Songs about Minnesota

I explored the theme of "Songs about New York" which included such songs as U2's "The Hands That Built America," the Bee Gees' "Nights on Broadway," and Billy Joel's "New York State of Mind." These songs have very different takes on the city, what to do there, and what makes it a great and/or unique place.



I think an interesting theme for students to explore in the classroom would be "Songs about Minnesota." This could tie into just about any novel that deals with issues of identity and/or place (for example, I think this assignment would totally tie in to the frequently studied novel House on Mango Street).

First, you could have students find songs about Minnesota, you could help by providing a list, but encourage students to find their own examples. Here are a bunch:

"Uptown" by Prince
"Minneapolis" by that Dog
"Shhh" by Atmosphere
Just about any song by The Hold Steady
"Minnesota" by Converge
"10,000 Lakes" by Kid Dakota
"Minneapolis" by Lucinda Williams
"A Friend to the Minnesota Strangler" by Pinetop Seven
"Meet me in the Morning" by Bob Dylan
"Ninth and Hennepin" and "Christmas Card from a Hooker in Minneapolis" by Tom Waits.
"Duluth" by Mason Jennings
"Franklin Avenue" by Jeremy Messersmith
"Cold White Christmas" by Casiotone for the Painfully Alone
Pretty much every second Hold Steady song
"Highway 61" by the legendary Bob Dylan
The Minnesota Polka by the Gear Daddies
Hail Minnesota (our state song) by Truman Rickard

Students could then look at the lyrics of several of them, and consider the following:
What do these songs say about Minnesota?
What do these songs say about Minnesotans?
Why was this song written?
Pay attention to how specific the characters are in the lyrics. Describe the people in the song.
Are they about specific individuals, or are they about groups of people? Do you think these songs are supposed to be about ALL Minnesotans?
Do these seem like accurate portrayals of Minnesotans?
Are there stereotypes?
Do you like what this song has to say? Why or why not? What do you disagree with?
Does this song represent you and/or the people you know?

Next, you could have students draw a picture of the characters (or narrator) of the song. Remind students that the narrator is not necessarily the actual singer, but a created character.

Next, students could begin thinking about their very own "song about Minnesota." First, students could list some of the things that they would want to say about Minnesota and its people, neighborhoods, and culture(s)....(and maybe its weather). What makes this place unique? What makes Minnesotans different than Iowans, or Wisconsinites (be careful here, this could get out of hand!).

Finally, have students work on crafting the lyrics for their songs. What will the chorus be (what's a central idea you want to convey and repeat). You might also go over some of the literary terms like assonance, alliteration, rhythm etc.

Now, depending on the technology available in your classroom, you could have students use garage band to record their songs, or you could have them project their song lyrics. You might also just have them share their songs in small groups.

What makes a good music website:

(Note: this is the second lesson plan that's due 6/25; #1 was posted on 6/22)

This assignment gives students a chance to think about the idea of "What makes a successful website" in a way that's tied in to their own interests in music and pop culture.

Every year, the website Webawards.org gives an award to the best music website...they base their decision on the following criteria:

• Design

• Ease of use

• Copywriting

• Interactivity

• Use of technology

• Innovation

• Content

Start by having a discussion about what each of the above terms mean. Then show students some examples of past winners and why they scored highly for the various criteria. You could also show other music websites you find that are particularly successful (e.g. radiohead.com, garylourismusic.com, pitchfork.com etc).

Students will then examine websites of musicians and music websites that they know. If they need help figuring out where to start, you could give them terms to google ("innovative music websites"), or you could provide them with websites like: billboard.com/pitchfork.com/kdwb.com/allmusic.com etc. Since I'm SURE many students would disagree on webaward.com's choices (based on students' musical preferences...i.e. most kids probably wouldn't have voted for Margaritaville.com. I can't stand Jimmy Buffet), they're likely to be intrinsically motivated to find websites for bands that they LIKE that demonstrate the above criteria.

Students must then choose ONE artist or organization's website which they would identify as The Best Music Website, and evaluate it based on the criteria above, writing their responses in their blogs. Students would be required to visit a certain number of their peer's blogs, explore their chosen website, and leave comments as to why they agree or disagree with the evaluation.

Students play "Record Executive"

Slice the Pie
Using the website: Slice the Pie, students will have the opportunity to play "talent scout" by finding artists that they think are worthy of investing in. The website allows music fans to invest in real bands; if the bands reach a certain level of money on the website (15,000 pounds), they receive that money to record an album. Albums are released on iTunes and Amazon.com and investors receive a return of any profit that album receives, as well as their name in the album credits. (Note: this activity will involve a small amount of money--as little as 10 or 20 dollars per class--which can be taken from one of the teacher's extensive personal accounts).

