The Instigator
bsh1
Pro (for)
Winning
14 Points
The Contender
9spaceking
Con (against)
Losing
0 Points

A Music Debate--With a Twist

Do you like this debate?NoYes+3
Add this debate to Google Add this debate to Delicious Add this debate to FaceBook Add this debate to Digg  
Post Voting Period
The voting period for this debate has ended.
after 2 votes the winner is...
bsh1
Voting Style: Open with Elo Restrictions Point System: Select Winner
Started: 4/24/2014 Category: Music
Updated: 2 years ago Status: Post Voting Period
Viewed: 1,068 times Debate No: 53326
Debate Rounds (5)
Comments (18)
Votes (2)

 

bsh1

Pro

Preface

I have spent most of today (besides falling down a staircase and talking to YYW) listening to Pharrell's "Marilyn Monroe." I got to thinking, why not do a music-themed debate on DDO? Hence, this music debate with a twist--the twist being that each round will focus on different elements of music appreciation and performance.

You don't have to be a music prodigy to accept--I am certainly not the world's best vocalist. I cannot sing to save my life, but I am willing to let DDO see that for itself. Really, I just want a fun, good-humored, relaxing debate where we can talk about something of mutual interest: music! I wish whoever accepts good luck, and I thank them in advance for accepting!

Structure

R1: Acceptance
R2: Select a Song and write an analytical review of the Song (you're are NOT to review the video)
R3: Same as Round Two, but it should be a review of a cover, comparing it to the original
R4: Select a Song and provide a video (or audio) of you Singing it
R5: Show us a Song that you like, and provide a 1,000 character statement or less of why you believe you won the debate

Judging

The winner of this debate should be decided holistically. Rounds one and two should be evaluated based on the depth of the analysis, the clarity of the message, etc. Round four should be judged based on the singer's ability (were they pitchy, did they choose an easy song technically, did they stumble, etc.) Round five has lesser importance than the other rounds, and judges should give weight to the song they personally enjoy more.

Rules

1. No forfeits
2. All songs in all rounds must be cited using a link to Youtube or to a reputable lyric site (e.g. Metrolyrics). Citations may not be in the comments.
3. Songs must all be "clean" versions
4. For the purpose of this debate, "rapping" shall not be considered the same as singing
5. Stay civil and decorous
6. Violation or non-acceptance of any of the R1 rules or setup constitutes an automatic loss

Thanks again! :)
9spaceking

Con

I accept. Let us hope that bsh1's singing skills aren't as good as his debating skills (or even half as good, because that's how good he's at debating). And let us hope that I don't somehow get a cold that effects how I sing.
And let us hope that bsh1 doesn't choose the song I'm thinking of.
Hint: it's the song. Yes, that song. ;)
Debate Round No. 1
bsh1

Pro

PREFACE

After much debate, I have decided to try and do a different genre of music in each round, to keep things interesting. In this round, I will be doing a review of "Redneck Woman" by Gretchen Wilson (see video.) For the lyrics, please see the link at the bottom of my speech. I was considering doing three other songs, including "The Call" by Regina Spektor, "Girls Chase Boys" by Ingrid Michaelson, and "Applause" by Lady Gaga. I ultimately chose "Redneck Woman" because I think it may be less well-known, and therefore I will be able to look at it more impartially--I haven't been influenced by other reviews.

REVIEW

Today's country music is dominated by the likes of Taylor Swift, Miranda Lambert, Darius Rucker, Rascal Flatts, and the like--all artists who weave heavy pop and rock influences into their sounds, to create a new breed of country music. This new sound, smoother, more electronic, and less bayou in its presentation, has become the new archetype of country music. While this transformation is not necessarily a bad thing in itself--after all, music, like all art, evolves with time--it has had the unfortunate consequence of shifting the country genre away from its roots and making it a less unique form of music. When first listening to Sarah Evans's "Slow me Down," for instance, you might mistake it for the latest pop single. Upon hearing Miranda Lambert's "Nobody's Fool" you might think she was a rocker with country influences, not a country singer with rock influences. And, even the instrumentals to Rascal Flatts' "Rewind" seem mired with rock and pop sounds. Ultimately, this less-than-authentic country music is blurring the line between what is, or is not, "country."

