2008 Woodie Awards
Entertain Me
Joel Winkelman
Issue date: 10/11/02 Section: Entertainment
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The ethical theory class brought to class recently a CD or song that provides the soundtrack to their life. I found this assignment fairly intriguing and started thinking about the soundtrack to my life. If pressed to come up with just one or two songs, I'd have to say Neil Young's album Harvest best provides the soundtrack to my life.
Young's songs on that record weren't written for just me. In fact, they were written before my parents met and considered popping me out. Authentic music exists for and serves a higher purpose than simple entertainment. Professor Campolo's assignment recognizes the power all music holds.
What is "authentic" music? Surely to some people, Nellyville is meaningful. Barry Manilow might be the most important musical figure to some, despite the fact he fails to write the majority of his songs. Most critics consider Nelly and Manilow to be the dregs of the musical barrel. In the same quarters, Bruce Springsteen holds hero status. The Rising, Springsteen's newest album, received the first five-star ranking from that barometer of popular culture, Rolling Stone magazine.
In his heyday, Springsteen received the same praise for songs which captured the spirit of the average blue collar workingman. Authentic, right? Well, Bruce never worked a day in his life—or at least in the way he sings about "work." Critics also overlook the fact that most of his audience can't afford an $80 concert ticket. Despite these incongruities, Springsteen still captures the blue-collar mindset and sells millions of records.
What then are we the listeners to do with a song from an "authentic" artist, like Neil Young, that calls into question his or her authenticity? As far as writing 1960s protest music goes, Neil Young ranks among the best. Tribute songs and eulogies also find a special significance when penned by Neil Young. After "The Needle and the Damage Done" from Harvest, 2001's "Let's Roll" came as quite a shock to a number of Neil Young fans.
Young's songs on that record weren't written for just me. In fact, they were written before my parents met and considered popping me out. Authentic music exists for and serves a higher purpose than simple entertainment. Professor Campolo's assignment recognizes the power all music holds.
What is "authentic" music? Surely to some people, Nellyville is meaningful. Barry Manilow might be the most important musical figure to some, despite the fact he fails to write the majority of his songs. Most critics consider Nelly and Manilow to be the dregs of the musical barrel. In the same quarters, Bruce Springsteen holds hero status. The Rising, Springsteen's newest album, received the first five-star ranking from that barometer of popular culture, Rolling Stone magazine.
In his heyday, Springsteen received the same praise for songs which captured the spirit of the average blue collar workingman. Authentic, right? Well, Bruce never worked a day in his life—or at least in the way he sings about "work." Critics also overlook the fact that most of his audience can't afford an $80 concert ticket. Despite these incongruities, Springsteen still captures the blue-collar mindset and sells millions of records.
What then are we the listeners to do with a song from an "authentic" artist, like Neil Young, that calls into question his or her authenticity? As far as writing 1960s protest music goes, Neil Young ranks among the best. Tribute songs and eulogies also find a special significance when penned by Neil Young. After "The Needle and the Damage Done" from Harvest, 2001's "Let's Roll" came as quite a shock to a number of Neil Young fans.
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