In order to create a soundtrack that addresses the sounds cape of Fredrick Douglass’ self narrated life story, it seems prudent to attempt to transpose familiar sounds and patterns that might evoke emotions and imagery in synch with the emotions evoked by Douglass. Hearing is a sense that we unconsciously regulate, literal sounds and songs described by Douglass in his narrative, while imaginable, are un familiar to us. They do not invoke the same emotions and thoughts when we hear them as they do when they fall upon the ears of the individuals in Douglass’ time. I would propose an unconventional approach to a soundtrack for a recreation of the Narrative of the Life of Fredrick Douglass by Fredrick Douglass. Imagine an interactive media format in which the limitless capabilities of the internet are at your disposal. The main plot points and episodes of the narrative are displayed, and the viewer/ listener can chose songs for each section of the story. Music and song can express and stimulate emotional sensory and understanding. This is exemplified in the songs sung by slaves in 19th century America. But the songs of these slaves provide a soundtrack that is specific to their own plight and experiences. We may be able to absorb the communicated themes and emotions in the song, but they are not our own. By offering the option of choice to the viewer/listener, a greater connection is created. Each scene in the narrative has its own standard sounds, cracking whips, yelling voices, and the grunts and noise of labor perhaps. However, layered over these sounds is the song chosen by the viewer/listener that is meaningful and specific to that individual in particular. This would allow for a deeper connection and understanding of the soundscape of history by connecting it to modern day noise, music specifically. To provide an example of the logistics of such a medium for narration, I will attempt to divide Douglass’ story into sections, applying songs from specific artists that I feel would tie my own soudnscape to Douglass’. For the first episode, we can take the period in which Douglass resides on the “Great House Farm”. Perhaps a track like “Money” by Pink Floyd could encapsulate the image of economic extortion that is exemplified in the plantation structure of the Great Farm. As Douglass moves into the city of Baltimore, education is the theme of his dialogue. Maybe another Pink Floyd hit “The Wall” would be appropriate to describe the mentality of the slave owner who breeds ignorance through censorship. When Douglass is sent to Covey, and the two men do battle, a song such as “Suicide and Redemption”, a heavy metal, cathartic instrumental by Metallica’s Kirk Hamett would be provide an emotional tie to Douglass’ baptism by combat. In Baltimore, as he works to learn a new trade, Douglass could be seen accompanied by the Beatles’ “Hard Day’s Night”. And lastly when he makes his escape to the North, the movie could end on a rendition of “The Star Spangled Banner”. Mental connection to sound and music is based in familiarity. Reading Douglass’ accounts of antebellum America, including his sound imagery and description cannot provide us with a full idea of the interpreted soundscape. Incorporating songs that we are more familiar with and transposing them into the world of Douglass recreates his Narrative in a unique and powerful way.