{{Short description|none}} {{about||the song by The Disposable Heroes of Hiphoprisy|Hypocrisy Is the Greatest Luxury|the scholarly journal ''Music & Politics''|University of Michigan Library#Michigan Publishing}} {{Essay-like|date=March 2024}} [[File:President Richard Nixon with Richard and Karen Carpenter.jpg|thumb|US President [[Richard Nixon]] with [[The Carpenters]] in 1972.]]{{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 modern times, they are seen as addressing universal concerns or commonly shared problems.<ref>{{Cite journal |last=Rodnitzky |first=Jerry |title=Protest song |url=https://www.oxfordmusiconline.com/grovemusic/display/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-1002252188 |journal=Grove Music Online |publication-date=2016}}</ref>
==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. <ref name="Polpop" />
Participants who engaged in the informed discourse about music are aware that it is not inherently political. If music listeners (including performers, composers, politicians and authorities who know music because they listen to it) "see" a relationship between certain music and politics, this is because, as a result of consequential logic, they attribute to this music the capacity to initiate certain (political) beliefs or behaviours in listeners.<ref name=":9">{{Cite book |last=Kutschke |first=Beate |title=Protest Cultures |publisher=Berghahn |year=2016 |editor-last=Fahlenbrach |editor-first=Kathrin |publication-place=New York and Oxford |publication-date=2016 |pages=264–272 |chapter=Political Music and Protest Song |editor-last2=Klimke |editor-first2=Martin |editor-last3=Scharloth |editor-first3=Joachim}}</ref> <!-- This relationship is also due to the specific functioning of music as a sign system, which is primarily based on similarities, structural analogies and associations that listeners construct between the music they listen to and non-musical things and phenomena. -->
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]].<ref>{{Cite journal |last=Kutschke |first=Beate |year=2014 |title=Music and other sign systems |url=http://www.mtosmt.org/issues/mto.14.20.4/mto.14.20.4.kutschke.html |journal=Music Theory Online |publication-date=2014 |volume=20 |issue=4|doi=10.30535/mto.20.4.3 |doi-access=free }}</ref>
Furthermore, some forms of music may be deemed political by cultural association, irrespective of political content, as evidenced by the way [[Western culture|Western]] pop/rock bands such as [[The Beatles]] were censored by the [[State (polity)|State]] in the [[Eastern Bloc]] in the 1960s and 1970s, while being embraced by younger people as symbolic of social change.<ref>{{cite web |url=http://www.neweasterneurope.eu/columns-blogs/new-voices/855-back-in-the-ussr |title=New Eastern Europe |website=Neweasterneurope.eu |date=2012-11-29 |access-date=2016-11-17 |archive-date=2014-03-29 |archive-url=https://web.archive.org/web/20140329181218/http://neweasterneurope.eu/columns-blogs/new-voices/855-back-in-the-ussr }}</ref>
It is difficult to predict how audiences will respond to political music, in terms of aural or even visual cues.<ref name="Polpop" /> Bleich and Zillmann found that "counter to expectations, highly rebellious students did not enjoy defiant rock videos more than did their less rebellious peers, nor did they consume more defiant rock music than did their peers",<ref name="Polpop">{{cite journal|last=alio|first=nur|title=Political Pop, Political Fans?|journal=Music and Politics|volume=IV|issue=1|doi=10.3998/mp.9460447.0004.103|year=2010|doi-access=free}}</ref> 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".<ref name="Polpop" />
Research that was done in 2012 has also suggested that [[music education]] has been used for the instilling [[patriotism]] in children, and that particularly during wartime, patriotic singing can escalate to inspire destructive [[jingoism]].<ref>Hebert, David and Kertz-Welzel, Alexandra (2012).''Patriotism and Nationalism in Music Education''. Aldershot, UK: Ashgate Press {{ISBN|1409430804}}</ref>
[[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;"<ref>{{Cite web|url=https://medium.com/@archiepatterson/musical-innovation-is-full-of-danger-to-the-state-for-when-modes-of-music-change-the-fundamental-8af33d713eb|title=Musical Innovation is full of danger to the State, for when modes of music change, the fundamental…|last=Patterson|first=Archie|date=2018-06-19|website=Medium|language=en|access-date=2020-01-13|archive-date=2020-01-13|archive-url=https://web.archive.org/web/20200113180956/https://medium.com/@archiepatterson/musical-innovation-is-full-of-danger-to-the-state-for-when-modes-of-music-change-the-fundamental-8af33d713eb}}</ref> 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.
==Folk music== ===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]].<ref name="Adams">{{cite news|last=Adams|first=Noah|title=The History of 'We Shall Overcome'|url=https://www.npr.org/templates/story/story.php?storyId=1031839|access-date=17 February 2012|date=15 January 1999}}</ref> 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 (activist)|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 [[socialism|socialistic]] patriotism.<ref name="Folk Hero">{{cite news|last=Hajdu|first=David|title=Review: Folk Hero|url=http://www.newyorker.com/archive/2004/03/29/040329crbo_books?currentPage=1.|access-date=13 March 2012|newspaper=The New Yorker|date=29 March 2004}}</ref> Pete Seeger's "[[Where Have All the Flowers Gone?]]", was a popular anti-war [[protest song]].<ref name="Pete Seeger">{{cite web|title=The Power of Song|url=http://www.pbs.org/wnet/americanmasters/pete-seeger-the-power-of-song/50/|publisher=Public Broadcasting Service|access-date=18 March 2012|date=2011-06-16}}</ref> 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.<ref name="dissentmagazine.org">{{cite web|url=http://www.dissentmagazine.org/online_articles/the-political-bob-dylan |title=The Political Bob Dylan |publisher=Dissent Magazine |date=2016-11-13 |access-date=2016-11-17}}</ref> In 1964, Joan Baez had a top-ten hit in the UK<ref name="Top Hits 1965">{{cite web|title=Favorites in the UK 1965|url=http://www.severing.nu/music/1965UK.html|access-date=16 February 2012}}</ref> with "[[There but for Fortune (song)|There but for Fortune]]" (by [[Phil Ochs]]); it was a plea for the innocent victim of prejudice or inhumane policies.<ref name="Unterberger">{{cite web|last=Unterberger|first=Richie|title=There But for Fortune|url=http://www.allmusic.com/song/there-but-for-fortune-t1020598|publisher=Rovi Corporation|access-date=16 February 2012}}</ref> Many topical songwriters with social and political messages emerged from the [[American folk music revival|folk music revival]] of the 1960s, including Bob Dylan, Joan Baez, Phil Ochs,<ref>{{cite web|url=http://www.furious.com/perfect/philochs2.html |title=Perfect Sound Forever: Phil Ochs |website=Furious.com |date=1976-04-09 |access-date=2016-11-17}}</ref> [[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-wing politics|Left]]-leaning folk record labels and magazines such as [[Sing Out!]] and [[Broadside (magazine)|Broadside]]. The revival began in the 1930s<ref name="30s to 60s folk music revival">{{cite web|last1=Eyerman|first1=Ron|last2=Barretta|first22=Scott|title=From the 30s to the 60s: The folk music revival in the United States|url=http://web.uni-frankfurt.de/fb09/kunstpaed/indexweb/jukult/folk.pdf|publisher=Springer|access-date=13 March 2012|archive-url=https://web.archive.org/web/20130404121659/http://web.uni-frankfurt.de/fb09/kunstpaed/indexweb/jukult/folk.pdf|archive-date=4 April 2013}}</ref> 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.<ref>30s to 60s folk music revival 1996, p. 508</ref> 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.<ref name="Reuss">{{cite book|last1=Reuss|first1=Richard|last2=Reuss|first2=Joanne|title=American Folk Music and Left Wing Politics|url=https://books.google.com/books?id=EycS7FSTAyUC&q=folk+topical+recordings+left+wing&pg=PA134|isbn=978-0-8108-3684-6|year=2000|publisher=Scarecrow Press }}</ref> 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.<ref>30s to 60s folk music revival 1996, p. 502</ref> In the [[UK]], [[Ewan MacColl]]<ref>{{cite web|url=http://www.ewanmaccoll.co.uk/ewan-maccoll-biography/ |title=Ewan MacColl Biography |website=Ewanmaccoll.co.uk |access-date=2016-11-17}}</ref> and [[A. L. Lloyd]] performed similar roles, with Lloyd as folklorist<ref>Lee, CP (2009), 'Like the night: Reception and reaction, Dylan's 1966 UK tour', in: ''Highway 61 Revisited: Bob Dylan's Road From Minnesota To The World'', University of Minnesota Press, Minneapolis USA, pp. 78–84.</ref> and MacColl (often with [[Peggy Seeger]]) releasing dozens of albums which blended traditional songs with newer political material influenced by their [[CPGB|Communist]] activism.<ref>{{cite web|url=http://ewan-maccoll.info/AlbumInfo.aspx?ID=239 |title=Peggy Seeger and Ewan MacColl – Songs Of Struggle |website=Ewan-maccoll.info |access-date=2016-11-17}}</ref><ref>{{cite news|author=Neil Spencer |url=https://www.theguardian.com/music/2015/jan/25/ewan-maccoll-godfather-folk-adored-and-feared |title=Ewan MacColl: the godfather of folk who was adored – and feared | Music |newspaper=[[The Guardian]] |access-date=2016-11-17}}</ref><ref>{{cite news|author=Colin Irwin |url=https://www.theguardian.com/music/2009/apr/23/british-folk-music |title=The battle over British folk music | Music |newspaper=[[The Guardian]] |access-date=2016-11-17}}</ref>
