Hodja
CASA - Deke Sharon
<DAN...@MAINE.MAINE.EDU> wrote:
> I am in a group who is singing "Hodja" as performed by
> Todd Rundgren.
>
> Anybody out there who can provide me with some details about the
> song (like what does Hodja mean and/or represent) would be
> greatly appreciated.
>
> Thanks,
>
> Danny Williams
> University of Maine
I believe (and it's just conjecture) that Hodja is meant to be a name of a
friend who's a good dancer, as in:
"Hodja, please show me how to spin - I wanna do that dance 'til I forget
where I am"
Even stranger is the name of another friend mentioned in the bridge -
"Milvonia?"
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
_/_/_/ _/_/ _/_/_/ _/_/ THE CONTEMPORARY A CAPPELLA
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1850 Union Street #1441, San Francisco, CA 94123. fax:(415) 921-2834
Eric Chung
: I am in a group who is singing "Hodja" as performed by
: Todd Rundgren.
: Anybody out there who can provide me with some details about the
: song (like what does Hodja mean and/or represent) would be
: greatly appreciated.
: Thanks,
: Danny Williams
: University of Maine
My group also sang "Hodja" last year. I think "Hodja" refers to one of
those "whirling derbish" deals, sort of like a large wooden screw, the
kind you hang from the roof and watch spin when wind blows. I guess it
has religious connotations because "Hodja" is a gospel tune addressed to
that object (supposedly from one's deathbed). The lines like "show me
how to spin now" kind of portray that image. Sorry for the foggy
details. But I know it's a gopsel song. Anyone out there with a better
answer? (Even people from my own group...?)
Eric Chung
The Harvard-Radcliffe Veritones
Danny Williams
Julian Bragg
>: Anybody out there who can provide me with some details about the
>: song (like what does Hodja mean and/or represent) would be
>: greatly appreciated.
I looked it up once, out of sheer curiosity; it's the name of a specific
rank in Islamic heirarchy. I forget the specifics, unfortunately.
Joshua R. Slobin
around to reach a higher spiritual plane. The song is my group's
traditional opener.
Josh
Business Manager, Yale's Mixed Company
Eric Chung (ech...@scunix4.harvard.edu) wrote:
: Danny Williams (DAN...@MAINE.MAINE.EDU) wrote:
: : I am in a group who is singing "Hodja" as performed by
: : Todd Rundgren.
: : Anybody out there who can provide me with some details about the
: : song (like what does Hodja mean and/or represent) would be
: : greatly appreciated.
: : Thanks,
: : Danny Williams
: : University of Maine
: My group also sang "Hodja" last year. I think "Hodja" refers to one of
: those "whirling derbish" deals, sort of like a large wooden screw, the
: kind you hang from the roof and watch spin when wind blows. I guess it
: has religious connotations because "Hodja" is a gospel tune addressed to
: that object (supposedly from one's deathbed). The lines like "show me
: how to spin now" kind of portray that image. Sorry for the foggy
: details. But I know it's a gopsel song. Anyone out there with a better
: answer? (Even people from my own group...?)
: Eric Chung
: The Harvard-Radcliffe Veritones
--
!???????????????????????????????????????????????!
! "Sometimes I wake up screaming, then I notice !
! I haven't been sleeping." Mark Curry !
! Josh Slobin Yale University !
!???????????????????????????????????????????????!
David Mark Das
and uncomplicated, but there's a world of depth under the surface of the
stuff...
I am so grateful for the historical and sociological background on this,
a true masterpiece of modern music. Performing Hodja will never be the
same again. :)
David
David Das ;,//;, ,;/ "Well, I'm glad! Because now I know
UNT Box #13362 o:::::::;;/// that I can win. This here race isn't
Denton, TX 76203 >::::::::;;\\\ given to the swift or the strong, but
dd...@jove.acs.unt.edu ''\\\\\'" ';\ the one who endures to the end." Take 6
http://www.unt.edu/~ddas <-- check out the Take 6 home page, CHHSW alumni list!