Working in small groups, each team must decide on 3-4 artists from the website that they think have the potential to become successful. Students must write a short review of the artist--the website offers visitors the chance to offer feedback to artists, so students could be required to make their comments on the web, and also turn them in (or else copy and past or link them to their blogs).

Students must also write a justification for why they think the band/artist they have chosen is worthy of the class' investment (Why and how will this particular group be marketable? Are they similar to another successful group? What makes them unique? How can you best convince your classmates of this group's potential). Groups will then present their ideas about one or two of the artists they "discovered" to the class, and the class will eventually vote on 1 or 2 of the artists to invest in with the class pot. Of course this activity could get much more in depth, depending on how much time the teacher wants to spend on it (for example, there could be a debate element).

This gives students a chance to play "record company executive" in a real world situation. Of course, there could be problems with differing tastes and interests, but the teacher could stress the idea that the primary goal is not just to find music that YOU like, but music that will be marketable. This activity also gives students the opportunity to write for an authentic audience on the web (as well as for their peers). Using this website might also influence students' illegal downloading activities, as it gives an opportunity to do some perspective taking by considering the needs and purposes of record companies who have invested money into certain artists.

Lesson Plan: Music & Political Rallies

Rationale: Many students might have trouble seeing how music plays a role in modern day politics. While it is fairly clear how some governments have gone to extremes to influence the role of music in their countries (i.e. Nazi Germany, or modern day China), it might be more difficult to see the relationship between popular music and modern American Politics. By looking at how and why political candidates use popular music to appeal to certain audiences, students will be able to see how songs are, "actively being taken and given additional meanings," and are, "connected with a very particular political ideology and social agenda" (Negus, 195).

Objective: Students will understand and demonstrate the ways that music is given new meanings based on their context, and how they are used by politicians as a persuasive technique.

1) Students will find a credible source that explains some of the basic tenants of modern day republicanism as well as democracy. What are some of the stereotypes about Republicans and Democrats? Where do they stand on issues such as poverty, finance, the role of science, the role of government and religion? What are some criticisms of these groups and their respective ideologies? Then, as a class, we will make a master list on the board to help students to look at these differences.

2) John McCain used John Mellencamp's song "Our Country," during some of his political rallies when he was running for President in 2008. John Mellencamp's representatives asked the McCain campaign to STOP using the song. In class we'll listen to the song, and then students will examine the lyrics. (We may also look at Chevy's use of the song in its advertising. Who is this ad's target audience?) Who might McCain be trying to appeal to by choosing to use this song? What parts of the song seem to be in line with republican ideas and/or stereotypes? Are there parts of this song that seem to go against any of these ideals and/or stereotypes? In light of this, why might he have chosen to use this song? Should artists even have a say in who can use their songs and can't?

"Our Country" John Mellencamp
Well I can stand beside
Ideals I think are right
And I can stand beside
The idea to stand and fight
I do believe
There's a dream for everyone
This is our country

There's room enough here
For science to live
And there's room enough here
For religion to forgive
And try to understand
All the people of this land
This is our country

From the east coast
To the west coast
Down the Dixie Highway
Back home
This is our country

That poverty could be
Just another ugly thing
And bigotry would be
Seen only as obscene
And the ones that run this land
Help the poor and common man
This is our country

From the east coast
To the west coast
Down the Dixie Highway
Back home
This is our country

The dream is still alive
Some day it will come true
And this country it belongs
To folks like me and you
So let the voice of freedom
Sing out through this land
This is our country

From the east coast
To the west coast
Down the Dixie Highway
Back home
This is our country

From the east coast
To the west coast
Down the Dixie Highway
Back home
This is our country

For homework, students will find a song from their own collections, or from the radio, that would be appropriate for use in a political rally for a current political figure of their choice. In addition to considering the tone of the song, students will also print out the lyrics and analyze them for specific lines that are relevant for the goals of the candidate and his or her party. Next, they will write a short letter to the candidate explaining why a particular song would be an appropriate choice for their next political rally.

* * *
Depending on time and how in depth the teacher wants to go with this issue...
In addition to looking at McCain's use of music at rallies, students could also examine Barack Obama's use of the Stevie Wonder song, "Sign, Sealed, Delivered, I'm Yours," and the ways that the original meaning of the song (a love song between two people) is changed to represent the needs of democrats (their return to power, democrats love for the American People).