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.<ref>30s to 60s folk music revival 1996, p. 522</ref> 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.<ref name="Cold War Gallup">{{cite web|last=White|first=John|title=Seeing Red: The Cold War and American Public Opinion|url=https://www.archives.gov/research/foreign-policy/cold-war/conference/white.html|access-date=10 April 2012}}</ref> Leading figures in the American folk revival such as Seeger, [[Earl Robinson]] and [[Irwin Silber]] were or had been members of the [[CPUSA|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#McCarthyism|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.<ref>30s to 60s folk music revival 1996 p. 520</ref> Artists were blacklisted, denounced by [[House Committee on Un-American Activities#Standing committee|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]].<ref name="Folk Music 2">{{cite journal|last=James|first=David|title=The Vietnam War and American Music|journal=Social Text|issue=23|year=1989|pages=122–143|jstor=466424|doi=10.2307/466424}}</ref> 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.<ref>30s to 60s folk music revival 1996, p. 528</ref>
===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)|Gracias a la Vida]]''<ref>{{cite web|author=William Ruhlmann |url=http://www.allmusic.com/album/gracias-a-la-vida-mw0000651422 |title=Gracias a la Vida – Joan Baez | Songs, Reviews, Credits |website=[[AllMusic]] |access-date=2016-11-17}}</ref> album was a response to [[1973 Chilean coup d'état|events]] in [[Chile]] and included versions of songs by [[Nueva canción|Nueva Canción Chilena]] singer-songwriters [[Violeta Parra]] and [[Víctor Jara]]. Paxton albums such as ''Outward Bound''<ref>{{cite web|author=Richie Unterberger |url=http://www.allmusic.com/album/outward-bound-mw0000785860 |title=Outward Bound – Tom Paxton | Songs, Reviews, Credits |website=[[AllMusic]] |access-date=2016-11-17|author-link=Richie Unterberger }}</ref> and ''Morning Again''<ref>{{cite web|author=Richie Unterberger |url=http://www.allmusic.com/album/morning-again-mw0000786225 |title=Morning Again – Tom Paxton | Songs, Reviews, Credits |website=[[AllMusic]] |access-date=2016-11-17|author-link=Richie Unterberger }}</ref> continued to highlight political issues. They were joined by other activist musicians such as [[Holly Near]],<ref>{{cite web|author=William Ruhlmann |url=http://www.allmusic.com/album/hang-in-there-mw0000104473 |title=Hang in There – Holly Near | Songs, Reviews, Credits |website=[[AllMusic]] |access-date=2016-11-17}}</ref> [[Ray Korona]], [[Charlie King (folksinger)|Charlie King]], [[Anne Feeney]], [[Jim Page (singer)|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 (folk singer)|Roy Bailey]],<ref>{{cite web|author=Roy Bailey |url=http://www.allmusic.com/artist/roy-bailey-mn0000343290/biography |title=Roy Bailey | Biography & History |website=[[AllMusic]] |access-date=2016-11-17}}</ref> [[Leon Rosselson]]<ref>{{cite news|author=Iain Aitch |url=https://www.theguardian.com/music/2009/jun/05/folk |title=Iain Aitch meets songwriter Leon Rosselson | Music |newspaper=[[The Guardian]] |access-date=2016-11-17}}</ref> and [[Dick Gaughan]].<ref>{{cite web|author=June Sawyers |url=https://www.chicagotribune.com/1995/07/18/dick-gaughan-keeps-politics-in-the-forefront/ |title=Dick Gaughan Keeps Politics In The Forefront |website=Articles.chicagotribune.com |date=1995-07-18 |access-date=2016-11-17}}</ref> Since the 1980s, a number of artists have blended folk protest with influences from [[punk rock|punk]] and elsewhere to produce topical and political songs for a modern [[independent music|independent rock music]] audience, including [[Billy Bragg]],<ref>{{cite web |url=http://www.togetherthepeople.co.uk/line-up/billy-bragg/ |title=Turin Brakes |publisher=Together the People |date=2015-09-06 |access-date=2016-11-17 |archive-url=https://web.archive.org/web/20160908061119/http://www.togetherthepeople.co.uk/line-up/billy-bragg/ |archive-date=2016-09-08 }}</ref> [[Attila the Stockbroker]],<ref>{{cite web|url=http://www.poetryfoundation.org/article/239160 |title=Lives of the Poets: Attila the Stockbroker by Justin Hopper |publisher=Poetry Foundation |date=2010-04-05 |access-date=2016-11-17}}</ref> [[Robb Johnson]],<ref>{{cite web|url=http://www.folkworld.eu/30/e/robb.html |title=FolkWorld Article: Robb Johnson |website=Folkworld.eu |access-date=2016-11-17}}</ref> [[Alistair Hulett]],<ref>{{cite news|author=Robin Denselow |url=https://www.theguardian.com/music/2010/feb/09/alistair-hulett-obituary |title=Alistair Hulett obituary | Music |newspaper=[[The Guardian]] |access-date=2016-11-17}}</ref> [[The Men They Couldn't Hang]],<ref>{{cite news|author=Robin Denselow |url=https://www.theguardian.com/music/2014/apr/23/the-men-they-couldnt-hang-review |title=The Men They Couldn't Hang review – rowdy 30th anniversary shindig | Music |newspaper=[[The Guardian]] |access-date=2016-11-17}}</ref> [[TV Smith]],<ref>{{cite web|url=http://www.tvsmith.com/temp/tvsmith_oz_interview.pdf |title=Keeping You Informed article |website=Tvsmith.com |access-date=2016-11-17}}</ref> [[Chumbawamba]]<ref>{{cite news|url=https://www.independent.co.uk/arts-entertainment/music/features/chumbawamba-they-got-knocked-down-793921.html |archive-url=https://ghostarchive.org/archive/20220618/https://www.independent.co.uk/arts-entertainment/music/features/chumbawamba-they-got-knocked-down-793921.html |archive-date=2022-06-18 |url-access=subscription |url-status=live |title=Chumbawamba: They got knocked down... |website=[[The Independent]] |date=2008-03-11 |access-date=2016-11-17}}</ref> and more recently [[Chris T-T]]<ref>{{cite web|url=http://www.thespace.org/news/view/chris-tt-interview |title=News |publisher=The Space |date= April 2016|access-date=2016-11-17}}</ref> and [[Grace Petrie]].<ref>{{cite web|url=http://www.redpepper.org.uk/grace-petrie-singing-for-change/ |title=Grace Petrie: Singing for change |publisher=Red Pepper |access-date=2016-11-17}}</ref>
=== Ireland === {{Main|Irish rebel music}}
In [[Ireland]], the [[Wolfe Tones]] is perhaps the best known band in the folk protest/[[irish rebel music|rebel music]] tradition, recording political material since the late 1960s including songs by [[Dominic Behan]] on albums such as ''[[Let the People Sing (Wolfe Tones album)|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 (Christy Moore album)|Ride On]]'' (including "[[Viva la Quinta Brigada (song)|Viva la Quinta Brigada]]"), ''[[Ordinary Man (Christy Moore album)|Ordinary Man]]'' and various artists LP ''[[H Block]]'' to which Moore contributed "Ninety Miles from Dublin", in response to the [[Irish Republicanism|Republican]] prisoners' [[blanket protest]] of the late 1970s. Earlier in the decade, [[The Barleycorn]] had held the [[List of number-one singles of 1972 (Ireland)|#1 spot on the Irish charts]] for five weeks in 1972 with their first release "[[The Men Behind the Wire]]", about [[Operation Demetrius|internment]], with all profits going to the families of internees; [[Irish republicanism|Republican]] label R&O Records likewise released several records around this time to fundraise for the same cause, including the live album ''Smash Internment'',<ref>{{cite web |title=Vinyl Album – Various Artists – Smash Internment And Injustice – Live Recording In Long Kesh – R & O – Ireland |url=http://www.45worlds.com/vinyl/album/rol3002 |access-date=2016-11-17 |website=45worlds.com}}</ref> recorded in [[Long Kesh]], and The Wolfhounds' recording of [[Paddy McGuigan]]'s "[[The Boys of the Old Brigade]]".<ref>{{cite web |date=2012-01-12 |title=The Wolfhounds [Ireland] – The Boys Of The Old Brigade / Ashtown Road – R&O – Ireland – RO.1001 |url=http://www.45cat.com/record/ro1001 |access-date=2016-11-17 |website=45cat.com}}</ref> The band [[The Murder Capital]] tackles anti-immigrant sentiment and the cost of living crisis with songs like "[https://www.youtube.com/watch?v=x4p2htg8DOY Love of Country]". A trio from Belfast called [[Kneecap (band)|Kneecap]] is known for rapping in Irish ([[Irish language|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.<ref>Rodnitzky, Jerome L. "The Sixties between the Microgrooves: Using Folk and Protest Music to Understand American History, 1963–1973." ''Popular Music and Society'' 23, no. 4 (December 1999): 105–22. {{doi|10.1080/03007769908591755}}.</ref>