Stephen Neely
About Hodja...I asked the same question a long time ago and got these
responses...
Hodja is another name for Jularudin Rumi - the Sufi Monkey God.
I thought the song was about dervish dancing / praying.
"Hodja" - Konya is where Whirling Dervishes were founded by Rumi
I agree with the reply that was posted on the newsgroup - although
the correct spelling of the author being recommended is Idries Shah.
Yes, Hodja is a song addressed to the spiritual master (Hodja) by a
young aspirant, who wants to learn the dance of the Whirling
Dervishes. The W.D. were founded in Konya, Turkey (which is
referred to in the song - "every alley in Konya") by Sufi
teacher, poet, author etc. Rumi. For more details see
The Way of the Sufi by Idries Shah
The Sufis by Idries Shah
A really interesting book written by an Englishman who in
the late 1950s or early 1960s took an interest in Sufism and had
personal training in a variety of centers, including his participation
in a whirling dance, is Among the Dervishes, by O. M. Burke.
Another interesting book is People of the Secret, by Ernest Scott.
Or - a real favorite of mine, The Observing Self: Mysticism and
Psychotherapy, by Arthur Deikman, MD.
I should mention one point that Idries Shah stresses - not everything
that goes by the name Sufism - either here and now (late 20th century)
or there and then - is the real thing - there were/are a lot of
well-meaning imitators, who call themselves "Sufis" but aren't -
just as not everyone that calls themselves a "Christian" exemplifies
and embodies the teachings of Jesus. In fact, Shah more or less states
that although the W.D. were, for their time and place, effective for
some of the participants, by now they are mainly a branch of the
"entertainment industry" - by which he means, as I understand it,
that as colorful as the dances are, they aren't really going
to lead to "enlightenment" for most participants or spectators.
There's a Kate Bush video, that came out in '90 or '91, that includes
W.D. (the song is "Love and Anger" or something like that - the
second song on the CD "The Sensual World") - and a song on the
latest Kate Bush CD (CD titled Red Shoes - song called Constellations
of the Heart) that expresses the mystical attitude.
hodja is about a whirling dervish. the dervishes are a religious group in
the mideast. look up whirling dervishes. 8-)
Well, there you have it...more Hodja info than you ever wanted to know
and now you know why you were scared to ask...What can I say?...I'm a
giver!
Del
Stephen Neely
I have to agree with Dave on this one...Doo-wopp takes a particular
amount of flack amongst the a cappella community as far as I have seen,
and I think it really has it's place.
I want to use this opportunity to start a discussion on this topic.
I am in a group and we do a pretty contemporary show, but the guys like
to end with "It's Alright" by Huey Lewis. It's a nice Doo-Wopp cover,
but at the end of a show, especially a contemporary one? My point is
really more on how I immediately discredited the street-corner doo-wopp
style. Less than a year ago I would have battled it out with the person
making bad comments about Doo-Wopp, but now, especially after going out
West and being exposed to the a cappella scene out there and hearing the
opinions of a bunch of different a cappella junkies there, I too am
seeing myself having that same condescending outlook towards this style.
After the West Coast Summit Concert there was a group singing
Doo-wopp in the lobby. They were doing a lot of the fifties stuff that
the Nylons did, like "One Fine Day", Silohuettes, etc...and the general
talk that night and the next day was "Don't they realize that anyone can
do that stuff?" and that sort of talk. I agree that it is pretty easy,
especially if your singing a cappela chops are up to par, but when you
think about it "Rockapella" isn't really doing mindboggling music
either, but I still love it, listen to it everyday, and never get sick
of it! They do alot of music that is obviously influenced by doo-wopp.
I have even called it Doo-Wopp with a beat.
What's the point?...Well, it seems that a cappela has a new face,
but with no real name. I hear The House Jacks, Some Contemporary
Rockapella, and the music that some fledgling a cappella groups are
doing, and I can't really say that it has been given a name. I'd like
to think that just plain "Contemporary A cappella" would be a good one.
