Language Arts Journal of Michigan Volume 28 Article 10 Issue 1 Literacy, Literature, and the Arts

2012 Students Sing the Blues: How Songwriting Inspires Authentic Expression Jason J. Griffith Carlisle High School

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Recommended Citation Griffith,as J on J. (2012) "Students Sing the Blues: How Songwriting Inspires Authentic Expression," Language Arts Journal of Michigan: Vol. 28: Iss. 1, Article 10. Available at: https://doi.org/10.9707/2168-149X.1931

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Jason J. Griffith

n many nights in context, the limitations weaken the as- artists. Tapping this interest is an ex- my small town, signment . . . For instance, when a state cellent starting point for engaged writ- Open Mic events writing assessment frames a written re- ing. After students explore why they take place at cof- sponse as a letter to the school board, like certain songs, I ask them to write fee shops, res- and the students know that piece of one. Specifically, I use the 12-bar blues Otaurants, bars, bookshops, and even writing will never see a school board, format to teach about poetic structure churches. On stage, dozens of musi- what is the point” (p. 86)? and deeper meanings in songs as stu- cians and poets regularly spill their It seems simple, then, that the dents create their own. proverbial guts through original verse. key to inspired writing is to engage Songwriting is an appropriate Considering the number of events students with thoughtful and original genre for self-expression. Accord- like this, it’s clear that there’s a signifi- assignments which intersect with their ing to an interview with Paul Zollo, cant market for creative expression, of- interests and, when possible, have real Bob Dylan said that songwriting was ten through original songwriting. Not audiences. The student’s perception more “confessional than professional” only do many folks find pleasure and of self as a stimulus for engagement is (Cott, 2006, p. 370). The same article community in this type of written and described by Robert Marzano (2007) in quotes John Lennon, who “said that it performed expression, but some even the Art and Science of Teaching. Accord- was hearing Dylan that allowed him to make money by performing original ing to Marzano’s interpretation of psy- make the leap from writing empty pop songs with local bands. One of my chology, perception of self includes songs to expressing the actuality of his goals as an English teacher is to show what students find personally interest- life and the depths of his own soul” students what people are writing in the ing and valuable as well as how they see (p. 368). real world for pleasure and personal themselves (pp. 101-102). These quotes illuminate the power of songwriting to engage student in- fulfillment as well as financial subsis- One interesting method to al- terest and sense of self. Culminating tence. Songwriting is definitely one of low for student exploration of self with an open mic event, students have these. is through a songwriting unit. In my the ability to share their honest and Student interest is, perhaps, the heterogeneously-grouped eighth-grade original work with a real audience dur- most significant factor in meaningful English classes in a public middle ing the unit. More importantly, they’ve writing instruction. If students can- school in small town central Pennsylva- been exposed to a form which they can not personally connect to the topics nia, students have enjoyed self-expres- continue to develop with each other and task, a writing assignment will of- sion and establishing a unique sense of outside of class to meet their expres- ten become meaningless. This is part community by writing songs. This unit sive needs. of the problem with writing prompts lets students listen to and respond to on standardized tests; these antiseptic one another authentically, which Dean Building a Foundation: topics are frequently stale and have no says is an “important way to help stu- Responding to Songs relevance in a student’s life. dents consider audience” (p. 89). Deborah Dean (2006) writes in Most of my students enjoy lis- While it is likely clear to most stu- Strategic Writing that “if the idea of an tening to music and have passionate dents that songs are valuable and an imaginary audience is only to pretend a opinions about their favorite songs and appropriate genre for self-expression,