Amidst all of this gentrification in the country genre, there are those few songs that exemplify, unabashedly, true "country" sound. "Redneck Woman" by Gretchen Wilson is one such gem. From the very first guitar notes, the song is unmistakably country, harkening back to the Brook's and Dunn-style Honky-Tonk music that used to dominate the genre. Characterized by assertive guitar, violin, and banjo sounds, laced with upbeat piano notes that drift through the curtain of strings, the instrumental is aggressive and easy to move to. It also supports the white-trash-embracing lyrics Wilson throws at her listeners. The low-class sound of the music reinforces the singers' country pride in a total rejection of the creeping influences of the pop/rock scene into country music.

Wilson's semi-autobiographical lyrics are a blatant assault on the idea that white trash is, in fact, a bad thing. The irony here, is that the song implicitly accepts that the subject is "trashy," but then seeks to glorify that "trashiness." This stands in contrast to other artists, such as Terri Clark or Taylor Swift, who have sought to portray country women as independent and strong without labeling them as low-class. But Wilson refuses to shy away from that label. The success of Wilson's artistry here is her imagery, and her skill in painting that mental tableau of the woman standing, in the middle of summer, on a Christmas light-festooned porch in dirty jeans and a t-shirt, balancing a baby on her hip. It conjures up every stereotype of the backwoods woman, and puts it to a track that sounds like it was recorded straight out of a tavern down in Montgomery, Alabama. It very aggressively assails the listener with this low-class imagery, reminding them in each refrain though, that the singer is proud of her background and, shamelessly proud of her status as a "Redneck Woman." Sophistication is not for everyone, nor is the Barbie-doll lifestyle that Wilson mocks. Her lyrics point us to the idea that she, in all of her "trashy, hardcore" glory, is perhaps more authentic and "real" than a "high class broad."

The unfortunate fact of her ultra-country sound, however, is that she is at a greater risk of being ignored. Her sound is so backwoods that the wit and message underlying that outward "countryness" could be ignored by critics and audiences alike. Yet, "Redneck Woman" is a unique twist on the feminist country stage, not simply for its embrace of the low-class label, but for its traditional sound.

While my review has been generally positive until this point, there are some legitimate criticisms that can be made. The primary critique I will focus on is the song's repetitive lyrics. To illustrate this point, we only need to reference the lines themselves. Of 55 total lines, 36 lines are repeated at least three times during a three and a half minute song. In other words, only 19 lines intersperse tracts of redundant filler. While tolerable one or twice, this song quickly becomes nauseatingly cyclical and hard to listen to, simply because it lacks variety. In the course of this review, I have replayed the song 5 times, and already I am ready to shoot my computer screen in pent up frustration. Sure, Wilson switches from Charlie Daniels to Tanya Tucker to ole Bocephus, but, while clever, these tricks are an insufficient remedy to this song's repetition curse.

On the other hand, the song is designed to be anthemic--a song that functions more as a rousing chant to energize all loyal country fans than to be a song of high art. This requires some amount of repetition to allow for easy recall and audience participation, which helps to get the crowds going. Because of this, we can forgive some of the repetition, but even so, there is still too much.

The other criticism worth mentioning is the relative simplicity of the instrumentals. While they are "country," they are also fairly cyclical and lacking in technical complexity. The bridge between the second and third choruses falls totally flat, especially when compared to highly complex banjo or guitar instrumentals put forth by equally "country" groups like the Dixie Chicks. It is clear that the sound Wilson is cultivating has room to grow, and I expect that as her music develops more, increased depth and richness will follow.

