Music and politics

The connection between music and politics is poorly defined with some identifiable traits. They are typically made for a specific time and place, causing them to become irrelevant quickly. In more

Introduction#

In a study that used natural language processing, it was suggested that, comparatively to less charged music, political music lets listeners start a dialogue based on it. In a 2014 review article, it was shown that political music is used for announcing, or calling for action. The same article states that this is because music is seen as a sign system. Furthermore, some forms of music may be deemed political by cultural association, irrespective of political content, as evidenced by the way Western pop/rock bands such as The Beatles were censored by the State in the Eastern Bloc in the 1960s and 1970s, while being embraced by younger people as symbolic of social change. It is difficult to predict how audiences will respond to political music, in terms of aural or even visual cues. suggesting there may be little connection between behaviour and musical taste. Pedelty and Keefe argue that “It is not clear to what extent the political messages in and around music motivate fans, become a catalyst for discussion, or function aesthetically”. However, in contrast they cite research that concludes, based on interpretive readings of lyrics and performances with a strong emphasis on historical contexts and links to social groups, that “given the right historical circumstances, cultural conditions, and aesthetic qualities, popular music can help bring people together to form effective political communities”. Plato wrote: “musical innovation is full of danger to the whole state, and ought to be prohibited. When modes of music change, the fundamental laws of the state always change with them;” although this was written as a warning it can be taken as a revolutionary statement that music is much more than just melodies and harmonies but an important movement in the life of all human beings.

American folk revival#

The song “We Shall Overcome” is perhaps the best-known example of political folk music, in this case a rallying-cry for the US Civil Rights Movement. Pete Seeger was involved in the popularisation of the song, as was Joan Baez. During the early part of the 20th century, poor working conditions and class struggle lead to the growth of the Labour movement and numerous songs advocating social and political reform. The most famous songwriter of the early 20th century “Wobblies” was Joe Hill. Later, from the 1940s through the 1960s, groups like the Almanac Singers and The Weavers were influential in reviving this type of socio-political music. Woody Guthrie’s “This Land Is Your Land” is one of the most famous American folk songs and its lyrics exemplify Guthrie’s socialistic patriotism. Pete Seeger’s “Where Have All the Flowers Gone?”, was a popular anti-war protest song. Many of these types of songs became popular during the Vietnam War era. “Blowin’ in the Wind”, by Bob Dylan, was a hit for Peter, Paul and Mary, and suggested that a younger generation was becoming more aware of global problems than many of the older generation. In 1964, Joan Baez had a top-ten hit in the UK with “There but for Fortune” (by Phil Ochs); it was a plea for the innocent victim of prejudice or inhumane policies. Many topical songwriters with social and political messages emerged from the folk music revival of the 1960s, including Bob Dylan, Joan Baez, Phil Ochs, Tom Paxton, Buffy Sainte-Marie, Judy Collins, Arlo Guthrie, and others. The folk revival can be considered as a political re-invention of traditional song, a development encouraged by Left-leaning folk record labels and magazines such as Sing Out! and Broadside. The revival began in the 1930s and continued after World War II. Folk songs of this time gained popularity by using old hymns and songs but adapting the lyrics to fit the current social and political conditions. Archivists and artists such as Alan Lomax, Lead Belly and Woody Guthrie were crucial in popularising folk music, and the latter began to be known as the Lomax singers. This was an era of folk music in which some artists and their songs expressed clear political messages with the intention of swaying public opinion and recruiting support. In the UK, Ewan MacColl and A. L. Lloyd performed similar roles, with Lloyd as folklorist and MacColl (often with Peggy Seeger) releasing dozens of albums which blended traditional songs with newer political material influenced by their Communist activism. In the later, post-war revival, folk music found a new audience with college students, partly since universities provided the organisation necessary for sustaining music trends and an expanded, impressionable audience looking to rebel against the older generation. Nevertheless, the rhetoric of the United States government during the Cold War era was very powerful and in some ways overpowered the message of folk artists, such as in relation to public opinion regarding Communist-backed political causes. Various Gallup Polls that were conducted during this time suggest that Americans consistently saw Communism as a threat; for example, a 1954 poll shows that at the time 51% of Americans said that admitted Communists should be arrested, and in relation to music 64% of respondents said that if a radio singer is an admitted Communist he should be fired. Leading figures in the American folk revival such as Seeger, Earl Robinson and Irwin Silber were or had been members of the Communist Party, while others such as Guthrie (who had written a column for CPUSA magazine New Masses), Lee Hays and Paul Robeson were considered fellow travellers. As McCarthyism began to dominate the United States population and government, it was more difficult for folk artists to travel and perform since folk was pushed out of mainstream music. Artists were blacklisted, denounced by politicians and the media, and in the case of the 1949 Peekskill Riots, subject to mob attack. In general, the significance of lyrics within folk music reduced as it became influenced by rock and roll. However, during the popular folk revival’s last phase in the early 1960s, new folk artists such as Bob Dylan and Phil Ochs began writing their own, original topical music, as opposed to mainly adapting traditional folksong.