46 laJM, Fall 2012 Jason J. Griffith it is also important to demonstrate Identifying with the artists and I allow students to write about any that there can be an academic place songs provides two purposes. It allows artist and song they choose, but for for interacting with their favorite songs for students to consider why certain Jukebox Day, I do exercise minor cen- alongside canonical literature and tradi- songs are personally connective, and sorship. Students can write about any tional writing assignments. Regarding in the process, students explore their song they choose, but any song played the role of readers and non-traditional inner values and experiences. Most for the class must be school appropri- literature, Coskie and Johnson (2005) students really eat this assignment up ate. Specifically, songs played in class write, “We must honor and make a and write fervently about the topic so cannot contain overt and significant place for every reader in our class- it could easily be expanded; however, I profanity, sexual references, drug and rooms. To do this, we need to trust only assign two paragraphs minimum. alcohol references, or violence. that all readers will bring something to Students are interested in whom ev- What’s interesting is that when I and take something away from what- eryone has chosen, and few neglect first verbalize this fairly obvious re- ever they read. This means, our stu- this assignment or turn it in late, which quirement, students groan and ex- dents—no matter how inexperienced, proves that the topic is interesting to change comical looks while shouting how naïve, or how confident—can them. out titles from controversial rappers (and will) create a unique understand- Since this is such an interesting and rockers, but their actual choices ing of the text” (p. 47). topic to students, it’s important to of songs to share are usually thought- Nowhere is true student reader- share responses. Louise Rosenblatt ful and revealing, often sensitive, and response more evident than in reac- (2005) writes, “In the teaching of lit- always school-appropriate. And when tion to the music and lyrics they enjoy, erature, then, we are basically help- students write about songs with con- and bringing this into the classroom ing our students learn to perform in troversial lyrics, they usually are reveal- is a powerful opportunity. I assign response to a text” (p. 27). The first ing a pretty raw and/or tender part of students a brief essay where they are opportunity in the unit to experiment themselves. asked, simply, to choose a singer, mu- with classmates as an authentic audi- There are always predictable sical artist, group, or band whom they ence is on “Jukebox Day.” I require choices from pop music such as one connect to personally. students to read their essays in front of student who wrote about her appre- The simple directions I provide their classmates, but in an effort to al- ciation for Justin Bieber; “I can iden- my students for this assignment are to leviate some pressure and to make the tify with Justin Bieber because he is choose a songwriter and a song (by that presentations more communal, I bring currently a teenager, and he is going artist) that you identify with and enjoy, students to the front of the room in through some of the same events and respond to the following in several five-student panels. that we are in life such as dealing with well-developed paragraphs: Each student reads his or her re- school, friends, family, and the world. sponse, and then, when each has read, I enjoy his music and the lyrics, which First paragraph (Artist) he or she has the opportunity to play I can relate to, because they are about Why do you appreciate this artist? the song for the class. Breaking the teenage topics.” How do you identify with this per- presentations into panels allows for There are also often some throw- son and his/her work? Write one some breaks between reading and mu- backs to artists from previous genera- paragraph describing the musical re- sic. Students definitely get a kick out tions such as the student who wrote lationship you enjoy with this artist of bringing their I-pods and other mu- about her favorite Johnny Cash song and his/her music. sic media to class to share, and there “Hurt.” are ubiquitous comments such as “we Part of the song “Hurt” is about Second paragraph (Song) should listen to music like this every everyone Cash knows going away What song do you most connect day.” While, Jukebox Day is a more lit- in the end. That can either be with? Write one paragraph de- eral performance than Rosenblatt de- from growing old and all of your scribing what you like about the scribed, the event highlights the pieces friends and family dying, or it song and how it relates to you of and connections to student-selected could be interpreted as just losing and your personality. texts which they feel are important. a friend. I interpret it as invol-

LAJM, Fall 2012 47 Students Sing the Blues: How Songwriting Inspires Authentic Expression