So, what is my take on the song--for good or ill? I think, on a 1-10 scale where 10 is the best possible score, "Redneck Woman" earns a 7. Easy to dance to and authentically country, this song willfully bucks the trends in the genre, and does it with panache. It sends not only a weighty message to listeners about female empowerment and avoiding phony "Barbie-doll" lifestyles, but it does so in a relatively creative fashion. It quickly elicits audience participation, livening up any tailgate party or drinking contest, and is sure to be a hit--so long as you don't play it too often. Its repetition both lyrically and instrumentally makes replays unbearable (I should know, I'm on my 8th repeat, and I'm reaching for that gun...) Wilson's style, while having a solid foundation, does need some work, and it is obvious that she is a relatively new artist on the scene, despite her aggressive and confident style. But, regardless of these faults, "Redneck Woman" will go down in country music as the anthem Wilson wanted it to be, and deservedly so. For all its failures, it has reminded the genre of what it is supposed to be--it is country music, not pop music, after all.

Source: http://www.metrolyrics.com...
9spaceking

Con

Just to be sure, round 3 is me singing the song I chose in the first round, right?
Right.
So, I choose...

(drum roll please)

The song that...

(pause for suspence)

won lots of awards...

(cool flash for transition and suspence)

appears in one of the most recent Disney movies...

(draws in breath)

And its name is.....

(scroll down please)
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|

LET. IT. GO.
I shall post my "reaction" to the song's lyrics, then review it.
Source: http://www.metrolyrics.com...
The video: https://www.youtube.com...

The snow glows white on the mountain tonight
Not a footprint to be seen.
A kingdom of isolation,
and it looks like I'm the Queen

This beginning gives the true reminder of loneliness and evokes the image of the song "Do You Wanna Build a Snowman", and gives us a moment to take in the fact that now that Elsa has abandoned her sister, she is lonely and feels conflicted.

The wind is howling like this swirling storm inside
Couldn't keep it in;
Heaven knows I've tried
Once again, this verse reminds us of the sad song and beginning where Elsa struggled to keep her powers in.

Don't let them in,
don't let them see
Be the good girl you always have to be
Conceal, don't feel,
don't let them know
Well now they know
This verse gives suspence to the movie and to the scene: now that her parents are gone, what is she going to do?

Let it go, let it go
Can't hold it back anymore
This cool climax and chorus of the song finally reveals what Elsa is going to do: let go of her powers and let go of her stresses and worries. This double meaning is quite cool, especially in the context of the movie.

Let it go, let it go
Turn away and slam the door
I don't care
what they're going to say
Let the storm rage on.
The cold never bothered me anyway
This verse truly shows that Elsa doesn't care about anything anymore, because all her secrets are now revealed, now she can let her powers release.

It's funny how some distance
Makes everything seem small
And the fears that once controlled me
Can't get to me at all

This stresses on the fact that now that she is away from Anna, she cannot harm her sister, and thus, her powers can do no harm, and she is no longer afraid.

It's time to see what I can do
To test the limits and break through
No right, no wrong, no rules for me,
I'm free!

Elsa takes her powers to a higher level--hey, she's already "let it go", so why not "test the limits"?

Let it go, let it go
I am one with the wind and sky
Let it go, let it go
You'll never see me cry
Here I stand
And here I'll stay
Let the storm rage on

This repetition of the chorus only makes Elsa's solo stronger.

My power flurries through the air into the ground
My soul is spiraling in frozen fractals all around
And one thought crystallizes like an icy blast
I'm never going back, the past is in the past

Elsa highlights her strong powers with the complex diction (in comparison to her previous verses), and her choice of words illusionally seem like onomatopoeia, combined with the alliteration and rhyme, creates the ultimately catchy verse possible!

Let it go, let it go
And I'll rise like the break of dawn
Let it go, let it go
That perfect girl is gone
Here I stand
In the light of day
Let the storm rage on
The cold never bothered me anyway!

Elsa sings her last verse and says "goodbye" to the "perfect girl" she once was, and ends her powerful song with a slam to the door!

