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Based on his ethnographic research, Morris argues that lower-income white students in urban schools do not necessarily maintain the sort of white privilege documented in other settings. Stereotypes that cast white students as better behaved and more academically gifted were often reinforced, even by African American teachers. As a listening experience, the record is both squeaky clean and unnervingly dissonant.
All of Beck's subsequent studio records have been conspicuously devoid of this kind of uncompromised discord. It's rich with ideas and a refined sense of imagery.
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Its junk-quilt patchwork of reconstituted parts rejected the homogeny of big-league audio production and suggested that something could come from nothing, that pieces of pop, hip-hop, and dissonance could be gummed-up, MacGyver style, into a saleable product that speaks to a fragmented, sound bite-driven culture. Odelay didn't necessarily revise Beck's aesthetic, but it did reinforce it with developments of lyrical and musical depth.
Within the student body, African American students were more frequently the "cool" kids, and white students adopted elements of black culture-including dress, hairstyle, and language-to gain acceptance. The two unreleased tracks, "Inferno" and "Gold Chains", are, respectively, rambling and reductive, while the b-sides fail to raise their weirdness above the Mellow Gold fold.