untarily pushing away the people however, find solace in music. tion of the poetic elements of song- you love. I can easily relate to a Specifically, the song “Chiquitita” writing into two parts: aesthetic quality lot of the messages in the song, by ABBA. What I find most com- and deeper meaning. some of them about staying true forting about “Chiquitita” is that In talking about the aesthetic to yourself, or feeling like you’re it is not a song about wallowing in quality of a song, I mean how good it not good enough for someone sorrow. It is a song about feeling sounds lyrically. There are some songs else, or watching everyone around pain, then moving on. It is a song that just sound good and we find our- you change. about feeling hope for a better to- selves singing along even if upon care- The personal connections to the morrow. ful consideration, we find the lyrics to songs are among the most powerful These examples are just a sampling be meaningless or actually in contrast themes in the student essays. Music is to demonstrate the power, passion, and to our own values or interests. Part of clearly demonstrated as a tool for help- connection that such a simple assign- this is certainly because of the beat and ing students deal with difficult times. ment generates, simply because the the music itself, but I deal specifically One student writes: students are working with self-selected with lyrics and poetry in my class. Even “Never Gonna Be Alone” by texts which already have deep personal without regard to content, a songwriter Nickelback is the only song that meaning. Writing about meaningful can make a tune sound good by mak- can make me cry. What makes the song lyrics allows students to explore ing effective use of poetic elements. song so powerful is that it speaks themselves, and sharing their writing Three to focus on are rhythm, rhyme, for everyone. Unfortunately, we with classmates allows students to un- and alliteration. each have our own experiences derstand one another as well as why we Rhythm is the foundation of mu- of losing significant people in our appreciate the songs and texts that we sic, and students understand that this lives. This song relates to me be- do. is created by the beat which is often cause of my grandma who passed established by the drums in music. away almost two years ago which Examining Poetic Facets of Establishing this basic definition of still has an impact on me today. Song Lyrics musical rhythm is an effective bridge Also, this song reminds me of one to teach students that with words, of my best friend’s recent, unex- The next piece of the songwrit- the beat is created by the patterns of pected death from a drug over- ing unit is to examine how songs are stressed and unstressed syllables. In a dose. Either from growing apart constructed by considering poetic de- song, a lyricist must carefully arrange or losing a certain someone, it’s vices and techniques. More specifi- words for the stresses to match the never easy to say goodbye. cally, considering the questions: how music’s beat. Another student echoes the use of do songwriters (and poets) get their A classic example from a rhythm music as consolation, albeit for a dif- audience to enjoy the song and con- master is the song “I Got the Feelin’” ferent form of torment: nect to it personally? Examining the One ABBA song in particular poetry in song lyrics in also an excel- by James Brown. Anyone who remem- gave me consolation during a lent curricular connection because the bers The Cosby Show may remember time when I felt especially mis- poetic terminology and interpretation Rudy singing the lyrics “baby, baby, erable and alone. The cause of required on a state assessment are just baby” from this one. Coincidentally, my pain was a bully, but not the as easily (and perhaps more enjoyably) it’s the same line which serves as a kind of bully I could just beat up applied to songs as they are to tradi- good example of using accented syl- after school. My tormentor was tional, non-musical poems. Rappers lables in a song. Listening to the song, a teacher. I wasn’t willing to tell such as the late Tupac can be used to it’s easy to snap or clap out the beat, anyone anything because I didn’t study many poetic elements, includ- and when Brown gets to the “baby, want to mess up my school year ing meter, rhyme scheme, and figura- baby, baby” line, the instruments drop even more, and I didn’t want to tive language. Not only hip-hop, but out, and Brown holds time with his be perceived as a victim. I didn’t all types of lyrics offer a platform for syllable pattern (“BAY-buh, BAY-buh, want to be that vulnerable. I did, literary discussion. I break my instruc- BAAAAYYY-buh”).