Like a fool I went and stayed too long
Now I'm wondering if your loves still strong
Oo baby, here I am, signed, sealed delivered, Im yours

Then that time I went and said goodbye
Now I'm back and not ashamed to cry
Oo baby, here I am, signed, sealed delivered, Im yours

Here I am baby
Oh, you've got the future in your hand
(signed, sealed delivered, Im yours)

Here I am baby,
Oh, you've got the future in your hand
(signed, sealed, delivered, Im yours)

Ive done a lot of foolish things
That I really didn't mean
Hey, hey, yea, yea, didn't i, oh baby

Seen a lot of things in this old world
When I touched them they did nothing, girl
Oo baby, here I am, signed, sealed delivered, I'm yours, oh I'm yours

Oo-wee babe you set my soul on fire
That's why I know you are my only desire
Oo baby, here I am, signed, sealed delivered, I'm yours

Here I am baby
Oh, you've got the future in your hand
(signed, sealed delivered, Im yours)

Here I am baby,
Oh, you've got the future in your hand
(signed, sealed, delivered, Im yours)

Ive done a lot of foolish things
That I really didn't mean
I could be a broken man but here I am

With your future, got your future babe (here I am baby)
Here I am baby (signed, sealed delivered, Im yours)
Here I am baby, (here I am baby)
Here I am baby (signed, sealed delivered, Im yours)
Here I am baby, (here I am baby)
Here I am baby (signed, sealed delivered, Im yours)

Lesson Plan: File Sharing Debate

Almost all students enjoy popular music to some degree. Teachers must keep a vigilant lookout for ipods as kids try to hide their earbuds under their hair or their hoods during class. So rather than fighting against music's presence in the classroom, it makes pratical and pedagogical sense to bring one of popular music's most contentious issues to the forefront of classroom discussion: illegal fire sharing. Students are engaged when lessons have relevance to their lives (and for many students, fire sharing is the main way they receive their music), so why not use an issue that is at the center of the problem of modern music distribution and use it to help kids develop skills in critical thinking, research, and discussion.

Objectives: Students will develop critical thinking, persuasive, research, and discussion skills by working with an issue that they have some personally experience with (even if they don't yet have strong feelings about it).

For this assignment, students will be debating the issue of illegal fire sharing. Most students will be familiar with the idea of illegal downloading as something that they or their friends do regularly. Because for much of their lives music has been available for "free" many students might have trouble understanding the perspective of the record companies (or even artists), so first, we'll have a brief discussion of the role of record labels including the amount of money that artists usually make per song/album purchase/download. We'll also frame this debate historically with a discussion of how a similar struggle occurred with the emergence of AM radio.

Next, students will research the effects of illegal file sharing on one of three groups: listeners, artists, or record labels. How has file sharing and internet technology helped each of these groups? How has it hurt them? Should record companies make money? Do they perform a valuable service for artists and for society, or are they just greedy corporations? What are the negative effects of downloading music for listeners (too much music to digest, potential lawsuits, guilt over artists not receiving money for their work)? How are artists negatively affected (loss of $)? How are they positively affective (greater exposure)? Students must find articles about the group they are focusing on, including opinions and quotes from specific individuals within those groups.

Next we'll break into two groups and students will debate the issue of file sharing. We will form teams where students will either be representing the "Pro" file sharing/free access to music side of the argument, or the "Anti" file sharing side. Working in their groups, they will decide on the arguments they want to focus on for their side.

We will probably have to do two debates because of class size; so when students are not participating in the debate, they will practice their active listening skills. Audience members must develop at least 2 questions for the debaters which will be addressed in one of the rounds of the debate. At the conclusion of the debate, they must also vote for the winner, and explain why they feel that that side won the argument.

Finally, students will write letters to record labels, explaining possible solutions to this issue. How can they operate and continue to make a profit? What ways can they still serve to benefit artists? OR are they going to become completely obsolete, and there's nothing they can do to stop it. Students must have strong arguments and they also must cite specific examples in their letters.

Chapter 7: Politics

I think that many students might have trouble with this idea that politics has an influence on popular music (except in extreme situations, like Nazi Germany); additionally, struggles to maintain/support local or indigenous music might be difficult for them to understand since they are coming from the perspective of the dominant culture in the world. To go back to my last post about popular music in India, I’m sure that more than one student would say that the reason we don’t know Indian music is “because it sucks.” To many young people (especially those in K-8), (western) popular culture is the ONLY culture (or the only one that matters).


Bjork: Declare Independence.



Okay, so this is an odd song, I’ll admit, but she’s got some lines that definitely reflect some of the ideas that Negus discusses. She includes lines like, “Protect your language.” And I’m not positive about this next example (because of her accent) but at one point it sounds like she replaces the line, “Raise your flag” with, “Raise your blog.” I love Bjork. This performance could lead into a lesson on politics and culture in today’s world as Bjork upset the Chinese government with a recent performance in China that called for Tibetan freedom. It resulted in the Chinese government saying that they are going to tighten restrictions on foreign artists performing in China.

