Remixed: Freedom of Interpretation in 'Somewhere over the Rainbow'
04.08.2010
We were watching Australia [1] and at one of the high points of the film the ‘original’ version of Somewhere Over the Rainbow was played, with its ‘original’ video. The song is the film’s main theme, and can be heard playing throughout it, usually at key moments. No less than half a dozen of different versions of the song can be heard, including jazzy versions, violin solos, accordion versions, and is sung (or hummed) by some of the characters.
Then – on hearing the ‘original’ version – my flat-mate said, "This is the first time I actually hear the original." "Well, you see, this is how remix works," I said. "We get to hear the originals thanks to remixed versions of the songs. The remix translates the song to our contemporary musical taste, to a language that we speak. We are less likely to hear an ‘original’ song in its original arrangement and performance unless there is the remix to help discover it.
The first time I heard Somewhere over the Rainbow was in 1994, in its techno-rave version performed by German star DJ Marusha [2]. Marusha actually rose to music prominence with this song. Developed by the addition of a heavy bass-line, loud piano and Marusha’s high-pitched voice, this became one of the early-1990s dance hymns. Since then, I must have listened to dozens of various interpretations of the tune and/or song.
The remix – naturally and usually – brings about a whole new feeling of the song (or any artwork being remixed) and creates different associations, recalls different memories. And each version is experienced differently – one might make you gloomy, another merry, yet another could send you dancing happily and so on and so forth.
For instance, I never think of The Wizard of Oz when I hear Somewhere over the Rainbow – because this film was not where I heard the song for the first time. Indeed, I always remember the joyous prancing around of the DJ in a cartoon world and the happy fast rave beat. Or I remember the performance featured in Meet Joe Black [3] – actually the version played at the film’s a couple of high points, because several different variants of the song are featured in it, too.
It is thus that remix performs its emancipatory function. Not only does it give freedom to the remixing artist, the freedom to interpret a pre-existing work, but it also offers the listener a choice of different experiences. Compare for example Samuel Barber’s Adagio for Strings [4], voted "saddest classical work ever" by BBC listeners in a 2004 poll and DJ Tiesto’s remix [5] for the dancefloor. The former has been used as background music for a number of very sad events, including Franklin D. Roosevelt’s death announcement, Albert Einstein’s funeral, and the concert/video commemorating the victims of the September 11 attack. The latter, however, can be heard in venues of completely opposite nature – electronic music parties, where the slightly pitched lead tune is mixed with a heavy bass line to create a thrilling dance track bringing ecstasy to the dancers.
REFERENCES
[1] Released in the end of 2008, starring Nicole Kidman, Hugh Jackman, directed by Baz Luhrmann.
[2] The rave version of Somewhere over the Rainbow was Marusha’s greatest hit, reaching to #3 in Germany in 1994.
[3] Performed by Israel Kamakawiwo’ole – a ukulele medley of Over the Rainbow and What a Wonderful World (1993).
[4] First performed in 1938 in New York by Arturo Toscanini with the NBC Symphony Orchestra.
[5] DJ Tiesto is just one of a number of remixers of the Adagio. Others include William Orbit, Armin van Buuren, Ferry Corsten, eRa, etc.