Contemporary Western folk music#

Although public attention shifted to rock music from the mid-1960s, folk singers such as Joan Baez and Tom Paxton continued to address political concerns in their music and activism. Baez’s 1974 Gracias a la Vida album was a response to events in Chile and included versions of songs by Nueva Canción Chilena singer-songwriters Violeta Parra and Víctor Jara. Paxton albums such as Outward Bound and Morning Again continued to highlight political issues. They were joined by other activist musicians such as Holly Near, Ray Korona, Charlie King, Anne Feeney, Jim Page, Utah Phillips and more recently David Rovics. In the UK, the Ewan MacColl tradition of political folk has been continued since the 1960s by singer-songwriters such as Roy Bailey, Leon Rosselson and Dick Gaughan. Since the 1980s, a number of artists have blended folk protest with influences from punk and elsewhere to produce topical and political songs for a modern independent rock music audience, including Billy Bragg, Attila the Stockbroker, Robb Johnson, Alistair Hulett, The Men They Couldn’t Hang, TV Smith, Chumbawamba and more recently Chris T-T and Grace Petrie.

Ireland#

In Ireland, the Wolfe Tones is perhaps the best known band in the folk protest/rebel music tradition, recording political material since the late 1960s including songs by Dominic Behan on albums such as Let the People Sing and Rifles of the I.R.A. Christy Moore has also recorded much political material, including on debut solo album Paddy on the Road, produced by and featuring songs by Dominic Behan, and on albums such as Ride On (including “Viva la Quinta Brigada”), Ordinary Man and various artists LP H Block to which Moore contributed “Ninety Miles from Dublin”, in response to the Republican prisoners’ blanket protest of the late 1970s. Earlier in the decade, The Barleycorn had held the #1 spot on the Irish charts for five weeks in 1972 with their first release “The Men Behind the Wire”, about internment, with all profits going to the families of internees; Republican label R&O Records likewise released several records around this time to fundraise for the same cause, including the live album Smash Internment, recorded in Long Kesh, and The Wolfhounds’ recording of Paddy McGuigan’s “The Boys of the Old Brigade”. The band The Murder Capital tackles anti-immigrant sentiment and the cost of living crisis with songs like “Love of Country”. A trio from Belfast called Kneecap is known for rapping in Irish (Gaeilge) about a united Ireland, leading to major political statements at festivals like Coachella with pro-Palestinian activism.

Chicano folk#

Chicano folk music has long been a platform for political resistance and social commentary. From the 1960s and onward, Chicano musicians used their music to express their personal experiences of discrimination and oppression faced as Mexican-Americans in the United States. Political themes like the fight for immigrant rights, labor struggles, Chicano identity, and police brutality have been common subjects of their music. Through their music, Chicano musicians have also encouraged community empowerment, activism, and unity throughout the development of the Chicano Movement. Joan Baez is the most recognized figure of this movement.

Folk music around the world#

Folk music had a strong connection with politics internationally. Hungary, for instance, experimented with a form of liberal Communism in the late Cold War era, which was reflected in much of their folk music. During the late twentieth century folk music was crucial in Hungary, Romania, Czechoslovakia and Yugoslavia as it allowed ethnicities to express their national identity in a time of political uncertainty and chaos. In Communist China, exclusively national music was promoted. A flautist named Zhao Songtim – a member of the Zhejiang Song-and-Dance Troupe – attended an Arts festival in 1957 in Mexico but was punished for his international outlook by being expelled from the Troupe, and from 1966 to 1970 underwent “re-education”. In 1973 he returned to the Troupe but was expelled again following accusations. An example of folk music being used for conservative, rather than radical, political ends is shown by the cultural activities of Edward Lansdale, a CIA chief who dedicated part of his career to counter-insurgency in the Philippines and Vietnam. Lansdale believed that the government’s best weapon against Communist rebellion was the support and trust of the population. In 1953 he arranged for the release of a campaign song widely credited with helping to elect Philippine president Ramon Magsaysay, an important US anti-communist ally.