When did this all change?...I'm gonna guess and say when Vocal
Percussion became prominant in a cappella. Now, in an a cappella, a
strong vocal percussionist is a key element to being successful. I
think that it's cool that VP is being used, I remember listening to the
Nylons music with the drum tracks and comparing it to accompanied music
with that same dance beat and thinking that it was cheesy and overdone.
Then I 'd listen to the group "Acappella" and their brother group "AVB"
and hear them attempt VP and think, that sounds so stinkin cheesy I wish
they would stop. But, after hearing Andrew Chaikin and Jeff Thatcher,
and experimenting with it on my own, I really started like it. I do
have to give Take 6 credit for using some pretty amazing Vp in their
concerts and on their 2nd albumn (though it was sampled in like on
Rockapella's Vocobeat). I saw Alvin Chea and Cedric Dent from Take 6 do
VP live, and Iwas floored, I mean, evryone was jamming as if there was a
drummer on stage. I guess in a way, there was. I thought it was SO
unique of them to do that and now it is a common element in a cappella.
I am rambling, and have kind of lost my point, but if you all want
to jump in and run with this one for a while I would love to read your
opinions.
Thanks!!
Del
"I've already been to Disney World, now I just want to win something..."
CASA - Deke Sharon
<sn...@andrew.cmu.edu> wrote:
> Hodja is another name for Jularudin Rumi - the Sufi Monkey God.
> I thought the song was about dervish dancing / praying.
<etc.>
Wow. Next thing you know, "The Lion Sleeps Tonight" is going to prove to
be about the decline of Christianity as seen through the eyes of C.S.
Lewis' hero "Aslan" - the Lion from the "Chronicles of Narnia" series
("The Lion, The Witch, and the Wardrobe," etc.)
Or "Don't Let Your Heart Slip Away From Me" by the Mint Juleps - a thinly
shrouded tale of an organ recipient that, due to a technicality, may lose
the opportunity to be the first dolphin to human heart transplant.
I could go on all day, but I wont.
You can thank me later ;)
CASA - Deke Sharon
I think a cappella music has been the most popular when it has most
accurately reflected the sound of popular music. This includes not only
repertoire choices (originals & covers), but also sounds, textures, and
timbres.
Barbershop and Doo-wop were both closely stylistically linked to the pop
music of the time. Even the Mills Brothers, popular in the 40's, imitated
instruments and struck close harmony jazz chords - replicating the bib
band sound that dominated the period.
Nowadays, pop music is more heavily rhythmic than ever before in this
century. Rap & many branches of dance music have had a great deal to do
with the ever dominating bass & drums. At the same time, vocal harmonies
have made a comeback, after the largely synthesized/techno-driven/guitar
rock of the 80's. This happens to be something that is effectively
reproduced with human voices.
I'll even go so far as to postulate - should, for some reason, the sound
of a full symphony orchestra start dominating pop music, you'll see a
decline in the number of a cappella hit songs & well-known groups, and
you'll also see a couple groups arise that have 20 members that vocally
reproduce symphonies, complete with all instruments.
Ginger
Deke Sharon) writes:
>Why vocal percussion? I'll give it a shot...
>
deke is brilliant, and i'd never contradict him, but i have something to add on
the topic:
my group uses vocal percuss for two reasons. one is that it can
add lots of flavor to slow songs, or zest to fast ones. the other is
that our group has trouble keeping an internal rhythm. with percuss, those of
us that HAVE rhythm can keep the rest of the singers on beat. if one of we two
co-directors doesn't percuss, the results can be disastrous. songs where
percuss is not a part fo the music, i have to direct.
sigh. i wish it weren't true, but that's part of the reason we use it.
my imput only.
ginger robinson
co-director, PSU's None of the Above
no...@psu.edu
Stephen Neely
>Wow. Next thing you know, "The Lion Sleeps Tonight" is going to prove to
>be about the decline of Christianity as seen through the eyes of C.S.