OVERALL
This song really had impact on the movie. It was the best of all the songs, and a closer examination reveals secret meanings, as the other song "Love is an Open Door" does. Let it Go, the annoyingly catchy song that fits in the theme and is very related to the theme of isolation and loneliness presented by "Do You Wanna Build a Snowman". It even reminds us of the powerfulness of Anna's "For the First Time in Forever", as Elsa is freed from her stresses as well and is extremely joyous now that Anna is safe from her and she is free to do whatever she wants. This song deserves all of its awards, and I rate it a 10/10, as it sets up the plot for the other songs and reminds the audience of the previous settings. Being an amazing song, with a powerful voice, Let it Go is awesome!

Debate Round No. 2
bsh1

Pro

PREFACE

Just to clarify, the rules do not require that you perform you R2 song in R4 or that you use your R2 song in R3 or R5. All rounds could be different if you wanted them to. However, you may repeat songs if you'd like--it's up to you.

Since I did a country song last round, I will do a jazz/pop song in this round. I will be comparing Nina Simone's version of "Feeling Good" to Michael Buble's cover. I did consider doing a comparison of Dixie Chicks' and Stevie Nicks's version of "Landslide," but I wanted to do something other than country/rock this round. I hope you are enjoying my song selections thus far :)

My review will be structured as follows: first, I will analyze Simone's version, then Buble's version, and then conclude with notes of contrast and comparison.

REVIEW

Nina Simone's "Feeling Good" is an icon of 1960's jazz music. Her rendition opens up acapella, offering a very raw, melodious, and natural transition into the song. By choosing to forgo musical accompaniment, the imperfections of her voice are allowed to come through, striking the listeners as an authentic, sincere, and real sound. The bold music immediately following this opening is not allowed to overpower Simone's voice; this balance helps to build an upbeat feel, without forcing the vocals to move up-tempo. The light piano in the background again adds a note of richness to the song, while making Simone's voice the star of the proverbial show.

With all the song's natural imagery, Simone's raw, minimalist approach highlights the underlying message of the beauty that comes from self-confidence and from a sort of transcendental worldview the song is reminiscent of. Her willingness to not be supported by instruments is a testament to her own confidence, and shows that she is indeed, "feeling good."

Michael Buble's version is the epitome of the classic pop sound, but clearly melded with jazz influences. Polished and precise, Buble's voice occasionally competes for attention amidst the backing instrumentals. His sound here is far more akin to "James Bond" where a smooth, sultry, easy-to-dance-to melody is combined with a powerful, crooner voice. Here the emphasis is on creating an atmosphere akin to a classy, tuxedo-filled, nightclub, where champagne flow freely and urbane sophistication is compulsory. Living the sexy, rich, and James Bond-like high life is "feeling good."

It is tempting to view both of these songs as time capsules of their respective eras. Simone's idea of what it is to feel good--the confident, raw, natural way about which she delivers the song--is worlds apart from Buble's conception of what it is to feel good, with his contemporary, flawless, fluid sound. One seems to view the accoutrements of society as unnecessary for happiness and empowerment, whereas the other seems to embrace the trappings of success and materialism. But while this analysis is tempting to make, it is very hard to prove. To draw such heady philosophical conclusions moves us too far in the direction of the subjective, and leads us astray from the more concrete.

Concretely, then, we can say that Simone's approach is less of an auto-tune, smooth delivery. She, unlike Buble, is never in competition with the music for attention. In this way, her take on the song is more compelling, because her own personal charisma is allowed to shine through, unfiltered. Her use of scat to build in pauses in lyric flow and her willingness to change the rhythm of her choruses, enables her to switch emphases during the song--a useful skill when trying to convey a nuanced message. Simone's rendition ultimately comes across as more conversational, starting out slowly, lurching through where natural pauses arise, and building up to a crescendo that put the final exclamation point on her argument. Buble, on the other hand, builds a steady, intractable progression up to his climax, uninterrupted by scat or rhythmic shifts, making his delivery seem far more contrived and mechanical than Simone's.

