perhaps this speaks to the loneliness people were encountering at this time.

The imagery that comes to mind when I hear these ballads and read about Appalachian history is of a desolate, isolate, and beautiful place. The lyrics are often simple and rhythmical. I read in an encyclopedia that Appalachia came to be viewed as a "repository for a dying tradition" in the late 19th century, and this is why collectors/folklorists began to search for ballad singers and their repertoires.

I'm grateful that these songs were preserved. They speak of a time and place that was destined to be forgotten or looked over in history, had it not been for the Appalachian music tradition that came out of it.

This makes me wonder what has been lost in time. To think that so many beautiful songs could emerge from Appalachia makes me think that a great many others, from different places in America and around the world, have been lost. Thank goodness these were not among them.

Will the Circle Be Unbroken

I had a difficult time with this week's assignment, although I'm not sure why that is. I really enjoyed listening to and singing both "Banks of the Ohio" and "Will the Circle Be Unbroken". My favorite version of each is Doc Watson and Clarence Ashley's "Banks of the Ohio" and Johnny Cash's "Will the Circle Be Unbroken".  Needless to say, I could not get through Ollie Gilbert singing.

The songs this week were very dark and unsettling. I can't help but wonder what kind of hardship people were enduring that inspired such creepy, tragic songs. Tony asked in his blog "what was the Appalachian mindset", and the only thing I can think of is that peoples' lives were so dark and unpleasant, that the afterlife was what gave people hope. Although that doesn't quite solve the mystery as to why murder was such a common theme. It's unsettling to think that perhaps being murdered was a fantasy to some? Just a thought.

It was interesting to research the meaning behind "Will the Circle Be Unbroken" because there are so many interpretations of the lyrics. Most involve the singer asking whether his/her family will be whole once again in heaven.  There's something melancholy about the song, and it is the sense of hope that comes through in the lyrics. It seems the singer is hoping that his/her afterlife will be better than what he/she is experiencing now. 

I think perhaps the reason that I struggled with this piece is because I got too wrapped up in the lyrics. I felt that I could not relate to the song on a personal level because I am not religious, and the idea of there NOT being an afterlife scares me. I didn't take a risk in drawing this piece; in my opinion, it's just too lighthearted to fit the songs and the times. Not to mention the actual subject matter - a city. The relationship between what I drew and Appalachian history just isn't there.

I decided to draw a city because this represents where the singer is now; it is the familiar. I then cut cracks into the drawing to show that things are changing and to give a sense of unknown, as conveyed in the lyrics. I tried to show, through the distant perspective and cracks, that everything we know and see is limited to our world. There is so much unknown, and our universe is just a fragment of that.

Lyrics: (Johnny Cash)

Will the circle be unbroken?

Bye and bye, Lord, bye and bye

There's a better home awaiting

In the sky, Lord, in the sky

I was standing by the window

On a dark and cloudy day

When I saw the hearse come rolling

Oh, to carry my mother away

Will the circle be unbroken?

Bye and bye, Lord, bye and bye

There's a better home awaiting

In the sky, Lord, in the sky

Lord, I told the undertaker

Undertaker, please drive slow

For this body you are haulin'

Lord, I hate to see her go

Will the circle be unbroken?

Bye and bye, Lord, bye and bye

There's a better home awaiting

In the sky, Lord, in the sky

Well, I followed close behind her

Tried to hold up and be brave

But I could not hide my sorrow

When they laid her in that grave

Will the circle be unbroken?

Bye and bye, Lord, bye and bye

There's a better home awaiting

In the sky, Lord, in the sky

Will the circle be unbroken?

Bye and bye, Lord, bye and bye

There's a better home awaiting

In the sky, Lord, in the sky

Oh Mary Don't You Weep

Of all the versions of "Oh Mary Don't You Weep" that Tony discussed on his blog, Mississippi John Hurt's was my favorite. Hurt's voice combined, the background instrumentals, and the flow-like melody worked in concordance to create a beautiful, soothing rendition of the song that I really enjoyed. 

I drew this picture while listening to Hurt's version. I wanted to make the figure anonymous because the song is intended to appeal to many. I tried to use gentle curves as opposed to sharp corners to parallel the lyrical style of the song. The actual image is of a female floating out of a dark hole or shadow - a reminder that good things will come.

A few other versions resonated with me, and I will briefly summarize why:

Swan Silvertones: I can't quite put into words why, but this version just didn't line up. I thought that the tune and meaning of the song did not work in harmony with the background snapping. 

Leadbelly: This was the version that immediately felt "familiar" because of it's folk-song, sing-songy aesthetic. It was likely because of this familiarity that the other versions stood out more to me.