>Lewis' hero "Aslan" - the Lion from the "Chronicles of Narnia" series
>("The Lion, The Witch, and the Wardrobe," etc.)
>Or "Don't Let Your Heart Slip Away From Me" by the Mint Juleps - a thinly
>shrouded tale of an organ recipient that, due to a technicality, may lose
>the opportunity to be the first dolphin to human heart transplant.
>I could go on all day, but I wont.
>You can thank me later ;)
I guess Hodja just has some extra meaning...Those were responses I
got when I asked about the meaning of the song for the group I was
in...I sense that there is some sarcasm in his response so I wanted to
point out one that he missed...
"You beat me up" by Rockapella, is probably about spousal abuse, right? ;)
I was attempting to help answer a question, so let's pull the claws back
in shall we?
And it's Del, not Stephen, we share this account.
Bye
Del
CASA - Deke Sharon
<sn...@andrew.cmu.edu> wrote:
My response was meant entirely as a joke. I apologize for the impression
that I was upset in any way - I just thought that it would be funny to
consider what alternative readings of a cappella standards might bring. No
claws intended - just jest.
Daniel Granof
and explained it to us. As best as I can remember, it's about
the Whirling Dervish tribes in Turkey. They begin spinning
around slowly but then get faster and faster (I think they're
kind of a tourist attraction because they can do it so fast
without losing their balance) until they put themselves into a
trance, which is supposed to help them reach Nirvahna: "You've
got to spin 'till your feet leave the ground." I have no idea
how Todd Rundgren is associated with the religion, but the words
in the song seem to indicate either he has experienced it or at
least knows enough about it to communicate its spiritual essence
through his amazing vocals. The lyrics are from the point of
view of a younger apprentice who reveres Hodja, a guy who
apparently is one hell of a whirler.
Anyone else?
Daniel Granof
In The Buff, University of Colorado
--
"The White Zone is for loading and unloading only..."
Curt Siffert
>[...]Turkey.[...] faster and faster [...] kind of a tourist attraction
>[...] 'till your feet leave the ground. [...] he has experienced it or at
>least knows [...] about it [...] one hell of a whirler.
>
>Anyone else?
>
>Daniel Granof
>In The Buff, University of Colorado
Daniel, for the last time, quit spreading rumours about my mother.
Let's retract the claws, shall we? Jerk.
Curt
jes...@freenet.edmonton.ab.ca
: deke is brilliant, and i'd never contradict him,
Don't say that. He'll believe you. <smile>
(Sorry, couldn't resist)
'ka
--
* Jessika Diamond, Contemporary A Cappella Society of America (CASA)
* http://www.geocities.com/hollywood/2028 - a cappella radio show list.
* Seeking a cappella shows for CASA Calendar, 2 to 3 months in advance,
professional and collegiate, anywhere in the world.
Timothy Kelly
Why? Why Not?
Its a natural function of the human voice to make sounds. There isnt
a kid alive and many adults too who use their voices to make percussive
sounds daily.
Its fun, keeps the voice toned up and flexible too.
Should be part of everyones vocal aerobics workout or warm up.
Happy Singing
Timothy Kelly
MidiVox
--
MidiVox-Worlds 1st Voice to Midi Converter. Real Time. No Delays.
Hum a Bass, Croon a Sax, Scat a Horn, Scream a Guitar, Rap some
Drums, Sing a Cello.
Become a Human Sequencer, Human Vocoder, Human Breath Controller.
AES "Best in Show." EM "Editors Choice." " MidiVox Roars."
Keyboard.
ELandau
>Why vocal percussion? I'll give it a shot...
>I think a cappella music has been the most popular when it has most
>accurately reflected the sound of popular music. This includes not only
>repertoire choices (originals & covers), but also sounds, textures, and
>timbres.
I agree though I think this is true more for original a cappella tunes
whereas for covers, the casual a cappella listener craves a vocal-perfect
replication of the original. Then again, while more often than not a
cappella which reflects the current musical style is likely to be more
successful, witness a group like Zap Mama which so diverges from what one
might consider "popular" music and yet retains interest because of its
novelty.