This leads me to say that Simone's version deserves a higher rank than Buble's. While Simone could've done more to accentuate the "rawness" and power of her unaccompanied voice, her song is, at the end of the day, a powerful statement of values that will forever be a monolithic icon in jazz music. It earns, therefore, a 9/10. Buble, on the other hand, does do a credible job for what he is attempting to do--to harken back to the James Bond style of music. His vocals are perfect, but in their perfection, they lose a note of realism, which, in the end, hurts him the most. His cover earns a 7/10, because it just left me unfulfilled and wanting more. Simone's human touch, her musical sincerity, trumps Buble's hand in this match-up.
9spaceking

Con

I will have Demi Lovato's cover for Let it Go in this round, comparing it to the original.
Video:
http://www.metrolyrics.com...
Just like round two, I will analyze every verse of it. However, this time, I will make references to the original.

Let it go, let it go
Can't hold it back anymore
Let it go, Let it go
Turn my back and slam the door
An intriguing start for a song. However, it must be noted that this starts right after the ending of Frozen. This part of the cover, matching up to the climax of the original, stays true to the main chorus and reminds the audience of the strong ending of the movie

The snow glows white on the mountain tonight
Not a footprint to be seen
A kingdom of isolation, and it looks like I'm the queen
The wind is howling like this swirling storm inside
Couldn't keep it in
Heaven knows I tried
It almost seems like Demi is going in reverse, slipping back to the verse before the climax.

Don't let them in, don't let them see
Be the good girl you always had to be
Conceal, don't feel, don't let them know
Well now they know
This actually references to multiple parts of the movie. I am sorry I failed to mention this in round 2, but Elsa actually makes a reference to her rejecting to "sponsor" Anna's and Han's marriage, thus, "turning her back" and "slamming the door". Now, this concealance actually reminds us all of the revealance of Hans being the villain. The reminder of the cool and shocking plot-twist, which is one of the core elements of the movie that makes it strong.

Let it go, let it go
Can't hold it back anymore
Let it go, let it go
Turn my back and slam the door
And here I stand
And here I'll stay
Let it go, let it go
The cold never bothered me anyway
Again, the powerful chorus of Elsa is altered by Demi in such a way that's it's more of a general style of music that works well to listening but not necessarily in the movie.

It's funny how some distance makes everything seem small
And the fears that once controlled me can't get to me at all
Up here in the cold thin air I finally can breathe
I know I left a life behind but I'm too relieved to grieve
This is where Demi really twists and bends the lyrics to her own. This would not have worked in the movie, because the audience would be a bit terrified at the meanings of the words "too relieved to grieve", as this almost suggests a somber tone!

Let it go, Let it go
Can't hold it back anymore
Let it go, Let it go,
Turn my back and slam the door
And here I stand
And here I'll stay
Let it go, let it go
The cold never bothered me anyway
This is only as a filler in a pattern: chorus-away-chorus-away....but it works out well, as the pattern is completely broke apart and the original lyrics as well in the following verse.

Standing - frozen in the life I've chosen
You won't find me, the past is so behind me
Buried in the snow
Possibly Demi's own "cool part", as if she's implying she chose this song and now she's "frozen in the life I've chosen". Maybe she is stuck in this song, and doesn't want to quit, as she's practiced so much and been paid, so now, "the past is so behind me buried in the snow". One time again, Let it Go has proven itself to be full of complex possible meanings, even the cover!

Let it go, let it go
Can't hold it back anymore
Let it go, let it go,
Turn my back and slam the door
And here I stand
And here I'll stay
Let it go, let it go
The cold never bothered me anyway...
(let the music go on)
let it go, let it go
Let it go, let it go
A really nice ending, as nobody wants to hear a door slammed in their face right at the end of the credits. This cool ending shows how the lyrics can be alternated, the style too, and even the set-up as well, and all of the song can still be intact, arguably even more cool!