===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.<ref name="World Music">{{cite book|last=Bohlman|first=Philip|title=World Music: A Very Short Introduction|year=2002|publisher=Oxford University Press|location=Oxford|pages=64–65}}</ref> 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.<ref>World Music 2002, p. 65</ref>
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.<ref>''Folk Music of China'' (1995) by Stephen Jones, page 55</ref>
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.<ref name="Folk Music" /> In 1965, intrigued by local Vietnamese customs and traditions, and the potential use of 'applied folklore' as a technique of raising consciousness, he began to record and curate tapes of folk songs for intelligence purposes. He also urged performers such as [[Phạm Duy]] to write and perform patriotic songs to raise morale in South Vietnam. Duy had written topical songs popular during the [[First Indochina War|anti-French struggle]] but then broke with the Communist-dominated [[Viet Minh]].<ref name="Folk Music">{{cite journal|last=Fish|first=Lydia|title=General Edward G. Lansdale and the Folksongs of Americans in the Vietnam War|journal= The Journal of American Folklore|year=1989|volume=102|issue=406|pages=390–411|jstor=541780|doi=10.2307/541780}}</ref>
==Blues and African-American music== {{Main|African-American music}}
[[File:"Paul Robeson, world famous Negro baritone, leading Moore Shipyard (Oakland, CA) workers in singing the Star Spangled Ba - NARA - 535874.tif|thumb|[[Paul Robeson]] singing "[[The Star-Spangled Banner]]" with shipyard workers.]] [[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''.<ref>{{cite web|url=http://www.elijahwald.com/joshprotest.html |title=Josh White and the Protest Blues, by Elijah Wald |website=Elijahwald.com |access-date=2016-11-17}}</ref> 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 United States|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<ref>{{cite web|author=Bill Dahl |url=http://www.allmusic.com/artist/jb-lenoir-mn0000115733/biography |title=J.B. Lenoir | Biography & History |website=[[AllMusic]] |access-date=2016-11-17}}</ref> and later material protested civil rights, racism and the Vietnam War.<ref>{{cite web|author=Jeff Schwachter |url=http://www.allmusic.com/album/vietnam-blues-the-complete-l-r-recording-mw0000178679 |title=Vietnam Blues: The Complete L&R Recording – J.B. Lenoir | Songs, Reviews, Credits |website=[[AllMusic]] |access-date=2016-11-17}}</ref> John Lee Hooker also sang 'I Don't Wanna Go to Vietnam" on 1969 album ''Simply the Truth''.<ref>{{cite web|url=http://www.discogs.com/John-Lee-Hooker-Simply-The-Truth/master/417087 |title=John Lee Hooker – Simply The Truth |website=Discogs.com |date=1969 |access-date=2016-11-17}}</ref>
[[Paul Robeson]], singer, actor, athlete, and civil rights activist, was investigated by the [[Federal Bureau of Investigation|FBI]] and was called before the [[House Un-American Activities Committee]] (HUAC) for his outspoken [[Political views of Paul Robeson|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)|Washington]] state and the Canadian province of [[British Columbia]] on May 18, 1952.<ref>Duberman, p. 400</ref> 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,<ref>Duberman p. 411</ref> and over the next two years two further concerts were scheduled.
=== Jazz === [[File:Ella Fitzgerald with President Ronald Reagan After Performing for King Juan Carlos I of Spain in The East Room - DPLA - c9dfc82de1432173848bf6a2487e6e2d.jpg|thumb|United States president [[Ronald Reagan]] with jazz singer [[Ella Fitzgerald]] in 1981.]] 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.<ref>{{Cite journal |last=Coleman |first=Kwami |date=2021-07-01 |title=Free Jazz and the "New Thing"Aesthetics, Identity, and Texture, 1960–1966 |url=https://online.ucpress.edu/jm/article/38/3/261/118329/Free-Jazz-and-the-New-Thing-Aesthetics-Identity |journal=Journal of Musicology |language=en |volume=38 |issue=3 |pages=261–295 |doi=10.1525/jm.2021.38.3.261 |s2cid=238815685 |issn=0277-9269|url-access=subscription }}</ref> 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.<ref>{{Cite journal |last=Lewis |first=George E. |date=2002 |title=Improvised Music after 1950: Afrological and Eurological Perspectives |journal=Black Music Research Journal |volume=22 |pages=215–246 |doi=10.2307/1519950 |jstor=1519950 |issn=0276-3605}}</ref> 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.<ref>{{Cite journal |url=https://online.ucpress.edu/jm/article/38/3/261/118329/Free-Jazz-and-the-New-Thing-Aesthetics-Identity |access-date=2023-05-10 |journal=Journal of Musicology |doi=10.1525/jm.2021.38.3.261 |title=''Free Jazz'' and the "New Thing" |year=2021 |last1=Coleman |first1=Kwami |volume=38 |issue=3 |pages=261–295 |s2cid=238815685 |url-access=subscription }}</ref>
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|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.<ref>{{Cite journal |date=2011-02-01 |title=John Coltrane and black America's quest for freedom: spirituality and the music |journal=Choice Reviews Online |volume=48 |issue=6 |pages=48–3180-48-3180 |doi=10.5860/choice.48-3180 |doi-broken-date=1 July 2025 |issn=0009-4978}}</ref> 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.<ref>{{Cite journal |last=Tucker |first=Sherrie |date=2002 |title=Big Ears: Listening for Gender in Jazz Studies |journal=Current Musicology |language=en |number=71–73 |doi=10.7916/cm.v0i71-73.4831}}</ref> 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.
== Dance music ==
=== Disco === [[Disco music|Disco]], contrary to popular belief, originated in [[Black people|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 City|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".<ref>{{cite journal | last1 = Lawrence | first1 = Tim | title = Disco and the Queering of the Dance Floor. | journal = Cultural Studies | volume = 25 | pages = 230–243 | doi = 10.1080/9502386.2011.535989 | doi-broken-date = 12 July 2025 }}</ref> The spirit of the 60s as well as the experience of [[Vietnam War|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.{{citation needed|date=February 2018}}
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 "[https://www.youtube.com/watch?v=wV1FrqwZyKw 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.<ref>{{Cite web |last=Damodaran |first=Sumangala |date=2016-08-05 |title=Protest and Music |url=https://oxfordre.com/politics/display/10.1093/acrefore/9780190228637.001.0001/acrefore-9780190228637-e-81 |access-date=2023-04-04 |website=Oxford Research Encyclopedia of Politics |language=en |doi=10.1093/acrefore/9780190228637.013.81|isbn=978-0-19-022863-7 }}</ref>
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.<ref>{{Cite web |title=From Nueva Canción to Tropicália: 5 Music Genres Born Out of Latin American Political Resistance |url=https://remezcla.com/lists/music/5-music-genres-resistance/ |access-date=2023-05-04 |website=Remezcla |language=en-US}}</ref> Global languages and cultures professor Robert Neustadt affirms that artists like [[Violeta Parra]], [[Víctor Jara]], and [[Inti-Illimani|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 === {{Main|Salsa music}}
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.<ref>Aparicio, Frances R. ''Listening to Salsa: Gender, Latin Popular Music, and Puerto Rican Cultures''. Music/Culture. Hanover, NH: University Press of New England, 1998.</ref><ref>Rondon, Cesar Miguel. ''El Libro de La Salsa. Cronica de la Musica del Caribe Urbano'', Editorial Arte, 1980.</ref> Political themes in salsa have included racial discrimination, white supremacy, colonialism, sexism, homophobia, environmental disaster.<ref>Agurto, Andrés Espinoza. ''Salsa Consciente: Politics, Poetics, and Latinidad in the Meta-Barrio''. East Lansing: Michigan State University Press, 2021.</ref><ref name=":4">Rivera-Rideau, Petra R. ''Remixing Reggaetón: The Cultural Politics of Race in Puerto Rico''. Illustrated edition. Durham: Duke University Press Books, 2015.</ref>
=== Reggaeton === {{Main|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 [[LGBT community|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.<ref name=":4" />