Pete Seeger: This was one of my least favorite renditions of the song. The background instrumentals felt a bit rushed and jumbled to me, and the way Seeger sang the song sounded almost forced - as if he cared about the way his voice sounded, but not the message behind the lyrics.

Max Romeo: I was surprised by how much I appreciated this version of the song. The reggae style made for a less lyrical, soothing version than Hurt's, but I thought that Romeo's voice combined with the other singers and background instruments worked to create a catchy, enjoyable song that somehow didn't make light of the powerful message behind the lyrics.  I also found that the changes in wording were extremely powerful. The line "We Shall Overcome Someday", especially, stood out to me. I think that this is because of the inclusiveness in "we". When the lyrics (literally) only address Mary, this results in an almost pedantic aesthetic where the musician is telling the listener not to lose hope because God rewards good people. In contrast, the "we" in Romeo's version includes the musician, making him more relateable. It was also interesting how Romeo chose to say "We shall overcome someday" and "o children" as opposed to "O Mary don't you weep, don't you mourn" and "Pharoah's army got drownded". The two versions have similar messages, but Romeo's strays further from biblical references - perhaps to appeal to more people. He also sings about Daniel and Jonah, as opposed to Mary.

The Gomorrans: I really did not like this version - the singer's style just took away from the song and made it sound almost aggressive (and creepy - but that could just be a result of watching the video)

I find it interesting that most versions of "Oh Mary Don't You Weep" reference both the Old and New Testament. I think the effect of this is to tell listeners that their situations will improve, as shown in the past. The Old Testament thus serves as a source of wisdom; lessons can be learned through studying history.

Most likely, black people learned of these biblical passages orally through relatives and friends, or even by their white masters (if they were slaves). The specifics of the passages likely differed from person to person, but the overall meanings were the same. 

This parallels all the different "Oh Mary Don't You Weep" songs and explains why it is so widespread and adaptable. No matter the wording, singer, instrument, time period, etc - the message stays the same: God rewards good; don't give up - be patient, good people will be rewarded.

Lyrics (Mississippi John Hurt):

Oh, Mary don't you weep, don't you mourn.

Pharoah's army got drownded,

Oh, Mary don't you weep.

If I could, I surely would,

Stand on the rock where Moses stood.

Pharoah's army got drownded,

Oh, Mary don't you weep.

Mary weep, Martha moaned,

All around God's holy strong.

Pharoah's army got drownded,

Oh, Mary don't you weep.

Well, God told Noah about the rainbow sound.

No more water but the God makes...

Pharoah's army got drownded,

Oh, Mary don't you weep.

Repeat first verse.

Sinners don't come by the ...

No need to come when the train done gone.

Pharoah's army got drownded,

Oh, Mary don't you weep.

Repeat first verse.

One of these days about 12 o'clock,

This 0l' world gonna reel and rock.

Pharoah's army got drownded,

Oh, Mary don't you weep.

Trouble So Hard

This piece was inspired by Marian Anderson's "Nobody Knows De Trouble I've Seen". I was familiar with Moby's rendition of the song, but I prefer this one because there is a truthfulness that can be heard in the singer's voice.

In this drawing, I drew two "soul singers" from the 1920s/30s and used a colorful background with both warm and cool colors to parallel the warmth and energy that can be heard in the song with the melancholy messages the songs convey. 

Tony had sent me an article about Adrian Frutiger, a famous typographer, and I was inspired to practice more with my own typography skills. I looked through fonts online from the period, and chose to write (what I think is) the most important line from the song in a similar style. I made sure that the lettering is sans-serif, since Frutiger's most famous fonts are in this family.

When I look back at this piece, it is my least favorite of all the work I did in this course. The art depicts a woman and man who are from an entirely different place and time period; they seem like they would be more fit for city blues. I think this piece is one that I can use to look at now and see how far I've come. When I created this, I was not thinking about the context of the song, the people, the place, or the time. I look at the picture and have difficulty drawing parallels between the image I created and the meaning of the song. I also think that, while the font I chose may have been fitting for a jazzy/city blues type of song, it does not fit here. 

The piece just does not do "Trouble So Hard" justice. I should have thought harder about what I was listening to and how it related to the readings. The song is about the hardship that African Americans faced in America - the racism, cruelty, discrimination, and mistreatment. 

You Are My Sunshine

Every time I hear "You Are My Sunshine" played aloud, I hear an "aw!" or see someone gesture in such a way that indicates nostalgia (i.e. hand over heart). I think that that speaks to the huge presence of "You Are My Sunshine" in American culture. 

It was interesting to listen to Laura Henton's "Heavenly Sunshine" because many obvious parallels can be drawn between "Heavenly Sunshine" and "You Are My Sunshine" both in tune and lyrics. Henton's gospel voice differs from Jimmie Davis's more jaunty, hillbilly-like singing.