But back to vocal percussion for a sec: I enjoy vocal percussion like any
other dedicated a cappella fan but I also see it having a dangerous effect
on the less-than-professional groups across the country..esp. college
groups. For me, vocal percussion should be done well or not at all. At
the heart of a cappella should be great singing -- a great blend,
intriguing harmonies, creative arrangements, etc. If a group can spare
someone who can do vocal percussion, and who can do it well, great! But
if it can't, don't be so caught up in creating a feel, or in replicating
the original drum track, that you lose sight of the music-making. Vocal
percussion should enhance, assist, and shape a song...not dominate it.
Stephen Neely
scene. The group I am in is currently kicking around the idea of adding
a bass(making it a 6-person group). The reason is, our bass is also a
fantastic Vocal Percussionist(among the 3 best I've ever heard...guess
who the other 2 are...?). Since an outstanding VP is a huge selling
point for your group some of us feel it's the right move, cause right
now he does both bass and vp. I sometimes do VP as wel but it takes me
out of the backgrounds/lead slot which is a strength. Plus, Our current
bass/VP has an excellent upper range and lead voice.
I am telling you guys this to show you that VP is definitely a
factor these days, and I wanted to use our group( a CONTEMPORARY rock,
pop, funk, r&b, blue, jazz, etc...) as an example because we are getting
started, and coming along too, hopefully the D.C. Sweeps will treat us
well and we'll get to sing in San Francisco. Hopefull this perspective
will help.
Del
Casawired
I get the feeling you like the word CONTEMPORARY.
Just a hunch.
Try not to get caught up in the whole CONTEMPORARY thing. Remember...a
Cappella in the Western world began with a bunch of guys singing in unison
or open fifths (Gregorian chanting). All of this non-CONTEMPORARY stuff
you talk about is the root of all other styles. All of us in this world
should be supporting *good a Cappella music,* regardless of the stylistic
origins.
Don't pidgeon-hole yourself as a CONTEMPORARY a Cappella singer, either.
'Cause next month, someone else will develop a new style and begin
shooting down the CONTEMPORARY style, and then where will you be? Right
in the place you've put all the styles you mentioned before.
Doo-Wop, Barbershop, etc. are perfectly viable forms of music. They are
very popular, and there are some incredible performers out there who excel
at these styles. The style they choose is just that - it does not make
them any less musical or talented. Go for the essence of what they're
doing, not the shell they put on it.
My 4 bits.
=-Mack-=
-=*/\*/\*/\*/\*/\*/\*/\*/\*/\*/\*/\*/\*/\*/\*/\*/\*/\*/\*=-
James M. Macknik
Online Coordinator
Contemporary A Cappella Society of America
CASA...@aol.com
-=*\/*\/*\/*\/*\/*\/*\/*\/*\/*\/*\/*\/*\/*\/*\/*\/*\/*\/*=-
Paul Sinasohn
make out here to SF, because I am in SF, and I want to meet the person
behind all these opinions you espouse. Not to mention that you could then
hear Kaleidoscope for yourself!!!!
--
--------------------------------------------------------------------------
Paul Sinasohn sina...@netcom.com SF Native CAL '80
Editor, Academic Computers Magazine CASA Arrangements Librarian
Bass & Business manager: PRESS ANY KEY - Acappella At Your Fingertips
Motto: There's a fine line between a groove and a rut!! Member, AAG
Stephen Neely
I was referring to there place in a CONTEMPORARY a cappella
festival. Outside of that I agree with you 100%, and I even enjoy
singing them. But what if a Doo-Wopp group wins a Bbshop contest? Then
I think you would hear the same types of questions from the Bbshoppers,
right? That's my point, I thought the rules stated that they were
looking for originality. I guess your gonna tell me that Bbshop is
original, huh? Doo-Wopp is great but, since the group that I was
referring to that won L.A. last wasn't doing originals and beat groups
that were, particularly more contemporary groups...and this year I'm
told the group that won was Bbshop, then I become weary of where the
judges are making there decisions from. And that's only going by the
contest parameters...like I said, it's not the styles that I'm
questioning or dogging, it's their place in a contest of this nature.