OVERALL
This cover is quite nice. However, it cannot compare to the strongness of the original. I will nevertheless give it a strong 9/10, as Demi's own style spiced up the credit scene, and reminded us of the awesomeness of the song, which leads to the awesomeness of the movie. It is because that this song can be altered, backed up with guitar instead of an unidentifiable computer-generated sound, that it deserves all of its awards. While the original Let it Go truly expresses the theme of "Let it Go" and "Turning back and slamming the door", the cover reminds the audience of the whole movie and really is the best possible music that can accompany the credits scene. Well done, Disney!

Debate Round No. 3
bsh1

Pro

PREFACE

I chose to do something R&B for this round, and I think I did a passable job, esp. for someone who can't sing. It's not a total disaster, so I'm thrilled. The screen is black in order to preserve my anonymity, in case you were concerned about that. Anywho, I did "Stay" by Rihanna, the lyrics for which are provided below. My rendition can be accessed via the link at the bottom of the speech.

LYRICS

All along it was a fever
A cold sweat hot-headed believer
I threw my hands in the air, said show me something
He said, if you dare come a little closer

Round and around and around and around we go
Ohhh now tell me now tell me now tell me now you know

Not really sure how to feel about it
Something in the way you move
Makes me feel like I can"t live without you
It takes me all the way
I want you to stay

It"s not much of a life you"re living
It"s not just something you take, it"s given
Round and around and around and around we go
Ohhh now tell me now tell me now tell me now you know

Not really sure how to feel about it
Something in the way you move
Makes me feel like I can"t live without you
It takes me all the way
I want you to stay

Ohhh the reason I hold on
Ohhh cause I need this hole gone
Funny you're the broken one but I"m the only one who needed saving
Cause when you never see the lights it"s hard to know which one of us is caving

Not really sure how to feel about it
Something in the way you move
Makes me feel like I can"t live without you
It takes me all the way
I want you to stay, stay
I want you to stay, ohhh

Source: http://www.lyricsmode.com...
Video: https://www.youtube.com...
9spaceking

Con

My video will be located on http://padlet.com... do not judge the "test", it is just, a test on volume so you know how loud to turn your speakers on. I will sing louder than I said "challenge accepted", so everyone will be able to hear better. I will post the video when I get home, before I post the final round arguments. I will use the song "Happy" by Pharrell Williams.

Lyrics:
It might seem crazy what I'm about to say
Sunshine she's here, you can take away
I'm a hot air balloon, I could go to space
With the air, like I don't care baby by the way

Because I'm happy
Clap along if you feel like a room without a roof
Because I'm happy
Clap along if you feel like happiness is the truth
Because I'm happy
Clap along if you know what happiness is to you
Because I'm happy
Clap along if you feel like that's what you wanna do


Here come bad news talking this and that
Yeah, give me all you got, don't hold back
Yeah, well I should probably warn you I'll be just fine
Yeah, no offense to you don't waste your time
Here's why


Because I'm happy
Clap along if you feel like a room without a roof
Because I'm happy
Clap along if you feel like happiness is the truth
Because I'm happy
Clap along if you know what happiness is to you
Because I'm happy
Clap along if you feel like that's what you wanna do


Happy, bring me down
Can't nothing, bring me down
Love is too happy to bring me down
Can't nothing, bring me down
I said bring me down
Can't nothing, bring me down
Love is too happy to bring me down
Can't nothing, bring me down
I said


Because I'm happy
Clap along if you feel like a room without a roof
Because I'm happy
Clap along if you feel like happiness is the truth
Because I'm happy
Clap along if you know what happiness is to you
Because I'm happy
Clap along if you feel like that's what you wanna do


Because I'm happy
Clap along if you feel like a room without a roof
Because I'm happy
Clap along if you feel like happiness is the truth
Because I'm happy
Clap along if you know what happiness is to you
Because I'm happy
Clap along if you feel like that's what you wanna do


Happy, bring me down
Can't nothing, bring me down
Love is too happy to bring me down
Can't nothing, bring me down
I said


