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Recommended: Music as protest
Music is an indispensable part of human life. Like the other arts, with a powerful expression, music shows with all that pertains to human life: joy and sorrow, struggle and survival, aspiration and dreams of happiness, ethnic pride and the desire to find the rights. Since it was the primitive, music has constantly been developed and perfected through the years. Therefore, it has been created and divided into many kinds, such as labor music, festival music, and exhort music, etc. The most especial one of above is protest music that is concerned by many politicians with a lot of debates in a long period. So, what is protest music? When did it start? How does it development and affect politics?
As we all know, music is parallel with human
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And no exception for protest music, it is constituted at the time when people cannot give their voice about some things that affect their benefits. In the article Protest Music, Cohen R. states that protest music is created to challenge the status quo, such as civil rights, communism, peace and justice, women rights, or gay rights (2007). Moreover, protest song is defined as using music to reflect political issues, likes segregation, criticism of a liberal president, or anti-socialism (Cohen, 2007). In other words, “the music has evolved over the years as new voices have found the right to share their thought” (Hill, 2016). Protest songs may be boring, but they just speak truth (Tillet, 2015).
The greatest time of protest music was the 20th century that was related to World War, Black Lives Matter, and Vietnam Wars. In the time, the music spread widely and strongly developed in genres and contents. During World War I, some first anti-war songs were composed and performed, such as “I Didn’t Raise My Boy to be a Soldier”, which was the first songs to protest war (Hill, 2016). Also, in his article, Hill F.(2016) Pointed out that the songs did not really direct to authors’ purposes, but they often used patriotism and homesickness in order to persuade stop wars such as “Lorena” and
In 1961, previous to the outbreak of Occupy Wall Streets of Greenwich Village’s Washington Square Park was filled with three–thousand young beatnik protestors. Playing instruments and singing folk music symbolized the starvation that these young folks wanted of freedom and equality for America. Protestors demonstrated mixed cultures, individualistic beliefs that went against the status quo of America after the post-war years. The Beatnik Riot involved young traditional Americans fighting not just for the musical crisis of that time, but for the social, racial, and cultural segregations that were brought on by the years of war.
Words about war have been put to music for generations, but usually in a positive manner. World War I's "Over There" and "I'm a Yankee Doodle Dandy" seemed to characterize the prevailing mood about America's role in that struggle. "I Didn't Raise My Boy to be a Soldier" also had an audience, but a smaller one by comparison. World War II 's "Don't Sit Under the Apple Tree," "Boogie-Woogie Bugle Boy of Company B," and "I'll Be Home for Christmas" were positive and sentimental favorites heard not only in dancehalls but also on radio. Any antiwar tunes were most likely drowned out by post-Pearl Harbor anger.
Throughout time, music has been an influential part of society. As a form of entertainment and expression, its impact has always been felt both economically and emotionally. During the Vietnam war, music evolved into more a form of expression rather than pure entertainment. Emotionally charged songs became a method to oppose the war, and vent frustrations. While many songs opposed the war, numerous others focused on peace and happiness. They provided a positive perspective in an otherwise depressing time. Along with incorporating passion into music, cultural diversity increased in music greatly. Black artists became progressively more popular and accepted in the musical scene. This respect carried over to society slowly but surely. During the Vietnam war, music played a crucial role in the societal evolution into a state where emotions fueled actions, more emphasis was put on equality, all opinions counted.
The music of the 1960’s served as the voice of millions and was a large contributor to the revolution that was about to occur during the decade. This was a time of rebellion, when the young people of the country questioned everything including the government, authority, and corporations.... ... middle of paper ... ... An example of how music artists helped with the movement was on a very memorial farm.
Protest songs during this time were more popular than in previous generations, and had a larger impact. Because protest music had messages that where drenched in political events like the Civil Rights movement, they were so closely related that each had a role in causing or propagating the other. Nonetheless, whether looking back at the 60’s, 90’s, or even now, there is one thing for certain which is that protest music can be a very effective tool for change. Protest songs that have such strong political message in which a massive amount of people can relate deeply too, caused huge bouts of protest such as the Vietnam War, racial segregation, police brutality, Ferguson, Occupy Wall Street, and Black Lives Matter movement.
The mass media has been involved has been involved in the many so-called problems that music causes in society today. The attempted censorship of music is not just because people need a cause to fight. In today's society there are many problems that experts feel are directly related to music. Some of these problems are suicide, murder and sexual assault. Many people argue that it is not only music made for entertainment purposes. Many parents and experts argue that rappers and musicians use vulgar, profane, sexually explicit lyrics to target the teenage market because money is a major issue and this kind of media is a hot commodity. Another popular subject that has taken heat and was attempted to be censored is politically charged music. During the Vietnam War many songs blasted the government. "For what it's worth" by Buffalo Springfield is a song documenting the actions by San Francisco police taken against members of the band at a peaceful protest. This song is not the first and was definitely not the...
In the 1960s, music was a very successful in delivering a protest message. Music has developed in modern America and it’s hard to tell protest music from other music. Protest music is overshadowed. But, protest music is not having the same effect as well. “Meat is Murder” did not stop people from eating cow’s meat and “Idioteque” a song of climate change and overconsumption by Radiohead didn’t stop people from changing the way that they lived their lives “Here I’m allowed / Everything all of the time” (Radiohead). The protest music is falling on deaf ears. Those who don’t want to hear the message won’t listen for it. As well, people will not put in the effort to make a change in today’s society. Music is not one of the best ways to deliver a protest message in modern
Music has always been a basic form of expression. From Antonin Dvorak, to Eminem, to even ancient, tribal music, it has been a medium through which individuals convey their thoughts and expressions. Today this medium is under attack. Everywhere we turn, everything we do and say is being scrutinized. We are being told what to say. We are being spoon-fed our emotions. No longer are we allowed to think freely, openly. All the censors out there are on the prowl for another piece to rip to shreds because it doesn't fit their description of what is decent and moral. What they fail to realize is that we don't make the music for them... We do it for release.