==== 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 "[[Tití Me Preguntó|Titi Me Pregunto]]," "[[Dakiti|DÁKITI]]", "[[Yonaguni (song)|Yonaguni]]," and "[[Callaíta|Callaita]]." He was also the most listened-to artist in 2022.<ref>{{Cite magazine |last= |date=2013-01-02 |title=Top Artists |url=https://www.billboard.com/charts/year-end/top-artists/ |access-date=2023-08-07 |magazine=Billboard |language=en-US}}</ref> 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.<ref>{{Cite magazine |last=Fernandez |first=Suzette |date=2020-04-16 |title=Everything You Need to Know About the Making of Bad Bunny's 'Yo Perreo Sola' Video |url=https://www.billboard.com/music/latin/bad-bunny-yo-perreo-sola-video-everything-you-need-to-know-9359233/ |access-date=2023-08-07 |magazine=Billboard |language=en-US}}</ref>
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.<ref>{{Cite news |date=2022-09-19 |title=Bad Bunny, No. 1 Again, Puts a Spotlight on Inequities in Puerto Rico |work=The New York Times |language=en |url=https://www.nytimes.com/2022/09/19/arts/music/bad-bunny-el-apagon-billboard.html |access-date=2023-08-07 |last1=Sisario |first1=Ben }}</ref> 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 of 2012|Act 22]], which is a law passed in the United States after [[Hurricane Maria (2011)|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 resident test|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 [[millionaire]]s and [[investor]]s 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.<ref>{{Cite journal |last=Goldman |first=Dara E. |date=2017-11-01 |title=Walk like a woman, talk like a man: Ivy Queen's troubling of gender |journal=Latino Studies |language=en |volume=15 |issue=4 |pages=439–457 |doi=10.1057/s41276-017-0088-5 |s2cid=256517140 |issn=1476-3443}}</ref>
=== Regional Mexican Music === Regional Mexican music encompasses diverse Spanish language genres originating in Mexico, such as mariachi, banda, duranguense, nortenos, grupo, corridos, and more.<ref>{{Cite web |title=6 Regional Mexican Music Acts Redefining The Genre: Christian Nodal, Grupo Firme, Ángela Aguilar & More |url=https://www.grammy.com/news/regional-mexican-artists-new-generation-christian-nodal-grupo-firme-angela-aguilar-natanael-cano-eslabon-armado-yahritza-y-su-esencia |access-date=2023-08-07 |website=www.grammy.com}}</ref> These genres hold significant popularity among Spanish-speaking audiences.<ref>{{Cite web |title=Not Your Abuela's Music: A Deep Dive Into Mexican Regional Music |website=[[NPR]] |url=https://www.npr.org/2021/05/04/993611962/not-your-abuelas-music-a-deep-dive-into-mexican-regional-music |access-date=2023-08-07}}</ref> 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|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]].<ref>{{Cite news |date=2014-06-27 |title=The United States of Los Tigres (Published 2014) |work=The New York Times |language=en |url=https://www.nytimes.com/2014/06/29/arts/music/los-tigres-del-norte-breaks-boundaries.html |access-date=2023-08-07 |last1=Rohter |first1=Larry }}</ref> They initially arrived in the United States with [[temporary visa]]s 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.|Washington D.C]]., advocating for [[immigration reform]].<ref>{{Cite magazine |last=Flores |first=Griselda |date=2020-10-04 |title=Hispanic Heritage Month 2020: 5 Times Los Tigres Del Norte Spoke Out Against Social Injustice |url=https://www.billboard.com/music/latin/los-tigres-del-norte-social-injustice-9327502/ |access-date=2023-08-07 |magazine=Billboard |language=en-US}}</ref> 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.<ref>{{Cite news |title=Los Tigres del Norte sing 'the real stuff' at immigration rally |newspaper=[[The Washington Post]] |url=https://www.washingtonpost.com/lifestyle/style/los-tigres-del-norte-sing-the-real-stuff-at-immigration-rally/2013/10/08/c3a26a84-304f-11e3-bbed-a8a60c601153_story.html |access-date=2023-08-07}}</ref>
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 State Prison|Folsom Prison]], located in [[California]], which led to the creation of a song called "La Prisión de Folsom" (Folsom Prison).<ref>{{Cite web |title=Los Tigres Del Norte Retrace Johnny Cash's Steps In 'Folsom Prison' Documentary |website=[[NPR]] |url=https://www.npr.org/sections/altlatino/2019/10/18/771255113/los-tigres-del-norte-retrace-johnny-cashs-steps-in-folsom-prison-documentary |access-date=2023-08-07}}</ref> 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.
==Rock music== Many rock artists, as varied as [[Crosby, Stills, Nash & Young]],<ref>{{cite web|last=Sheehan |first=Ivan |url=http://rockhall.com/blog/post/crosby-stills-nash-young-ohio-kent-state-shooting/ |title=The Story of "Ohio" | Rock & Roll Hall of Fame |website=Rockhall.com |date=2012-05-17 |access-date=2016-11-17}}</ref> [[Bruce Springsteen]],<ref>{{cite web|url=http://www.redpepper.org.uk/bring-on-your-wrecking-ball/ |title=Bring on your wrecking ball: the politics of Bruce Springsteen |publisher=Red Pepper |access-date=2016-11-17}}</ref> [[Little Steven]],<ref>{{cite web|url=http://ultimateclassicrock.com/10-things-you-didnt-know-about-steve-van-zandt/ |title=10 Things You Didn't Know About Steve Van Zandt |website=Ultimateclassicrock.com |date=2013-11-22 |access-date=2016-11-17}}</ref> [[Rage Against the Machine]],<ref>{{cite web|url=http://www.tonedeaf.com.au/233089/ratm.htm#1 |title=The Politics Behind Rage Against The Machine's Biggest Songs |publisher=Tone Deaf |date=2012-11-29 |access-date=2016-11-17}}</ref> [[Radiohead]],<ref>{{Cite web|url=https://pitchfork.com/thepitch/1134-how-radiohead-became-for-a-time-the-worlds-biggest-political-band/|title=How Radiohead Became, for a Time, the World's Biggest Political Band|website=[[Pitchfork (website)|Pitchfork]]|date=11 May 2016}}</ref> [[Manic Street Preachers]],<ref>{{cite web |url=http://www.newleftproject.org/index.php/site/blog_comments/rebel_music_5_manic_street_preachers |title=Farewell from NLP |publisher=New Left Project |access-date=2016-11-17 |archive-url=https://web.archive.org/web/20150925231403/http://www.newleftproject.org/index.php/site/blog_comments/rebel_music_5_manic_street_preachers |archive-date=2015-09-25 |url-status=usurped }}</ref> [[Megadeth]],<ref>{{cite web|author=Steve Huey |url=http://www.allmusic.com/album/peace-sellsbut-whos-buying-mw0000650486 |title=Peace Sells...But Who's Buying? – Megadeth | Songs, Reviews, Credits |website=[[AllMusic]] |access-date=2016-11-17}}</ref> [[Enter Shikari]],<ref>{{cite news|author=Ian Gittins |url=https://www.theguardian.com/music/2012/jan/17/enter-shikari-review |title=Enter Shikari – review | Music |newspaper=[[The Guardian]] |access-date=2016-11-17}}</ref> [[Architects (British band)|Architects]],<ref>{{cite magazine|author=Hannah Ewens |url=https://www.vice.com/en/article/trolling-changing-the-world-and-uk-rock-with-architect/ |title=Architects – interview |magazine=[[Vice (magazine)|Vice]] |date= 2015-03-16|access-date=2015-03-16}}</ref> [[Muse (band)|Muse]], [[System of a Down]],<ref>{{cite web|url=http://www.huffingtonpost.ca/2012/08/29/system-of-a-down-serj-tankian-mitt-romney_n_1840731.html |title=System of a Down's Serj Tankian Talks Obama, Romney and Why He'll Never Run For Office |website=Huffingtonpost.ca |date=2012-08-29 |access-date=2016-11-17}}</ref> [[Sonic Boom Six]]<ref>{{cite web |url=http://blogs.independent.co.uk/2013/10/21/sonic-boom-six-on-why-there-are-still-lots-of-bands-about-that-do-have-elements-of-social-commentary-out-there/ |title=Sonic Boom Six on why there are still lots of bands about that do have elements of social commentary out there | | Independent Arts Blogs |website=blogs.independent.co.uk |access-date=17 January 2022 |archive-url=https://web.archive.org/web/20131021143749/http://blogs.independent.co.uk/2013/10/21/sonic-boom-six-on-why-there-are-still-lots-of-bands-about-that-do-have-elements-of-social-commentary-out-there/ |archive-date=21 October 2013 }}</ref> and [[Drive-By Truckers]]<ref>{{Cite web|url=https://www.theguardian.com/music/2020/feb/09/drive-by-truckers-interview-the-unraveling-alabama|title=Drive-By Truckers: 'We have redneck in us. No one tells us what to do'|website=[[TheGuardian.com]]|date=9 February 2020}}</ref> have had openly political messages in their music. The use of political lyrics and the taking of political stances by rock musicians can be traced back to the [[Counterculture of the 1960s|1960s counterculture]],<ref name="furious.com">{{cite web|url=http://www.furious.com/perfect/marcus.html |title=Greil Marcus interview |website=Furious.com |access-date=2016-11-17}}</ref> specifically the influence of the early career of [[Bob Dylan]],<ref name="dissentmagazine.org"/> itself shaped by the politicized [[American folk music revival|folk revival]].