Because I'm happy
Clap along if you feel like a room without a roof
Because I'm happy
Clap along if you feel like happiness is the truth
Because I'm happy
Clap along if you know what happiness is to you
Because I'm happy
Clap along if you feel like that's what you wanna do


Because I'm happy
Clap along if you feel like a room without a roof
Because I'm happy
Clap along if you feel like happiness is the truth
Because I'm happy
Clap along if you know what happiness is to you
Because I'm happy
Clap along if you feel like that's what you wanna do




Read more: Pharrell Williams - Happy Lyrics | MetroLyrics
Debate Round No. 4
bsh1

Pro

PREFACE

I chose this song to end this debate on because, as I have been trying to do throughout, I wanted to showcase some musical variety. Having done country, jazz/pop, and R&B, I thought doing an alternative rock song was appropriate. "Buzzcut Season" is not one of Lorde's better known songs, but it is an amazing piece. The idea of escapism, or "living in a hologram with you," is expressed as a necessary, but sad fantasy, without which the evil of the outside realm would become overwhelming. At the same time, the utopic "pool" Lorde describes has its own dangers, i.e., losing touch with the world. Her ethereal, calm presentation of such an unnerving message only adds to the quality of this song. It is as if she herself is out-of-touch, sanguine in her own cocoon of unreality. I hope you enjoy this song and its symbolism as much as I do! I have provided the lyrics below for you convenience as well.

VOTING ISSUES

In this round I am permitted a 1,000 characters or fewer to argue why I have won this debate. I will keep these remarks short because they are meant to be more of a final focus/wrap up than an argument in themselves. Also, the focus should be more on the music, and less on arguments like these. I certainly think the variety I have shown is a point in my favor. The goal of the "music with a twist" was to show depth in music appreciation; I have attempted to show depth and breadth in that I am not laser-focused on any one genre. Moreover, in my reviews, I was not simply gushing compliments, but rather critical of each song, fully justifying my ratings within the character constraints. Finally, I analyzed each song as a song, and not as a part of a movie, unlike Con, who primarily investigated the importance of the song in terms of its role in the movie. The goal was to appreciate the songs in themselves, and not how they impacted a movie plot.

Thanks to Con for a great debate, and thankyou for judging! Please VOTE PRO!

Source: http://www.metrolyrics.com...
9spaceking

Con

Last round. I choose this super cool Chinese-song that has a title which roughly translates to "fly freely", and attempts to sound chill and cool like its tune suggests. It does an alright job of this, and fits to the theme of being free and the lyrics, if translated, pretty much symbolizes a man and women both wanting to explore the world and praising the how awesome the world is while they're free, and they both encourage each other to follow them to a faraway place. This nice pop song, although Chinese, is still pretty cool. It has many secret meanings within it, playing on the definition and sound of words, and combined with the rather hard-to-follow rapping parts (even if you understand Chinese), I rate it 8/10.


Lyrics (and their translations): http://www.singchinesesongs.com...;

WHY I WILL WIN (HAD THIS BEEN A NORMAL 7-POINT VOTING SYSTEM)
Conduct: Tie. No forfeit, nor personal attacks.
S & G: bsh1 spelled "thankyou" last round as one word. I see no errors in my reviews. Correct me if I am wrong.
Convincing arguments: Although I did focus on one genre, I explained the secret meanings and the impact the lyrics had on the song, while my opponent focused on how the style(s) changed the song(s). Let it Go, being voted the best song in the movie Frozen by most people, and an award-winning song, it's hard to say bad things about it. I was "gushing" about Let it Go because I couldn't manage to come up with anything bad about it. (Other than the fact that it's annoyingly catchy). :P
Sources: Tie. We both uses Metrolyrics and Youtube.