Blues and African-American music#

Blues songs have the reputation of being resigned to fate rather than fighting against misfortune, but there have been exceptions. Bessie Smith recorded protest song “Poor Man Blues” in 1928. Josh White recorded “When Am I Going to be Called a Man” in 1936 – at this time it was common for white men to address black men as “boy” – before releasing two albums of explicitly political material, 1940’s Chain Gang and 1941’s Southern Exposure: An Album of Jim Crow Blues. Lead Belly’s “Bourgeois Blues” and Big Bill Broonzy’s “Black, Brown and White” (aka “Get Back”) protested racism. Billie Holiday recorded and popularized the song “Strange Fruit” in 1939. Written by Communist Lewis Allan, and also recorded by Josh White and Nina Simone, it addressed Southern racism, specifically the lynching of African-Americans, and was performed as a protest song in New York venues, including Madison Square Gardens. In the post-war era, J.B. Lenoir gained a reputation for political and social comment; his record label pulled the planned release of 1954 single “Eisenhower Blues” due to its title and later material protested civil rights, racism and the Vietnam War. John Lee Hooker also sang ‘I Don’t Wanna Go to Vietnam" on 1969 album Simply the Truth. Paul Robeson, singer, actor, athlete, and civil rights activist, was investigated by the FBI and was called before the House Un-American Activities Committee (HUAC) for his outspoken political views. The State Department denied Robeson a passport and issued a “stop notice” at all ports, effectively confining him to the United States. In a symbolic act of defiance against the travel ban, labour unions in the U.S. and Canada organised a concert at the International Peace Arch on the border between Washington state and the Canadian province of British Columbia on May 18, 1952. Robeson stood on the back of a flat bed truck on the U.S. side of the border and performed a concert for a crowd on the Canadian side, variously estimated at between 20,000 and 40,000 people. He returned to perform a second concert at the Peace Arch in 1953, and over the next two years two further concerts were scheduled.

Jazz#

The development of new genres of jazz through experimentation was inherently connected to the social movements of their respective times, especially during the Civil Rights and Black Power movements of the ’60s and ’70s. The development of avant-garde, free, and Afrofuturist jazz was heavily connected to the desire to break free from societal norms and express the desire for a free voice. The music was also grounded in the Black Nationalists movements, and through their music, artists sought to reconnect African Americans with the traditional sounds of their ancestors. In the development of avant-garde jazz, mainstream jazz magazines and critics (predominantly owned and operated by White people) harshly criticized the music and framed it as incoherent. Unlike earlier forms of jazz, improvisation was central to avant-garde and many artists did not notate their music so that it followed a free expression of their emotions. However, as the mainstream jazz apparatus looked down upon Black musicians it praised White artists like John Cage. Cage and other musicians were heavily influenced by avant-garde sound, but their music was highly regarded by the media and hailed as genius. Black musicians strived to break new grounds in music through the development of jazz to create methods of expression and autonomy. Meanwhile, structures of power within the jazz industry continuously placed pressures on this “new thing” so that it would assimilate in to normalized cultural standards, thus destroying its significance as a call for social and political change. The experimentation of certain artists, like Sun Ra, directly called for the liberation of the African American and a return to African traditions. In his Afrofuturist science fiction film, Space is the Place, Sun Ra creates a colony for Black people on a distant planet in the cosmos far away from the antagonisms of white society. This messaging remained consistent through Afrofuturist music as it contradicted Euro-American musical rules. Unfortunately, the politics of jazz replicated the patriarchy of general society. Along with the portrayals of jazz as black music, it followed the belief that jazz experimentalism was masculine. Throughout jazz music and academia, women are left behind and forgotten despite the crucial role they play. For example, Alice Coltrane had a largely successful career by paving the way of new sounds through Far Eastern influences and spiritualism. Yet, many of her accomplishments were overlooked because her husband, John Coltrane, had a more “relevant” career. Gender and womanhood are simple social constructs, similar to race, that have been replicated to create a hierarchy in jazz and academia. Recently there have been calls to recognize the importance of Black women in the development of jazz as authors like Sherrie Tucker encourage readers to listen to the stylistic differences to understanding the role gender plays in jazz.