===1960s–1970s counterculture=== During the 1960s and early 1970s counterculture era, musicians such as [[John Lennon]] commonly expressed protest themes in their music,<ref>{{cite magazine|url=http://www.popmatters.com/feature/133778-revolutionary-man-john-lennon-as-political-artist/ |title=Revolutionary Man: John Lennon As Political Artist |magazine=PopMatters |access-date=2016-11-17}}</ref> for example on the [[Plastic Ono Band]]'s 1969 single "[[Give Peace a Chance]]". Lennon later devoted [[Some Time in New York City|an entire album]] to politics and wrote the song "[[Imagine (John Lennon song)|Imagine]]", widely considered to be a peace anthem. Its lyrics invoke a world without religion, national borders or private property. In 1962–63, [[Bob Dylan]] sang about the evils of war, racism and poverty on his trademark political albums "[[The Freewheelin' Bob Dylan]]" and "[[The Times They Are a-Changin' (Bob Dylan album)|The Times They Are a-Changin']]" (released in 1964), popularizing the cause of the Civil Rights Movement. Dylan was influenced by the folk revival, as well as by the [[Beat Generation|Beat]] writers, and the political beliefs of the young generation of the era.<ref name="dissentmagazine.org"/> In turn, while Dylan's political phase comes under the 'folk' category, he was known as a rock artist from 1965 and remained associated with an anti-establishment stance that influenced other musicians – such as the [[British Invasion]] bands – and the rock music audience, by broadening the spectrum of subjects that could be addressed in popular song.<ref name="furious.com"/>
The [[MC5]] (Motor City 5) came out of the [[Detroit]], [[Michigan]] underground scene of the late 1960s,<ref>{{cite web|url=http://www.furious.com/perfect/MC5/benedmonds.html |title=MC5- Ben Edmonds interview |website=Furious.com |access-date=2016-11-17}}</ref> and embodied an aggressive evolution of [[garage rock]] which was often fused with socio-political and countercultural lyrics, such as in the songs "Motor City Is Burning", (a [[John Lee Hooker]] cover adapting the story of the [[Detroit Race Riot (1943)]] to the [[12th Street riot|1967 12th Street Detroit Riot]]), and "American Ruse" (which discusses U.S. [[police brutality]] as well as [[pollution]], [[prison]], [[materialism]] and [[rebellion]]). They had ties to [[Far left|radical leftist]] groups such as [[Up Against the Wall Motherfuckers]] and [[John Sinclair (poet)|John Sinclair]]'s [[White Panther Party]]. MC5 was the only band to perform a set before the August [[1968 Democratic Convention]] in Chicago, as part of the [[Yippie]]s' [[1968 Democratic National Convention protest activity|Festival of Life]] where an infamous riot subsequently broke out between police and students protesting the April [[assassination of Martin Luther King Jr.]] and the [[Vietnam War]].
Other rock groups that conveyed specific political messages in the late 1960s/early 1970s – [[List of songs about the Vietnam War|often in regard to the Vietnam War]] – include [[The Fugs]], [[Country Joe and the Fish]], [[Jefferson Airplane]], [[Creedence Clearwater Revival]], and [[Third World War (band)|Third World War]], while some bands, such as The Beatles, [[The Rolling Stones]] and [[Hawkwind]], referenced political issues occasionally and in a more observational than engaged way, e.g. in songs like "[[Revolution (Beatles song)|Revolution]]", "[[Street Fighting Man]]", "[[Salt of the Earth (song)|Salt of the Earth]]" and "[[Urban Guerrilla]]".
===Punk rock=== {{Main|Punk ideologies}}
Notable punk rock bands, such as [[Crass]], [[Conflict (band)|Conflict]], [[Sex Pistols]], [[The Clash]], [[Dead Kennedys]], [[Black Flag (band)|Black Flag]], [[Refused]], [[American Standards]], [[Discharge (band)|Discharge]], [[Millions of Dead Cops|MDC]], [[Aus-Rotten]], [[Billy Talent]], [[Anti-Flag]], and [[Leftöver Crack]] have used political and sometimes controversial lyrics that attack the establishment, sexism, capitalism, racism, speciesism, colonialism, and other phenomena they see as sources of social problems.
Since the late 1970s, [[punk rock]] has been associated with various left-wing or anti-establishment ideologies,<ref>{{cite web|url=http://www.studentpulse.com/articles/612/what-riot-punk-rock-politics-fascism-and-rock-against-racism|title=What Riot? Punk Rock Politics, Fascism, and Rock Against Racism – Student Pulse|date=22 October 2012|url-status=bot: unknown|archive-url=https://web.archive.org/web/20121022124345/http://www.studentpulse.com/articles/612/what-riot-punk-rock-politics-fascism-and-rock-against-racism|archive-date=22 October 2012}}</ref><ref>{{cite news|author=Dorian Lynskey |url=https://www.theguardian.com/music/2012/jun/01/no-future-punk-youth-rebellion |title=No future? Punk is still the sound of youth rebellion the world over | Music |newspaper=[[The Guardian]] |access-date=2016-11-17}}</ref><ref>{{cite web|url=http://www.marxists.org/history/erol/periodicals/theoretical-review/19801802.htm |title=Popular Culture and Revolutionary Theory: Understanding Punk Rock |website=Marxists.org |access-date=2016-11-17}}</ref> including [[anarchism]] and [[socialism]]. Punk's [[DIY culture]] held an attraction for some on the [[Left-wing politics|Left]], suggesting affinity with the ideals of [[workers' control]], and empowerment of the powerless<ref>{{cite web|url=http://www.uncarved.org/music/apunk/autonomia.html |title=Punk And Autonomia |website=Uncarved.org |date=1977-02-17 |access-date=2016-11-17}}</ref> (though it is arguable that the punk movement's partial focus on apathy towards the establishment, combined with the fact that in many situations, punk rock music generated income for major record companies, and the notable similarities between some strains of anarchism and capitalism, meant that the punk movement ran contrary to left-wing ideologies) – and the genre as a whole came, largely through the [[Sex Pistols]], to be associated with anarchism. The sincerity of the early punk bands has been questioned – some critics saw their referencing of revolutionary politics as a provocative pose rather than an ideology<ref>{{cite book|last1=Burchill|first1=Julie|last2=Parsons|first2=Tony|title=The Boy Looked At Johnny|year=1978|publisher=[[Pluto Press]]|location=London|isbn=978-0-86104-030-8}}</ref><ref>{{cite book|last=Denselow|first=Robin|title=When The Music's Over|url=https://archive.org/details/whenmusicsoverst0000dens|url-access=registration|year=1989|publisher=Faber and Faber|location=London|isbn=978-0-571-13906-4}}</ref> – but bands such as [[Crass]]<ref>{{cite web|author=Richie Unterberger |url=http://www.allmusic.com/artist/crass-mn0000129637/biography |title=Crass | Biography & History |website=[[AllMusic]] |access-date=2016-11-17|author-link=Richie Unterberger }}</ref> and [[Dead Kennedys]]<ref name="DKs">{{cite web|author=Stephen Thomas Erlewine |url=http://www.allmusic.com/artist/dead-kennedys-mn0000786613/biography |title=Dead Kennedys | Biography & History |website=[[AllMusic]] |access-date=2016-11-17|author-link=Stephen Thomas Erlewine }}</ref> later emerged who held strong anarchist views, and over time this association strengthened, as they went on to influence other bands in the UK [[anarcho-punk]] and US [[hardcore punk|hardcore]] [[subgenre]]s, respectively.
The Sex Pistols song "[[God Save the Queen (Sex Pistols song)|God Save the Queen]]" was banned from broadcast by the BBC<ref>{{cite web|author=Stephen Thomas Erlewine |url=http://www.allmusic.com/artist/sex-pistols-mn0000418740/biography |title=Sex Pistols | Biography & History |website=[[AllMusic]] |access-date=2016-11-17|author-link=Stephen Thomas Erlewine }}</ref> in [[Silver Jubilee of Elizabeth II|1977]] due to its presumed anti-[[Royalism]], partly due to its apparent equation of the monarchy with a "fascist regime". The following year, the release of debut Crass album [[The Feeding Of the 5000]] was initially obstructed when pressing plant workers refused to produce it due to sacrilegious lyrical content.<ref>{{cite news|author=Matt Grimes |url=https://www.independent.co.uk/voices/comment/a-history-of-music-censorship-9051887.html |archive-url=https://ghostarchive.org/archive/20220618/https://www.independent.co.uk/voices/comment/a-history-of-music-censorship-9051887.html |archive-date=2022-06-18 |url-access=subscription |url-status=live |title=A history of music censorship |newspaper=[[The Independent]] |access-date=2016-11-17}}</ref> Crass later faced court charges of obscenity related to their [[Penis Envy (album)|Penis Envy]] album, as the Dead Kennedys later did over their [[Frankenchrist]] album artwork.<ref name="DKs"/>
[[The Clash]] are regarded as pioneers of political punk, and were seen to represent a progressive, socialistic worldview compared to the apparently anti-social or [[Political nihilism|nihilistic]] attack of many early punk bands.<ref>{{cite magazine|author=Antonino D'Ambrosio |url=http://monthlyreview.org/2003/06/01/let-fury-have-the-hour-the-passionate-politics-of-joe-strummer |title='Let Fury Have the Hour': The Passionate Politics of Joe Strummer by Antonino D'Ambrosio |magazine=Monthly Review |access-date=2016-11-17}}</ref><ref>{{cite web|author=Stephen Thomas Erlewine |url=http://www.allmusic.com/artist/the-clash-mn0000075747/biography |title=The Clash | Biography & History |website=[[AllMusic]] |access-date=2016-11-17|author-link=Stephen Thomas Erlewine }}</ref> Partly inspired by 1960s protest music such as the MC5, their stance influenced other first and second wave punk/[[new wave music|new wave]] bands such as [[The Jam]], [[The Ruts]], [[Stiff Little Fingers]], [[Angelic Upstarts]], [[Tom Robinson Band|TRB]] and [[Newtown Neurotics]], and inspired a lyrical focus on subjects such as [[White Riot|racial tension]], [[Career Opportunities (song)|unemployment]], [[Garageland (song)|class resentment]], [[London's Burning (The Clash song)|urban alienation]] and police violence, as well as [[I'm So Bored with the USA|imperialism]]. Partially credited with aligning punk and [[reggae]],<ref>{{cite web|url=http://niceup.com/writers/carter/two_sevens_clashed |format=PDF |title=When The Two Sevens Clashed: Joe Strummer and The Clash helped start the punky reggae party Jamaican reggae deejay/producer MIKEY DREAD was there |website=Niceup.com |access-date=2016-11-17}}</ref><ref>{{cite news|author=Dave Simpson |url=https://www.theguardian.com/music/2007/jul/20/urban.popandrock |title=Dave Simpson on what happened when reggae and punk went head to head in the UK | Music |newspaper=[[The Guardian]] |access-date=2016-11-17}}</ref> The Clash's anti-racism helped to cement punk's anti-fascist politics, and they famously headlined the first joint [[Rock Against Racism]] (RAR)/[[Anti Nazi League]] (ANL) carnival in [[London Borough of Hackney|Hackney]], [[London]], in April 1978.<ref>{{cite news|author=Dorian Lynskey |url=https://www.theguardian.com/music/2011/jun/14/punk-rock-against-racism |title=Rock Against Racism defines punk politics | Music |newspaper=[[The Guardian]] |access-date=2016-11-17}}</ref><ref>{{cite news|author=Sarfraz Manzoor |url=https://www.theguardian.com/music/2008/apr/20/popandrock.race |title=1978, the year rock found the power to unite | Music |newspaper=[[The Guardian]] |access-date=2016-11-17}}</ref><ref>{{cite news|author1=Ben Naylor |author2=Chris Mugan |author3=Colin Brown |author4=Charlotte Cripps |url=https://www.independent.co.uk/arts-entertainment/music/features/rock-against-racism-remembering-that-gig-that-started-it-all-815054.html |archive-url=https://ghostarchive.org/archive/20220618/https://www.independent.co.uk/arts-entertainment/music/features/rock-against-racism-remembering-that-gig-that-started-it-all-815054.html |archive-date=2022-06-18 |url-access=subscription |url-status=live |title=Rock against racism: Remembering that gig that started it all |newspaper=[[The Independent]] |access-date=2016-11-17}}</ref> The RAR/ANL campaign is credited with helping to destroy the UK [[National Front (UK)#Late 1970s: riots, in-fighting and decline|National Front]] as a credible political force, aided by the support received from punk and reggae bands.