In the article “Protest music” in “Encyclopedia of activism and social justice”, the authors inform about history and development of protest music from 1903 until now. In 1900s, protest music’s content was about convince or simple facts of life. However, it improved to higher level through 19th century that much more political issues, such as civil rights, civil wars, peace or activities movement. Until 20th century, protest music spreads widely and be more perfect about tunes and the diversity of genres. If in 1900s, most of protest music was written base on folk, blues, jazz, and country, it becomes more modern during 20th century as hiphop and rap. Depend on a message that author wants to give, siutable tune is chosen.
“Music is uniquely wonderful. It is incapable of being touched yet it touches everyone who is capable of hear sounds. It can seemingly evoke any emotion; we instinctively respond to happy tunes, mournful songs, beautiful melodies, inspiring anthems, stirring hymns, and majestic orchestrations.” (Doolan, Robert. 1985) There is no question that music is great part of society; it has been at civilization’s side whether it be the lyres and flutes of the ancient Greeks or how it calms or excites emotions and keeps armies in order during battle. Within society, there has also been social unrest and the desire for change. Protesting is the expression of a society’s concerns on current events of which they feel affected by whether it be through public rallies, picketing, riots or even bombings. Protest through music is one powerful medium for engaging people. Amidst what life throws at individuals, music has comforted the soul, provoked individualistic thought and opinion, and music draws people together through groups alike who have the same attachment or concerns with their surroundings. Whether it be rock, jazz, blues, rap, hip hop, dance, spiritual, or world, music has inspired artists to spill out their expression and views of society. Music is a universally effective tool of protest in generating social change and unrest as it continues to unite those with like ideas.
Music is an outlet to all aspects of life and culture is a significant way of forming people and the way they live. Although not always seen directly culture has an overbearing influence on the music that is produced and made popular. The political Climate of the early seventies was full of fire with issues such as Vietnam and constant protest throughout the county. Later in the 70’s the end of the Vietnamese conflict brought the rise of the Watergate scandal and Iran Contra. These issues swept headlines and ingrained people’s thoughts. Social issues also played a big role in the developing culture of the seventies. Protests and constant outbreaks about gay rights and women’s rights seemed to overtake the country in storm. Later in the Decade the social climate changed to a celebration of the Past and a can-do attitude. Political and Social climates had an overbearing influence on the attitude that was being developed throughout the seventies. This climate was also transparent in the music world of this decade. In the early 70’s music lyrics were being created that were representative of the popular method of protest and social change. Music is a common way of expression and during this time artist and groups took the most of their popular music by expressing viewpoints on present issues. In the mid to late seventies the birth of new styles that broke from the old seemed to dominate the music industry. These new types of music ranged from disco to television pop. The music of the decade represented the culture and was greatly influenced by events and beliefs of the 70’s. At this time in American history, music and life became closely nit. In the late 1970’s, national issues settl...
Popular musical meaning relates to ‘the social’ in many ways and can be seen in music through things like politics, how mass production changes meaning, and class/inequality. When it comes to politics and music an example can be seen with YG’s recent song that he made “F**ck Donald Trump”, which has made a big impact with the youth like the song “Fuck the Police” that came out in the early 90’s and one can see that there is a correlation between the two. Then there was the Grunge era where many stylists started mass producing the look after the music became so popular with the youth. Then finally there is the class and inequality that can be seen throughout the years in music, an example with that can be seen with Bring Cosby and Billie Holiday.
This brings me to Jones’s proposed approach that says, “mediums affect meaning” this is true for the millennial generations interest in social power and social injustices. Political music, like political satire helps mold millennial ideologies because to Jones’s point mediums do in fact affect meaning. In the article What Riot? Punk Rock Politics, Fascism, and Rock against Racism, by Alessandro G. Moliterno, he says the following about how music influences political though especially when discussing social issues: “Rock music operates as a mass medium, which is experienced by hundreds of thousands of people almost simultaneously, then it stands to reason that punk and its message had the potential to reach, and therefore influence, a very broad audience (Moliterno, 2012.)” Bands like Desaparecidos, System of a Down and briefly, At the Drive-In are a few examples of bands that focus a lot of the music on social justice. Reinforced by an article written by New York Daily news that says “ political music is meant to appeal not only to the oppressed, but to those compassionate to the cause as well (Gavish, 2009.)” As Gavish discusses the event of the cause is usually more often than not created by the meaning that is transmitted to the citizens, as Jones would call the population, through a musical medium that affects audience’s political beliefs. For example: In the song
The protest music movement of the Vietnam War took a stand against US involvement in the war, the unjust treatment of US troops and the war draft. Through guitar strums, controversial lyrics and a little bit of vibrato, the protesters provided a wide reaching and beautiful voice for those American civilians and fighters who felt they had lost theirs.
Denisoff, Serge. "Protest Songs: Those on the Top Forty and Those of the Streets." American Quarterly 22, no. 4 (1970): 807-23. Accessed January 21, 2014. http://www.jstor.org/stable/2711871 .