Another way to frame this for students would be to show how pop songs are used at political rallies for candidates. Sometimes these artists speak out against such use of their music if their political ideals differ from the candidates. In the classroom, we could look at some clips of political rallies, the songs used, the lyrics of the song, and the response (if any) of the artist involved. Negus discusses how songs can move “through time and space away from its moments of origins” (193) and “accumulate and connect with new meanings” (195). This is exactly what many candidates are trying to do with their use of pop music at rallies.

Another way to frame this idea would be to show how the Library of Congress has done work to preserve indigenous music in the American South by sending field reporters to capture the sounds of blues and folk musicians in the 30s and 40s. A man named Alan Lomax, in particular, did a lot of work capturing the music of such artists as Woody Guthrie, Leadbelly, and countless others.

So I think that the challenge for an educator would be to show how these political influences and struggles continue in today’s world. Shortly after the fall of Saddam Hussein’s regime, I heard multiple stories about an Iraqi boy band called Unknown to No One (and while that’s a terrible name for a band—at least from my limited American, rock and roll perspective—the abbreviation that they go by is even worse: UTN1). Forming a rock (i.e. western) band during Hussein's reign that sung in English was a dangerous thing to do, and they had to be careful about the secret police when they were rehearsing. In order to get played on the radio (which was run by Saddam’s son), they had to create a song about Saddam Hussein. This music represented rebellion through the heavy influence of western culture and values. Another interesting point is that this story seemed to be portrayed very positively by the US media. It is shown as a good thing that Western values and culture are being spread to oppressed parts of the word.

Chapter 3: Mediations

The whole issue of “gatekeepers’ that Negus discusses in his chapter on mediations made me think about how most people (myself and my students included) likely never consider where the music they like comes from or the forces and struggles behind these artists and songs. A question that I might ask my students to get them thinking about this topic is why most of us know next to nothing about Indian pop music, despite the fact that there are 1.13 billion people in India (where this music is quite popular), and there are only 305 million Americans. Why doesn’t this music make it onto the radio in the United States? Do you think people in India know the music of Miley Cyrus and Jay Z? Why is it different? Why do they know our music, but we don’t know theirs?

Thinking back to the film class that I student taught, this whole idea of the "man behind the curtain," could be incorporated into a lesson involving the film Citizen Kane, which initially bombed because media mogul William Randolf Hearst did not like the way “his” character was portrayed. He was able to influence public opinion (as well as the movie studios) through his network of newspapers.

When considering the current state of the internet, I have often likened it to the early days of AM radio (both in terms of the evolution of the technology as well as figuring out how it could/should be used), so I found Negus’ discussion of how radio did not “spontaneously emerge” (75) to be particularly interesting. There were a series of struggles and disputes, much like we’re seeing with the music industry’s relationship to music distribution on the internet. There are clashes between and among Record labels, new digital music distributors (Amazon.com and itunes), artists and listeners/downloaders (who are often "illegal" distributors themselves). The hosts of “Sound Opinions” on NPR recently weighed in on the issue and discussed how Compact Discs had become a “cash cow” for the music industry, and they were so tied to that format (which made them giant piles of money) that they were unable to adjust to online distribution and therefore have resisted it and floundered.

The lawsuits against individual illegal downloaders and distributors places these companies in an extremely unfavorable light as they are not suing the very people that they want as customers. I would argue that this serves to lessen their position in the marketplace because consumers don’t want to willingly give money to these mean “evil” corporations…especially not this lady.

Radiohead: "House of Cards"

In a discussion about 21st century music distribution (which the Negus book was a bit outdated on, since the book was published in 1996), the band Radiohead inevitably comes up. They offered their last album, In Rainbows on their website for whatever fans were willing to pay for it. Many people rejoiced at this innovation, but not everyone agreed. Sonic Youth’s Kim Gordon spoke up against the "Radiohead Model," saying that for less successful bands (with smaller fan bases), offering music for free doesn’t make financial sense. So these struggles don't just exist on a corporate level, but also on the level individual artists as well. In the "House of Cards" video, lyrics like "the infrastructure will collapse" and "your ears should be burning/denial, denial" one has to wonder if Thom Yorke isn't singing this song directly to the record companies.

I also wonder what potential role social media (like Facebook) might play in the future of music distribution, since many people learn about new music from their friends. Perhaps people could get a small percentage of a sale if their friend downloads a song or album as a result of their recommendation or link.