Many punk musicians, such as [[Vic Bondi]] ([[Articles of Faith (band)|Articles of Faith]]), [[Joey Keithley]] ([[DOA (band)|DOA]]), [[Tim McIlrath]] ([[Rise Against]]), [[The Crucifucks]], [[Bad Religion]], [[The Proletariat]], [[Against All Authority]], [[Dropkick Murphys]] and [[Crashdog]] have held and expressed left-wing views. Dead Kennedys singer [[Jello Biafra]], as well as [[T.S.O.L.]] frontman [[Jack Grisham]], have run as candidates for public office under left-wing platforms. However, some punk bands have expressed more [[Populism|populist]] and [[conservative]] opinions, and an ambiguous form of [[patriotism]], beginning in the U.S. with many of the groups associated with 1980s [[New York hardcore]],<ref>{{cite web|author=Damon Root |url=http://reason.com/blog/2009/12/08/the-politics-of-hardcore-punk |title=The Politics of Hardcore Punk – Hit & Run |website=Reason.com |date=2009-12-08 |access-date=2016-11-17}}</ref> and prior to that in the UK with a small section of the [[Oi!]] movement.<ref>{{cite web|author=Matthew Worley |url=http://tcbh.oxfordjournals.org/content/early/2013/03/20/tcbh.hwt001.full |archive-url=https://web.archive.org/web/20141116181212/http://tcbh.oxfordjournals.org/content/early/2013/03/20/tcbh.hwt001.full |archive-date=2014-11-16 |title=Oi! Oi! Oi!: Class, Locality, and British Punk |website=Tcbh.oxfordjournals.org |access-date=2016-11-17}}</ref><ref>{{cite web|url=http://www.garry-bushell.co.uk/oi/index.asp |archive-url=https://web.archive.org/web/20080731120915/http://www.garry-bushell.co.uk/oi/index.asp |archive-date=2008-07-31 |title=www.garry-bushell.co.uk – Oi! – The Truth by Garry Bushell |access-date=2016-11-17}}</ref>
An extremely small minority of punk rock bands, exemplified by (1980s-era) [[Skrewdriver]] and [[Skullhead]], have held [[far-right politics|far-right]] and [[anticommunism|anti-communist]] stances, and were consequently reviled in the broader, largely Leftist punk subculture.
[[Washington, D.C.|Washington D.C.]] became a cultural epicenter that fostered alternative punk rock. As a governmental and corporate location, it became all the more motivating for artists to build a punk scene. The pioneers of Washington D.C.'s punk scene in the 1970s were [[The Slickee Boys]], [[Bad Brains]], [[The Teen Idles]], and The Enzymes.
[[Bad Brains]] was punk [[New wave music|new wave]] rock and roll band inspired by the [[Sex Pistols]]. The guitarist, [[H.R. (musician)|HR]], created the positive mental attitude philosophy (PMA). This gave punk a reputation of positivity and innocence, allowing punk to gain traction. Popular songs by the Bad Brains include "[https://www.youtube.com/watch?v=grixlGSNS6U Banned in DC]" (2003) and "[https://www.youtube.com/watch?v=Q5WkZ_M1PPQ&list=RDQ5WkZ_M1PPQ&start_radio=1 Rise]" (1993).
==== Latino Rock/Punk ==== Music within the "[[Rock music|Rock]]" genre have been linked to left-leaning political views, including views against racism and xenophobia.<ref>Leung, Ambrose, and Cheryl Kier. "Music Preferences and Civic Activism of Young People." ''Journal of Youth Studies'' 11, no. 4 (August 1, 2008): 445–60. {{doi|10.1080/13676260802104790}}.</ref> [[Latino punk|Latin punk]] became a movement within the Rock genre. Within the genre, issues that are prevalent specifically within the Latino communities were being discussed.<ref>Avant-Mier, Roberto. ''Rock the Nation: Latin/o Identities and the Latin Rock Diaspora''. Bloomsbury Publishing USA, 2010.</ref> The issues pertained to the violation of immigrant rights, including within the workforce.<ref>Martin Sorrondeguy (1991). ''Mas Alla De Los Gritos (Beyond the Screams)''.</ref> Many musicians within the genre paid homage to their cultural roots and adopted philosophies such as those that arose from the [[Zapatista uprising|Zapatista Uprising.]]
The movement shed light on the Chicano/Latino scene within their communities.<ref>Martin Sorrondeguy (1991). ''Mas Alla De Los Gritos (Beyond the Screams).''</ref> This became a form of protest against the xenophobia that exists against the community in the US
===== Rage Against the Machine and Tigres del Norte ===== [[File:Rage Against The Machine 11.jpg|thumb|[[Rage Against the Machine]] performing in front of the flag of the [[Zapatista Army of National Liberation]].]] Lead singer of [[Rage Against the Machine]], [[Zack de la Rocha|Zach De La Rocha]] is introduced by [[Los Tigres del Norte]] for their [[MTV Unplugged]] performance in 2011.<ref name=":5">{{Citation |title=Somos Más Americanos (En Directo Desde Los Angeles MTV Unplugged) |url=https://www.youtube.com/watch?v=0ue-YP-wvsY |access-date=2023-08-07 |language=en}}</ref> Together, they perform a song of Los Tigres del Norte, ""''Somos mas americanos."'' Zach De La Rocha is introduced as someone who "fights for the rights of us all." [[Rage Against the Machine|Rage against the Machine]] is known for having [[Political sociology|socio-political]] commentary in their music as well as Los Tigres del Norte. Rage against the Machine's [[Political views and activism of Rage Against the Machine|"political views and activism are central to the band's message."]] Zach De La Rocha has described being interested in "...spreading those ideas through art, because music has the power to cross borders, to break military sieges and to establish real dialogue."<ref name=":6">Wooldridge, Simon (February 2000), "Fight the Power", ''[[Juice Magazine]]''. Retrieved October 6, 2007.</ref> Los Tigres del Norte also have a history of displaying their political views through their music. From supporting LGBT+ rights, prison abolition, and immigrant rights.<ref name=":7">{{Cite magazine |last=Flores |first=Griselda |date=2020-10-04 |title=Hispanic Heritage Month 2020: 5 Times Los Tigres Del Norte Spoke Out Against Social Injustice |url=https://www.billboard.com/music/latin/los-tigres-del-norte-social-injustice-9327502/ |access-date=2023-08-07 |magazine=Billboard |language=en-US}}</ref>
Together, they perform '<nowiki />''Somos Más Americanos.'<nowiki />'' Los Tigres Del Norte being [[Regional styles of Mexican music|Regional Mexican music]] that dates back to the 60s while Zach's musical background coming from a [[Heavy metal music|heavy metal]] and [[Hip-hop music|rap]] background which originated in the 90s.
The performance gives historical and social commentary on the [[xenophobia]] and [[Racism in the United States|racism]] that is targeted against Mexican and [[Xicanx|Chicanx]] folks in the US. Both the group and Zach perform the song whilst adding anedoctes about the US government.