48 laJM, Fall 2012 Jason J. Griffith

When I use song examples in nie Stearn’s song “Early Train.” In it, Understanding the 12-bar blues class, I try to choose from a multitude she sings, “you took that ticket home, requires very little musical knowl- of genres to keep students interested just a one-way, now you’re gone.” Stea- edge. Basically, it involves a repeating and not alienate certain tastes. An- rns uses the metaphor of a one-way pattern of 12 bars (or measures) of other song I use to show how words ticket on an early train to describe be- music which each contain four beats. rhythmically align with music is Ryan Over the course of these 12 bars, the ing heartbroken over a lover leaving. Adams’ “The Hardest Part” which is singer sings three lines; the first es- This also provides evocative discussion a county-tinged acoustic rock song. tablishes a problem or complaint, the on emotional tone in music. Students In it, Adams starts with a soft guitar second repeats or echoes the first line rhythm which he gently sings over. As examine songs looking for words and and the third line resolves or answers the song progresses, a steady drumbeat phrases which establish the tone and the repeated line. The verses connect picks up with Adam’s vocal and match- match the feeling of the music. thematically under a common title or es his stressed syllables perfectly. By examining the facets of poetry progress to tell a story, and writers In fact, the pattern is close to in music, students can see the same make use of rhythm, rhyme, and al- Iambic. Adams sings, “pay my respect elements from traditional poems in literation as well as the possibility of to the company store, I ain’t got no some of their favorite songs. Students metaphor and double meanings which money, don’t want no more” with the also begin to understand what tools are common not only in poetry, but stressed syllables neatly filling out a definitely in American blues music as they have at their disposal should they driving rhythm. I play these and other well. songs for my students and have them choose to write a song which leads us Robert Johnson, a classic blues mark accents on a copy of the lyrics to the highlight of the unit: writing an artist from the 1930s, recorded many while we snap or clap out the beat. original 12-bar blues song. 12-bar blues songs such as “Cross- I also have them examine lyrics for roads Blues” where he sang, “I went rhyme scheme and alliteration. So, one Writing a 12-bar Blues Song down to the crossroads, fell down on way we connect to a song is if it sounds my knees, I went down to the cross- good to us by making effective use of According to the PBS Blues Class- roads, fell down on my knees. I asked lyrical rhythm, rhyme, and alliteration. room website (2003), the 12-bar blues the Lord above for mercy; save me if Figure 1 offers an example of a guided “evolved out of African-American you please.” note sheet that I provide to students work songs, field hollers, spirituals, and These lyrics exhibit the 12-bar pat- as they listen to an examine the song country string ballads more than a cen- tern, and this song was re-recorded as a examples. tury ago, the blues is the foundation of rock anthem by 1960s rock trio Cream. A song may sound good aestheti- virtually every major American music In more modern times, funk band Sha- cally, but many of us connect to mu- form born in the 20th century, includ- ron Jones and the Dap Kings used a sic because of deeper meaning which 12-bar pattern for their hit, “100 Days, is the second category of examining ing jazz, rhythm and blues, rock and lyrics as poetry. Of course, much of roll, and hip-hop” (n.p.). 100 Nights;” and pop-singer Duffy poetry instruction is interpreting figu- Because of its versatility and sim- used a 12-bar pattern on a catchy tune rative language, especially the meta- plicity, the 12-bar blues is an easy form (with frequent radio play as well as be- ing on commercials) called “Mercy.” phor. Songs are the same way. If we for students to study and compose. After playing these examples for really connect with a metaphor, a song The PBS Blues website has a concise students and explaining the pattern, it’s becomes deeply meaningful to us. essay describing the 12-bar format I have students examine the figu- time for them to write their own. Us- called “Understanding the 12-Bar rative language in and author’s intent ing the assignment (Figure 1), students Blues,” and I’ve attached my own as- of lyrics which helps them to under- compose the first verse of a 12-bar stand a less superficial way of connect- signment sheet which guides students blues song. I play a 12-bar riff on my ing to songwriting. One example of a as an appendix (Figure 1: Write Your guitar over and over while singing vari- metaphor to examine in class is in Jen- Own 12-Bar Blues Song). ous examples and counting the beat.

LAJM, Fall 2012 49 Students Sing the Blues: How Songwriting Inspires Authentic Expression

As students compose verses which new ways. If you are interested in try- famous bands and artists have their hit they think work with the pattern, I in- ing something similar, but you have no songs written by songwriters who re- vite them to test them by singing the musical ability, there are several alterna- main behind the scenes and relatively verses along with my guitar. If the stu- tives to teacher-supported songwriting. anonymous. In our unit, not everyone dents are shy, I allow them to recruit First, student musicians can often has to perform, but as a culminating classmates to sing their verses, or I will be recruited to play the pattern. A 12- activity, we take the best songs from sing them, and then I offer guidance bar pattern is simple and can be played each of my class periods, and we per- on how the students can make their by even rudimentary guitar or piano form them in our middle school audi- verses more rhythmic. Once students players. If there are no live musicians torium in front of the academic team. have one verse which works, it’s much available, the free mp3 site www.free- First, each class period elects a easier for them to complete the song playmusic.com offers tracks to use for class song to represent them. Then, by adding verses which connect the- free in school projects, etc. This site each period auditions singers and de- matically or continue the story of their has an extensive collection of styles cides who will perform the song. Of- blues song. I require each student to including 12-bar blues. To find one ten, the singer and songwriter are not compose a complete blues song of that works, click on the blues style and the same. After a few rehearsals, we four verses, but, because I know that search for the keywords 12-bar. have our songwriting assembly where singing in front of an audience is a Once students have composed each class representative sings their brave task, I do not require any student their songs, there is a tremendous per- elected 12-bar blues song, and the au- to sing or perform their song in front formance opportunity to share compo- dience (our entire 8th grade academic of the class, though all students are in- sitions and take advantage of classmate team from which my individual classes vited to try. audience in the form of a songwriting are comprised) votes for a favorite. Some verses from student-created assembly. Since everyone has written a song, 12-bars include the following: the students all have an appreciation Performance and Ownership for how challenging and rewarding it is The Dish Doin’ Blues Brent McKeown (2011) recogniz- to write a good song. And since all stu- When Momma say do the dishes, es that engaging personally with music dents had the opportunity to perform I don’t wanna. as literature in their class period and audition for Oh, when Momma say do the . . . is not, however, fundamental- the assembly, they tend to be respect- dishes, I don’t wanna. ly different from what we ask of ful of one another as performers. This All of that soapy water just ain’t our high school students —born assembly offers an authentic audience, me. in the late 1990s —when we ask and an interesting way for students to take ownership of the songwriting unit The Homework Blues them to read a Shakespearean son- with their own work and through the I got the homework blues, baby. net or a Dickens novel. By asking gentle competition of the songwriting Yeah, I got the homework blues, them to step into these worlds, we assembly. I said. expect them to be brave, smart, Homework is a hassle, but don’t and playful, to be open to the pos- Several weeks after the song- do it and you’ll get no graduation sibility of personal transforma- writing assembly, near the end of the tassel. tion. (p. 88) school year, I host an Open Mic event There is no greater evidence of for our team. All students are eligible These examples show students the transformative power of mu- to participate with any creative work. dealing comically with the routine de- sic than when students perform The only catch is that the work has to tiails of their lives while working with their original music or participate be original. poetic elements of rhythm, rhyme, and in ownership of the unit. Because of our songwriting unit, alliteration. Creating 12-bar blues al- What’s neat about the songwrit- students are much more apt to write lows students to move from identify- ing process is that not everyone has and perform an original song, and each ing poetic elements to using them in to perform to take part. In fact, many year, there are several songwriters who