Since I still haven't seen the post that you're responding to on the
actual billboard itself, I have to ask where you read it?
Thanks for your response.
Del
PDBart
<sn...@andrew.cmu.edu> writes:
> I was referring to there place in a CONTEMPORARY a cappella
>festival.
Except that, as John Neal has pointed out, it's *not* a CONTEMPORARY a
cappella festival--it's an a cappella festival, period. Therefore, they
are more than welcome to participate, compete, and even win.
>I thought the rules stated that they were looking for originality.
>I guess your gonna tell me that Bbshop is original, huh?
Maybe he won't, but I will. Are you aware of the changes that have taken
place in the barbershop world in the past several years? Just how are you
defining "original"? An original arrangement? An original song? Both of
these are present in barbershop. Original presentation? It's there.
Original choreography and humor? They're there.
>Doo-Wopp is great but, since the group that I was
>referring to that won L.A. last wasn't doing originals and beat groups
>that were, particularly more contemporary groups...and this year I'm
>told the group that won was Bbshop, then I become weary of where the
>judges are making there decisions from.
How about on the basis of musicality, intonation, style, presentation,
humor, focus, audience response, blend, quality of the arrangement,
quality of the voices, quality of the soloist, etc.? Which of these
attributes is not present in barbershop?
>And that's only going by the contest parameters...
But it's not--John has already said that this contest is *not*
CONTEMPORARY a cappella--it's simply a cappella. By the contest
parameters, the judges made a perfectly valid decision. If you're not
happy with it, you can certainly try to persuade John to change the
contest so that it focuses on, and awards, groups that are contemporary,
but don't knock the judges for simply following the guidelines.
>like I said, it's not the styles that I'm
>questioning or dogging, it's their place in a contest of this nature.
Just what do you think the nature of this contest is? Look, if this were
a contemporary a cappella contest, I'd agree with your criticism--but it
isn't. If you think it should be a contemporary a cappella contest, then
let's discuss that, okay?
-Paul
Kent Weishaus
participating in the LA Sweeps, I thought I'd put in my two
cents worth. Of course, we were disappointed we didn't
place, but we are a very young group and know we have a
long way to go. However, it was clear as soon as
Kaleidascope began singing that they were the best prepared
and tightest group musically. There were no moments when I
said "Oops, they didn't lock in that chord." They were
right on every note. Musically, IMHO, they had no
competition. And, as has been stated by someone else,
there is no requirement that the group sing "contemporary"
a cappella--just a cappella. A majority of the groups
there wouldn't even have been in the competition if there
was a "contemporary" requirement (including my group!).
Diva Complex would like to offer our congratulations to the
top three groups and say to everyone we met, "See you next
year!"
Amy Fogerson
foge...@oxy.edu (use this address--the above is my
husband's)
Stephen Neely
Let's not forget that I was wrong when I thought that this was a
contemporary competition. I was also not sure about whether they were a
Bbshop group. If they were, then whoever said that it's even better for
them to win is right. The style IS constantly changing, but it IS hard
to keep with the times while singing it. I can't wait to hear them! I
don't think I would use contemporary to mean popular though. Maybe it's
just the next thing...or what's happening. Who knows?
Anyway....Let's talk about something else....Here's one...
I am singing in a group that is discovering that "Rock-n-Roll" seems
to be what we are best at. We've been experimenting with a distortion
unit made by Alesis, that is normally used for guitars. I heard "The
House Jacks" use distortion, or what sounded like it on a couple of
songs in "Naked Noise". I've also heard that the Bobs have been using
it as a booster for guitar-sounding solos. We haven't been able to come
up with a great sound, other than for guitar solos, which, not to blow
our own horn, sound KILLER!