One of the introductory lyrics in the song is "I have to remind them that I didn't cross the border, the border crossed me." These words directly reference US and Mexico history. Specifically to how a significant amount of what is now considered the [[Southwestern United States|Southwest US]], was once [[Mexico]]. These words have also become a slogan for many Latino movements and organizations in the US who aim to fight against xenophobic systems that target immigrants.<ref name=":8">McCaughan, Edward J. "'We Didn't Cross the Border, the Border Crossed Us': Artists' Images of the US-Mexico Border and Immigration." ''Latin American and Latino Visual Culture'' 2, no. 1 (January 1, 2020): 6–31. {{doi|10.1525/lavc.2020.210003}}.</ref> The lyrics that end the song are "''Somos mas americanos que todititos los Gringos."'' Meaning, "we are more American than all of the White people."
===Rock the Vote=== [[Rock the Vote]] is an American [[501(c)(3)]] [[non-profit]], [[non-partisan]] organization founded in Los Angeles in 1990 by [[Jeff Ayeroff]] for the purposes of political advocacy. Rock the Vote works to engage youth in the political process by incorporating the entertainment community and youth culture into its activities.<ref>{{cite web|url=http://www.rockthevote.com/rtv_about.php |title=About Rock the Vote |website=Rockthevote.com |date=1993-02-05 |access-date=2016-11-17}}</ref> Rock the Vote's stated mission is to "build the political clout and engagement of young people in order to achieve progressive change in our country."<ref>{{cite web |url=http://www2.prnewswire.com/cgi-bin/stories.pl?ACCT=ind_focus.story&STORY=%2Fwww%2Fstory%2F12-19-2007%2F0004725469&EDATE=WED+Dec+19+2007%2C+09%3A00+AM |title=Error |website=www2.prnewswire.com |access-date=17 January 2022 |archive-url=https://web.archive.org/web/20120930064408/http://www2.prnewswire.com/cgi-bin/stories.pl?ACCT=ind_focus.story&STORY=%2Fwww%2Fstory%2F12-19-2007%2F0004725469&EDATE=WED+Dec+19+2007%2C+09%3A00+AM |archive-date=30 September 2012 }}</ref>
==Hip-hop== {{main|Political hip-hop}}
Hip-hop music has been associated with protest since 1982, when "[[The Message (Grandmaster Flash and the Furious Five song)|The Message]]" by [[Grandmaster Flash and the Furious Five]] became known as the first prominent rap record to make a serious "social statement".<ref>{{cite web|url=http://www.nydailynews.com/archives/news/message-bronx-history-rap-city-article-1.576580|title=MESSAGE FROM THE BRONX THE HISTORY OF RAP IN THE CITY|website=[[New York Daily News]]}}</ref><ref>{{cite magazine|url=https://www.rollingstone.com/music/lists/the-50-greatest-hip-hop-songs-of-all-time-20121205/grandmaster-flash-and-the-furious-five-the-message-19691231|title=50 Greatest Hip-Hop Songs of All Time|magazine=Rolling Stone|date=5 December 2012}}</ref> However the first political rap release has been credited to Brother D and the Collective Effort's 1980 single "How We Gonna Make the Black Nation Rise?" which called the USA a "police state" and rapped about historical injustices such as slavery and ethnic cleansing.<ref>{{cite web|url=https://www.lrb.co.uk/blog/2013/08/05/alex-abramovich/agitate-educate-organize/|title=Alex Abramovich: Agitate, Educate, Organize|first=Alex|last=Abramovich|date=5 August 2013}}</ref>
Later in the decade hip-hop band [[Public Enemy (band)|Public Enemy]] became "perhaps the most well-known and influential political rap group"<ref name="grio">{{cite web|url=http://thegrio.com/2010/06/15/hip-hop-and-politics-have-a-long-history-behind-the-mic/|title=Hip-hop and politics have a long history behind the mic – theGrio|date=15 June 2010}}</ref> and released a series of records whose message and success "directed hip-hop toward an explicitly self-aware, pro-black consciousness that became the culture's signature throughout the next decade,"<ref>{{cite web|url=http://www.allmusic.com/artist/public-enemy-mn0000856785/biography|title=Public Enemy – Biography & History – AllMusic|website=AllMusic}}</ref> helping to inspire a wave of politicised hip-hop by artists such as [[X Clan]],<ref>{{cite web|url=http://www.allmusic.com/artist/x-clan-mn0000585601/biography|title=X Clan – Biography & History – AllMusic|website=AllMusic}}</ref> [[Poor Righteous Teachers]],<ref>{{cite web|url=http://www.allmusic.com/artist/poor-righteous-teachers-mn0000852698/biography|title=Poor Righteous Teachers – Biography & History – AllMusic|website=AllMusic}}</ref> [[Brand Nubian]],<ref>{{cite web|url=http://www.allmusic.com/artist/brand-nubian-mn0000933772/biography|title=Brand Nubian – Biography & History – AllMusic|website=AllMusic}}</ref> 2 Black 2 Strong<ref>{{cite web|url=http://www.allmusic.com/artist/2-black-2-strong-mn0000899479/biography|title=2 Black 2 Strong – Biography & History – AllMusic|website=AllMusic}}</ref> and [[Paris (rapper)|Paris]].<ref>{{cite web|url=http://www.allmusic.com/artist/paris-mn0000003182/biography|title=Paris – Biography & History – AllMusic|website=AllMusic}}</ref>
The group [[N.W.A]] had a political take within their songs. Their most controversial song, "[[Fuck tha Police]]", shone a light on police brutality and the use of racially biased tactics in Los Angeles during the '80s and '90s. Verses such as "Fuck the police, coming straight from the underground, a young [[nigga]] got it bad 'cause I'm brown, and not the other color so the police think they have the authority to kill a minority," led them to receive arrest threats for performing police-bashing songs. Their song [[Express Yourself (N.W.A song)|Express Yourself]] addressed the restrictive limits on rappers in the industry; the video to the song expresses the view that black people have no voice and are punished when they speak up.<ref>{{cite web |last1=Finley |first1=Taryn |title=6 N.W.A. Songs That Spoke About The Reality of Being Black |url=https://www.huffingtonpost.com/entry/nwa-songs-that-are-still-relevant-today_us_55cb6546e4b0923c12bece11 |website=www.huffingtonpost.com |date=13 August 2015 |publisher=Huffington Post |access-date=27 March 2019}}</ref>
[[Eminem]]'s tenth album, ''[[Kamikaze (Eminem album)|Kamikaze]],'' contained many political messages, most of them revolving around his disapproval of [[Donald Trump]] being elected [[President of the United States]]. He stated he was willing to lose fans over this criticism and rapped: "And any fan of mine/who's a supporter of his/I'm drawing in the sand a line/you're either for or against,"<ref>{{Cite news |last=Victor |first=Daniel |date=2018-08-31 |title=Eminem Addresses Trump Rap in Surprise Album 'Kamikaze' |language=en-US |work=The New York Times |url=https://www.nytimes.com/2018/08/31/arts/music/eminem-kamikaze-album.html |access-date=2022-05-12 |issn=0362-4331}}</ref>
During Donald Trump's presidential campaign, [[Kanye West]] took the opportunity to support the Republican candidate by urging his fans to vote for Trump.<ref name=":1">{{Cite web|url=https://politi.co/2qXEWhR|title=Kanye West: If I voted, I would have voted for Trump|last=Nelson|first=Louis|website=Politico|date=18 November 2016 |language=en|access-date=2019-03-26}}</ref> Although West has historically been against the Republican administrations, he has been one of Donald Trump's most vocal supporters.<ref name=":1" /> On April 27, 2018, Kanye West and fellow rapper, [[T.I.]], released a collaboration called "[[Ye vs. the People]]" that consisted of West and T.I.'s opposing political views.<ref>{{Cite web|url=https://hiphopdx.com/news/id.46644/title.kanye-west-t-i-debate-trumps-politics-on-ye-vs-the-people|title=Kanye West & T.I. Debate Trump's Politics On "Ye Vs. The People"|date=2018-04-27|website=HipHopDX|access-date=2019-03-31}}</ref> The song, a conversation between the two rappers, became popular not for its musical touch, but because of the courage West and T.I. showed by releasing a controversial song in a time of high political disagreement.<ref>{{Cite web|url=https://www.hollywoodreporter.com/news/kanye-west-ti-debut-political-new-song-ye-people-1106684|title=Kanye West, T.I. Debut Political New Song, "Ye Vs. The People"|website=The Hollywood Reporter|date=27 April 2018|language=en|access-date=2019-03-26}}</ref>
==Reggae== Jamaican [[Reggae]] of the 1970s and the 1980s is an example of influential and powerful interaction between music and politics. A top figure-head in this music was [[Bob Marley]]. Though Marley was not in favor of politics, through his politicized lyrics he was seen as a political figure. In 1978 Bob Marley's [[One Love Peace Concert]] brought Prime Minister [[Michael Manley]] and the opposition leader [[Edward Seaga]] together (leaders connected to notorious rival gang leaders, Bucky Marshall and [[Claude Massop]], respectively), to join hands with Marley during the performance; this was the "longest and most political reggae concert ever staged, and one of the most remarkable musical events recorded."<ref>{{cite web|url=https://wordpress.clarku.edu/musc210-mip/music-and-politics-in-jamaica-during-the-1970s-5/h/ |title=Clark University, "Music in Politics: From Around the World (Bob Marley)" }}</ref> Throughout this period many reggae musicians played for and spoke or sung in support of Manley's [[People's National Party]], a campaign credited with helping the PNP's victory in the 1972 and 1976 elections.<ref>{{Cite web|url=http://www.jamaicaobserver.com/entertainment/MANLEY---the-MUSIC_10883342|title=Jamaica Observer Limited|access-date=2020-05-12|archive-date=2016-03-04|archive-url=https://web.archive.org/web/20160304060041/http://www.jamaicaobserver.com/entertainment/MANLEY---the-MUSIC_10883342}}</ref>