50 laJM, Fall 2012 Jason J. Griffith participate as well as traditional poets Dean, D. (2006). Strategic writing: The Jason Griffith currently teaches 10th and those who read from other creative writing process and beyond in the grade English at Carlisle High School work. secondary english classroom. Urbana, in Pennsylvania. A National Board Several bands which formed for IL: NCTE. Certified Teacher and National Writing this 8th grade Open Mic event were Duffy. (2008). Mercy. On Rockferry Project Fellow (Capital Area Writing still performing together and creat- [CD]. Nashville: Mercury. Project, Harrisburg, PA), Jason was the ing original songs when the students Jones, S. (2007). 100 Days, 100 nights. recipient of the 2012 NCTE Edwin A. 100 Days, 100 nights were seniors in high school. The sig- On [CD]. Hoey Award for Outstanding Middle New York: Daptone Records. Level Educator. Jason is also a fre- nificance of the songwriting unit is Marzano, R. (2007). The art and science quent presenter at NCTE conventions not just in providing an enjoyable and of teaching. Alexandria: ASCD. and other state and local workshops. personally relevant way for students McKeown, B. (2011). Decoding to write, connect, and examine poetic teacher and student identity with devices, but rather it’s in exposing stu- Jay-z. English Journal, 101.2, 86-89. dents to a form and genre which they Rosenblatt, Louise M. (2005). Litera- could continue to explore in their own ture as exploration and The lives beyond the normal walls of the reader, the text, the poem. classroom. McKeown (2011) writes In Voices from the Middle, that there is “no greater disservice to 12.3, 25-30. our students than failing to afford them Stearns, J. (2005). Early train. On Sing both the physical space and the criti- Desire. Austin: Blue Corn Music. cal apparatus to enter into a thought- ful discussion about the merits and the Figure 1. Write your Own 12-Bar Blues Song problems with the music they listen A 12-Bar Blues song is one of the most basic and recognized patterns in to on a daily basis” p. 89). By writing blues music. Creating your own lyrics is an easy exercise in putting syllables songs and about music, students have together rhythmically. the opportunity to explore their inner landscape and potential in a unique Verses are written in groups of three lines. The first two lines are the same, way not often explored in a traditional the third is different: English class. Verse one: The first phrase makes a statement. References The second phrase repeats the same statement Adams, R. (2005). The hardest part. The 3rd phrase resolves, completes, or answers the first statement. On Jacksonville City Nights [CD]. Nashville: Lost Highway. Example: Background essays. (2003). Retrieved When I get into class, I’ve gotta work so hard from http://PBS.org/theblues. Oh, when I get into class, I’ve gotta work so hard. Brown, J. (2003). I got the feelin’. On If Mr. G keep being so mean, I ain’t gonna come back no more. The 50th anniversary collection Your turn: Listen to the music, and create a verse that matches the pattern [CD]. London: Polydor. above. Make sure it can be sung or spoken rhythmically with the music. Coskie, T., & Johnson, N. (2005). Line 1 (Statement): Readers matter. Voices from the

Middle, 12.3, 47. Line 2 (Repeat statement): Cott, J. (Ed.). (2006). Dylan on dylan:

The essential interviews. London: Line 3 (Resolve, complete, or answer the first statement): Hodder and Stoughton.

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