Disco#

Disco, contrary to popular belief, originated in Black queer communities and offered these communities a form of salvation or safe haven from social turmoil during the 1970s, in the Bronx and other parts of New York. It was agreed by many members prominent in the Disco scene that the music was about love and the vitality of “absorbing the feeling”, but the question regarding its political import received mixed responses. Although the songs themselves may not have explicitly made political claims, it’s important to note that disco, for many, was a “form of escape” and noted a “dissolve of restrictions on black/gay people”. The spirit of the 60s as well as the experience of Vietnam and black/gay liberation spurred the almost-frenzied energy pertinent in these discotheques. Not only did discos allow marginalized individuals an opportunity to express their sexuality and appreciate one another’s diversity, they had the ability to influence popular music. Although once mutually exclusive, discotheques allowed for the coming together of black music and pop; this shows how disco music not only led to a social appreciation for diversity, but offered a platform on which Black artists could succeed. The eventual commercialization of disco set in motion its decline. This new commodified disco, very different than its diverse and queer roots, idealized the white individual and favored heteronormative relations. This not only allowed for the roots of such a diverse movement to be lost, but the erasure of the liberation and escapism it offered many minorities. An example of a political disco anthem is Carl Bean’s “I Was Born This Way”, a defiant gay rights anthem by a preacher-activist, becoming a template for later LGBTQ+ anthems like Lady Gaga’s “I Was Born This Way”.

Latin American music#

Latin American music has been intertwined with politics across the years. 1950s, 1960s, and 1970s protest songs played a critical role in the fight against authoritarian regimes in countries like Chile, Argentina, and Brazil. Today, Latin American musicians continue to tackle pressing social and political issues like immigration, inequality, and corruption through their work. As economist and musician Sumangala Damodaran explains, lyrics intertwined with activism are shaping the vast region’s political landscape, creating a repertoire of new genres, and inspiring new generations of artists to do the same. Some notable political issues across the region include discrimination, toxic masculinity, and colonization. Musical artists from across Latin America have contributed to the fight political issues occurring in their specific countries, like Bad Bunny for Puerto Rico and Los Tigres del Norte for Mexico. Throughout history, artists across Latin America have used music as a political tool to bring awareness to social issues.

Nueva Canción#

Nueva canción or “New Song” is a musical movement that emerged in Latin America in the late 1950s and early 1960s. In a Remezcla article, Julyssa Lopez discloses that the genre focused on socially and politically conscious lyrics, often addressing the oppression and inequality experienced by marginalized communities, especially the Indigenous culture. Global languages and cultures professor Robert Neustadt affirms that artists like Violeta Parra, Víctor Jara, and Inti-Ilimani used their music to speak out against censorship, state violence, and human rights abuses. Nueva canción was relevant because it gave voice and visibility to social and political issues and provided a platform for marginalized communities to express their struggles and resistance through music. It also played a significant role in the fight against oppressive regimes and contributed to the development of cultural identity and social consciousness in Latin America.

Salsa#

Salsa is most known for its rhythm and inclusion of various instruments. Cumbia is characterized by its energetic rhythm and fusion of African, Indigenous, and European influences. It has evolved over time, incorporating various musical styles and instruments, and continues to dominate dance floors in Latin America and beyond. Cumbia’s relevance lies in its ability to bring people together, celebrate hybridity of the Latin American culture, while also serving as a marker of race and class differences in Latin American countries like Puerto, Rico, and Venezuela. Political themes in salsa have included racial discrimination, white supremacy, colonialism, sexism, homophobia, environmental disaster.

Reggaeton#

As a musical genre born out of the Caribbean and Latin American regions, Reggaeton frequently engages with the tropes of other popular musical genres like love, money, and sexual conquests; but has also been used as a form of social commentary and has played a significant role in promoting social change. Reggaeton often addresses issues such as poverty, racism, police brutality, and political corruption in its lyrics. Additionally, many Reggaeton artists use their platforms to speak out against inequalities and social issues by organizing concerts, rallies, and charity events to raise awareness and funds for various social justice causes. Reggaeton also serves as a vehicle for empowering marginalized communities, particularly Black communities, Latin American people, women, and the LGBTQ+ community. Throughout its history, people have come to believe Reggaeton has become more than just a music genre but a voice for social justice and activism.