In conclusion, I have put up a hard fight against bsh1. I am well aware he has more experience than me, and he will probably, more than likely win against me in this "Music Debate--With a Twist". Nevertheless I have learned to do more than scratch the lyrics of the songs, and rather focus more on how it was sang, the style, and how the song deserves to stand high and win awards. This has been a very fun debate for me!
Vote con!
Debate Round No. 5
18 comments have been posted on this debate. Showing 1 through 10 records.
Posted by bsh1 2 years ago
bsh1
@Esocial - Remember, I closed that youtube account.
Posted by ESocialBookworm 2 years ago
ESocialBookworm
-_- Neither of your links for R4 work.
Posted by 9spaceking 2 years ago
9spaceking
LINK TO ROUND 4 STUFF: http://padlet.com...
Posted by bsh1 2 years ago
bsh1
Just so Con is aware, his R4 link is not functioning--it says "Page Not Found." If it is a broken URL, you may wish to C/P a functional one into your last round, and just make a note to the readers about it.
Posted by 9spaceking 2 years ago
9spaceking
whups! forgot the link to metro lyrics: http://www.metrolyrics.com...
Posted by GodChoosesLife 2 years ago
GodChoosesLife
Well this will definitely be interesting to watch :)
Best wishes to you both! :)
Posted by L.D 2 years ago
L.D
I would be accepting this if it wasn't for R4. I can't sing at all, I mean not at all :D
However, I really appreciate music and I enjoy every genre of it, it has been a while now that I don't just listen to music, I analyse it and try to hear the beauty of every instrument or sound involved in every genre anywhere from rock to psytrance, from classical to chill. Anyways, I will be following this debate with great interest, and hope it will be a good one. Interesting topic.
Posted by bsh1 2 years ago
bsh1
@GCL

Yuppers :)
Posted by GodChoosesLife 2 years ago
GodChoosesLife
ummm... I guess I get it.. LOL so round one we'd be writing out our analysis??
And round 2 we'd be writing another analysis for something else..
rounf 3 (this'll be easy) sing a song lol
and then round 4 choose whatever song and da de da.. LOL
Posted by bsh1 2 years ago
bsh1
Round One: You are going to take a song and review it. Pretend your a music critic and a new song has been released. You want to analyze it, and critique or praise it, so your readers will know if it's good or bad.

Round Two: This time, you're comparing an original song to a cover of that song. Discuss which is better and why. Be analytical...

Round Three: Sing a Song

Round Four: Post any random song you want. Tell us why you won this debate.
2 votes have been placed for this debate. Showing 1 through 2 records.
Vote Placed by whiteflame 2 years ago
whiteflame
bsh19spaceking
Who won the debate:Vote Checkmark-
Reasons for voting decision: I thought both debaters did a good job in their analysis. However, I felt bsh1 challenged himself more with his material by choosing a wider diversity, and brought a deeper level of analysis to each of his pieces. His R2 was a thorough deconstruction of the video, and his R3 was an apt comparison of two very different styles, admittedly with a little bias towards certain aspects (which is fine, since this sort of practice is always going to be subjective). Con spent more time analyzing the significance of his songs within the context of the movie Frozen, and while that is a type of analysis, it's overly superficial and obvious by comparison. I think both debaters sung well in R4, so I can't really decide a winner there. His final round analysis is a good wrap-up as well, providing a solid idea of where my vote should go and why. Con reverted to the 7-point system in his evaluation, and generally seemed overly focused on popularity over substance.
Vote Placed by YYW 2 years ago
YYW
bsh19spaceking
Who won the debate:Vote Checkmark-
Reasons for voting decision: PRO's analysis of Wilson's "Redneck Woman," and his thesis that it was authentically "country" country was well articulated. I'm not a country music fan, but he communicated it in a way that could reach even someone like me. CON didn't really do anything close to that. Although his song choice was certainly more main stream and probably a safer choice, he didn't make the case for it. PRO's subsequent round was more up my alley, and his analysis was consistent with his first round's... as was CON's. Props to both debaters for being willing to sing -though CON's link didn't work. Odd, yet it should come as no surprise that PRO takes this.