Does anyone know anything about using this effect? Any
recommendatioms for mechanisms, techniques? Tell me about your
experiences...this is the focus on the next...Geraldo-pella.
Del
Paul Sabourin
: right? That's my point, I thought the rules stated that they were
: looking for originality. I guess your gonna tell me that Bbshop is
^^^^^^^^^^^^^^^^^^^^^^^
: original, huh? Doo-Wopp is great but, since the group that I was
: referring to that won L.A. last wasn't doing originals and beat groups
: that were, particularly more contemporary groups...and this year I'm
...and...
: judges are making there decisions from. And that's only going by the
: contest parameters...like I said, it's not the styles that I'm
^^^^^^^^^^^^^^^^^^
: questioning or dogging, it's their place in a contest of this nature.
Well, my newsfeed is running a good clip behind, so someone may have
addressed this already (I know John Neal has, to some extent), but...
I went back to the H.S. Rulebook and Philosophy. The most important
statement from the rules, which to an extent supports both sides of the
argument, reads:
(from the section pertaining to Music Style) "Any style of music will be
considered, but the event is geared toward performance and *innovation*."
(Emphasis mine)
Also important to this argument, another excerpt, from the "Judging" section:
"Groups are judged 50% on musicality and 50% on performance, *with an
emphasis on originality*." (Again, emphasis mine)
It's these sentences that I would think Del is keying in on. If you
allow that Del was for the most part using "innovative," "original," and
"contemporary" (oh, that word!) pretty much interchangeably (whether or
not he was right to do so), and also factor in what would seem to be a
rather narrow portrayal of barbershop music (not that I'm really cutting
on you, Del; I sure don't know a hell of a lot about barbershop, either,
nor, I would venture, do a great number of the people reading r.m.a-c),
the argument would begin to make a bit more sense. Maybe.
I also would seem to recall that (and John Neal may feel free to smack me
in the head and call me an idiot if this is wrong), in an older version
of the rulebook (2 years ago, maybe?), there was a statement along the
lines of "if 2 groups are of equal talent, the more original group (as
determined by the judges) will be ranked higher," or some such. Perhaps
I was just told that by the regional director. If this *was* the case,
and if you again allow for the interchangeable use of "original" and
"contemporary," Del's argument holds up a teeny bit better. Am I at all
remembering this correctly, John?
Now, do I agree with Del's assertion? No, but I can kind of see where
he's coming from. If there is indeed an emphasis on originality, and
Group X does things he's never heard before, and Group Y is a barbershop
group, and he's never heard *any* barber shop group do things he's never
heard before (even if only because he hasn't heard much of the innovative
barbershop that's out there), then the leap to "How could Group Y
*possibly* beat Group X?", while not terribly logically sound, isn't too
far away.
In fact, the word "contemporary" doen't appear anywhere in the
H.S. Rulebook, and there are numerous mentions elsewhere of the Sweeps being
for "all vocal harmony enthusiasts," etc. But I get the impression, and
maybe Del does too, (and feel free to shoot me in the head again, John,
if I'm way off base) that one of the driving forces (impeti?) behind
establishing the Sweeps was to provide a competitive performing outlet
for "other kinds" of a cappella, since barbershop already had an
established copmetition system. Not the main purpose, for
sure, but maybe a purpose nonetheless.
Of course, at my first sweeps (Phila. 2 years ago), the winners, A
Perfect Blend, were very straight-ahead R&B and soul, did all covers, the
arrangements were rather simple, and they moved very little (a bit of
swaying, some stepping side to side, etc.). There was also no question
whatsoever (in my mind, and many of the people I talked to) that they
were the out-and-out winners of the regional. They had great voices,
great (dare I say "a perfect?") blend, and tremendous stage presence.
Nobody cared that they weren't doing anything terribly new or innovative;
they just did it better than anyone else, which I guess is all that
really matters. That, and everyone had a really great time and made many
new friends.
Paul "There...don't we all feel warm and fuzzy now?" Sabourin.