Ollie Gilbert's rendition of "You Are My Sunshine" made me feel slightly uncomfortable - although I could not pinpoint the reason that is. Her tone is distinct, and there is something a bit croak-y about it. You can hear the pain of the Great Depression in her voice; it is raw and unapologetic, not particularly beautiful or melodic, but you can tell that "You Are My Sunshine" means something to her. She is connected to the song, the lyrics, the time.

Unsurprisingly, I really enjoyed Mississippi John Hurt's version. It is far more soothing than Davis's rendition, more melodic.  Davis, on the other hand, has one of those voices that just sounds hearty, familiar, and American. His version is the one most of us know and love. 

The song was an enormous hit when Davis released it, and it's been embedded in American culture every since. It doesn't surprise me that the song was so popular in the 1940's. The tone is upbeat and catchy, and the lyrics are simple. It's one of those songs that's easy to remember and easy to sing to - the perfect candidate for parents to sing to and with their children.

The lyrics to "You Are My Sunshine" has melancholy undertones that are fitting for the time period. Phrases such as "you have shattered all my dreams" and "if you leave me to love another but you'll regret it all some day" reveal that the song is not literally about sunshine. The singer is singing about a woman he loves, and it is ultimately revealed that she has left him. The bitterness of the lyrics make for a sort of paradox when paired with the jaunty tune in Davis's version. I think that the sadness incorporated into the song only speaks more to the "hope" aesthetic that it inspires in listeners such as myself; people grasp onto hope in times of sorrow, and similarly, the song describes sunshine and love as well as clouds and loss. It speaks to the sadness and happiness often associated with memory and nostalgia.

My depiction of "You Are My Sunshine" is of my sisters and I when we were young. When I hear this song, I am taken back to my mom singing this to my sisters and I in our childhood. The song makes me sad, and it's because of the nostalgia associated with these memories. My sisters, particularly my younger sister, and I were inseparable growing up. When I reached high school, my younger sister started to pull away from me and from my family, isolating herself from everyone who loved and cared about her. She suffered from a crippling, severe depression for about 6 years until today, when I can confidently say that she is on the path to happiness. Regardless, I hear this song and the "sunshine" is my younger sister. 

Lyrics:

You are my sunshine, my only sunshine

You make me happy when skies are grey

You'll never know dear, how much I love you

Please don't take my sunshine away

The other night dear, as I lay sleepin'

I dreamed, I held you in my arms

When I awoke dear, I was mistaken

So I hung my head and I cry

You are my sunshine, my only sunshine

You make me happy when skies are grey

You'll never know dear, how much I love you

Please don't take my sunshine away

You told me once dear, you really loved me

And no one else could come between

But now you've left me and you love another

And you have shattered all my dreams

You are my sunshine, my only sunshine

You make me happy when skies are grey

You'll never know dear, how much I love you

Please don't take my sunshine away

I'll always love you and make you happy

If you will only say the same

But if you leave me to love another

But you'll regret it all some day

You are my sunshine, my only sunshine

You make me happy when skies are grey

You'll never know dear, how much I love you

Please don't take my sunshine away

Please don't take my sunshine away

We Are Going To The Zoo

One of the first songs I remember hearing is "We Are Going To The Zoo". My mom used to sing it to my two sisters and I, and we eventually learned to sing along with her.

I would always imagine lions and the tigers when I'd hear the lyrics. Thus, it seemed fitting that I draw a tiger as a means of representing the song. I can't take full credit for the originality of this image; I actually came across a similar painting in a store a while back and took a photo on my phone that I based this piece off of. I remember seeing the painting and not being sure why it made me feel so nostalgic. And now, months later, I've finally figured it out - it epitomizes my interpretation of "We Are Going To The Zoo".

I hope to portray through this illustration a sense of playfulness and imagination; after all, back when this song was a regular part of my day, I saw no reason that humans and tigers couldn't interact as friends. Ironically, my mom has never been a large fan of zoos (or animals in general), so the song stands out to me because of the moments I spent singing it with my family and because of the pictures that would flash through my head as I listened.

Lyrics:

We are going to zoo,

To the zoo, to the zoo. 

We are going to the zoo,

Won't you join us too?

We'll see lions, tigers too,

Tigers too, tigers too.

We'll see lions, tigers too,

All at the zoo.

We will find some chimpanzees,

Chimpanzees, chimpanzees.

we will find some chimpanzees,

Swinging from the trees.

We will look for kangaroos,

Kangaroos, kangaroos.

We will look for kangaroos,

Hopping at the zoo.