Bad Bunny#

Bad Bunny, whose real name is Benito Antonio Martinez Ocasio, is a Puerto Rican singer, rapper, and songwriter. He is known for his multiple chart-topping hits like “Titi Me Pregunto,” “DÁKITI”, “Yonaguni,” and “Callaita.” He was also the most listened-to artist in 2022. Additionally, Bad Bunny is recognized for his various awards, record-breaking achievement, and collaborations with major artist around the world. One of his music videos, “Yo Perreo Sola”, translating to I twerk alone, from his second album YHLQMDLG caused controversy as he dressed up in 3 drag outfits. His music video became the most-watched Latin music video in 2020. In one of his recent albums, Un Verano Sin Ti, released May 2022, the 16th track was named “El Apagón,” translated to “The Blackout.” Rather than just releasing a music video, he worked with Puerto Rican reporter Bianca Graulau to produce a 18-minute documentary about the impact of US colonialism on the island and the displacement of Puerto Ricans. The documentary, “El Apagón” functions as a political statement from Puerto Rico about the ongoing modern-day colonization of the island, which has been happening since 1917. The song was inspired by Act 22, which is a law passed in the United States after Hurricane Maria which offered tax incentives to people in the US relocating to Puerto Rico. The law allows U.S. citizens to avoid paying taxes on their property, income, and wealth in Puerto Rico if they become bona fide residents. To qualify as a bona fide resident, a person must be a U.S. citizen who actively earns income from another country, has no intention of moving back to the United States, and has a permanent address in the other country. It caused many millionaires and investors to buy multiple properties on the island, which has led to the displacement of many Puerto Ricans from their homes. The law was intended to improve the economy, but it has failed to do so.

Ivy Queen#

Ivy Queen, also known as “La Reina del Reggaetón” (The Queen of Reggaeton), has been a prominent figure in Latin music since the beginning of her musical career in 1995. Throughout her career, she has produced hits like “Quiero Bailar” and “Quiero Saber” while also using her platform to advocate for social justice, particularly by creating narrative-based lyrics and videos exploring topics mentioning femininity, domestic violence, inequality, and sexuality. Gender and Women’s studies scholar Dana E. Goldman explains that Ivy Queen’s engagement with gender throughout her lyrics encourages dialogue to challenge gender norms, especially since male singers tend to perform Reggaeton more frequently and often express a desire for unattainable women or lament heartbreak.

Regional Mexican Music#

Regional Mexican music encompasses diverse Spanish language genres originating in Mexico, such as mariachi, banda, duranguense, nortenos, grupo, corridos, and more. These genres hold significant popularity among Spanish-speaking audiences. They are deeply rooted in Mexican identity and cultural traditions. Each genre serves as a platform for various forms of activism, addressing issues such as gun violence, immigration, drug crime, governmental matters in Mexico and the United States, and corruption through their powerful lyrics.

Los Tigres Del Norte#

Los Tigres Del Norte is California-based norteño musical group that has used their platform on a variety of issues. The group consisted of four brothers and their cousin. Originally undocumented immigrants, they formed the group in 1968 while residing in San Jose, California. They initially arrived in the United States with temporary visas to perform for incarcerated individuals, which marked the beginning of their journey as a grupo. In 2013, Los Tigres del Norte, the renowned musical group, took the spotlight at a significant immigration rally in Washington D.C., advocating for immigration reform. During the rally, they performed their popular songs “La Jaula de Oro,” “Vivir En Las Sombras,” and “Tres Veces Mojado.” It’s worth noting that this rally was not their only one, as they also organized an immigration rally at the National Mall in Hollywood in October of the same year. During the rally, their aim was to consistently address their themes. After each song, they engaged in discussions to reflect upon the messages conveyed. One of their biggest hits is “La Jaula de Oro,” meaning “The Gilded Cage.” This song has been performed numerous times and delves into the life of an immigrant and their American-born child who feels disconnected from their cultural heritage. The powerful message conveyed is, “What value does money hold when I feel trapped in this promising nation?” Los Tigres Del Norte also tackle the topic of prison reform in their music. In 2019, they gave a memorable performance inside Folsom Prison, located in California, which led to the creation of a song called “La Prisión de Folsom” (Folsom Prison). This performance was influenced by the legendary musician Johnny Cash. It is worth noting that the majority of the inmates present during the performance were Hispanic and Black, reflecting the demographic composition of the entire prison system. Los Tigres Del Norte documented their experience at Folsom Prison in a Netflix documentary titled “Los Tigres del Norte at Folsom Prison.” The documentary explores the grupo’s impact on inmates, both prior to and following their time in prison.