==Popular music== Popular music found throughout the world contains political messages such as those concerning social issues and racism. For example, [[Lady Gaga]]'s song [[Born This Way (song)|"Born This Way"]] has often been known as the international gay anthem,<ref>{{cite journal|last1=Mo|first1=Jang|title=When Pop Music Meets A Political Issue: Examining How "Born This Way" Influences Attitudes Toward Gays And Gay Rights Policies.|journal=Journal of Broadcasting & Electronic Media|date=2014|volume=1|issue=58|pages=114–130|doi=10.1080/08838151.2013.875023|s2cid=144012235}}</ref> as it discusses homosexuality in a positive light and expresses the idea that it is natural. Furthermore, the natural disaster of [[Hurricane Katrina]] received a great political response from the [[hip-hop]] community. The content of the music changed into a response showing the complex dynamic of the community, especially the black community, while also acting a sometimes contradictory protest of how the disaster was handled in the aftermath.<ref>{{cite journal|last1=George|first1=Courtney|title=From Bounce To The Mainstream: Hip Hop Representations Of Post-Katrina New Orleans In Music, Film And Television|journal=European Journal of American Culture|date=2016|volume=35|issue=1|pages=17–32|doi=10.1386/ejac.35.1.17_1}}</ref> This topic even reached beyond the locality of New Orleans, as the issue of the disaster and racism was mentioned by other rappers from other regions of the country.<ref>{{cite journal|last1=George|first1=Courtney|title=From Bounce To The Mainstream: Hip Hop Representations Of Post-Katrina New Orleans In Music, Film And Television.|journal=European Journal of American Culture|date=2016|volume=35|issue=1|pages=17–32|doi=10.1386/ejac.35.1.17_1}}</ref>
Pop music is common for its sensationalized and mass-produced uplifting beats.<ref>{{Cite web|url=http://www.elleuk.com/life-and-culture/culture/news/a31710/the-millenial-woop-the-reason-why-pop-songs-are-so-catchy/|title=The Millennial Woop: The Reason Current Pop Songs Are So Catchy|last=O'Malley|first=Katie|date=2016-09-01|website=ELLE|language=en-GB|access-date=2019-03-31}}</ref> Many artists take advantage of their large followings to spread awareness of political issues in their music. Similar to Lady Gaga's [[Born This Way (song)|"Born This Way,"]] [[Macklemore]]'s song "[[Same Love]]" also expresses support and homage to the LGBTQ+ community.<ref>{{Cite journal|last=Carman|first=Colin|date=January 2014|title=Same Love|journal=Gay & Lesbian Review Worldwide|volume= 21|page=47|via=EBSCOhost}}</ref> Furthermore, [[Beyoncé]]'s album "[[Lemonade (Beyoncé album)|Lemonade]]" has been hailed as awe-inspiring and eye-opening with many of the songs addressing political issues such as racism, stereotyping, police brutality, and infidelity.<ref>{{Cite news|url=https://www.pbs.org/newshour/arts/what-beyonce-teaches-us-about-the-african-diaspora-in-lemonade|title=What Beyonce teaches us about the African diaspora in Lemonade|last=Roberts|first=Kamaria|date=Apr 26, 2016|work=PBS}}</ref> These songs, aside from being catchy and uplifting, discuss serious issues in a lighthearted and simplified manner allowing people to understand while also commonly being influenced by the current political climate such as the violent attacks on the Bataclan Theater in Paris<ref>{{Cite web|url=https://www.npr.org/2018/06/29/623939587/in-the-shadow-of-a-terrorist-attack-rapper-is-targeted-by-frances-right-wing|title=In The Shadow Of A Terrorist Attack, Rapper Is Targeted By France's Right Wing|last=Breadsley|first=Eleanor|date=June 26, 2018|website=NPR.org|language=en|access-date=2019-03-21}}</ref> and the Pulse Nightclub in Orlando.<ref>{{Cite web|url=https://www.npr.org/2016/06/16/482322488/orlando-shooting-what-happened-update|title=3 Hours In Orlando: Piecing Together An Attack And Its Aftermath|last=Zambelich|first=Ariel|date=June 26, 2016|website=NPR.org|language=en|access-date=2019-03-21}}</ref>
==Country music== [[File:Flickr - Official U.S. Navy Imagery - CO of USS Cape St. George performs with country music singer Toby Keith during a USO performance..jpg|thumb|Country singer [[Toby Keith]] performing for US Navy personnel on the [[USS Cape St. George]]]] American [[country music]] contains numerous images of [[tradition]]al values and family and religious life, as well as patriotic themes. Songs such as [[Merle Haggard]]'s "[[The Fightin' Side of Me]]" and "[[Okie from Muskogee (song)|Okie from Muskogee]]" have been perceived as patriotic songs showing an "us versus them" mentality directed at the [[counterculture]] or "[[hippie]]s" and the [[anti-war]] crowd, though these were actually misconceptions by listeners who failed to understand their satirical nature.<ref>Malone, Bill, "Country Music U.S.A," 2nd rev. ed. (University of Texas Press, Austin, 2002), p.371.</ref>
Many American country songs addressed political and cultural views in the 1960s and 1970s, with mainstream and independent country artists releasing singles that conveyed support for conservative candidates or military action, anti-[[Communism|communist]] statements, or, in some cases, anti-hippie sentiments often framed as humorous put-downs.<ref>{{cite web| url=https://blog.wfmu.org/freeform/2010/10/hippie-in-a-blunder-.html |title=Hippie in a Blunder |last=G.|first=Greg|publisher=WFMU|access-date=18 February 2023}}</ref> These tropes have continued in such songs as [[Toby Keith]]'s "[[Courtesy of the Red, White and Blue (The Angry American)]]" in 2002 and [[Bryan Lewis]]'s "I Think My Dog's a Democrat" in 2016.<ref>{{cite web |url=https://genius.com/Bryan-lewis-i-think-my-dogs-a-democrat-lyrics |title=Bryan Lewis-I Think My Dog's A Democrat |publisher=Genius.com |access-date=18 February 2023}}</ref>
More recent American country songs containing political messages include [[Keith Urban]]'s "[[Female (song)|Female]]" which details the psychological and emotional impact on women of sexist language, slut-shaming, and lack of representation in politics.<ref name=":0">{{Cite news|url=https://www.npr.org/sections/therecord/2018/03/20/594043497/think-politics-is-gone-from-country-music-listen-closer|title=Think Politics Is Gone From Country Music? Listen Closer|newspaper=NPR|date=20 March 2018|language=en|access-date=2019-03-27|last1=Hight|first1=Jewly}}</ref> The lyrics of [[Carrie Underwood]]'s 2018 song [[Love Wins (song)|"Love Wins"]] also identifies themes of prejudice, hatred, and politics.<ref name=":22">{{Cite web|url=https://www.thecountrynote.com/reviews/carrie-underwood-sends-message-that-love-wins/|title=Carrie Underwood Sends Message That 'Love Wins'|last=Kennedy|first=Michelle|date=2018-10-01|website=The Country Note|language=en-US|access-date=2019-03-31}}</ref> Through this song, Underwood expresses the idea that the best way to close the political divide and strengthen what she sees to be a broken world is through unity, loving each other, and working together in times of crisis.<ref name=":22" />
Country artist [[Kacey Musgraves]] integrates politics into her lyrics, speaking about gay rights and cannabis consumption. Her song "[[Follow Your Arrow]]" is considered to be a radical perspective on same-sex marriage, in that it differs from the conservative point of view that is normally found in country music.<ref name=":0" />
African American country rapper [[Cowboy Troy]], the stage name of Troy Lee Coleman III, incorporates real-life problems into his music, calling for societal change. He sheds light on concepts like class analysis, gender issues, and popular narratives about the "white" working class.<ref>{{cite book|title=Hidden in the Mix|doi=10.1215/9780822394976|year=2013|isbn=978-0-8223-5149-8|last1=Pecknold|first1=Diane|editor1-first=Diane|editor1-last=Pecknold}}</ref> One of his songs, "I Play Chicken With The Train," acknowledges conservative and progressive ideas that tend to be brought up in presidential elections.<ref>{{cite journal|title=Playing Chicken with the Train|doi=10.1353/scu.2010.0010 | volume=16 | year=2010|journal=Southern Cultures|pages=41–70 | last1 = Gussow | first1 = Adam|s2cid=159785215 }}</ref>
Although race is a rarely addressed topic in country music, some artists have made an effort to approach this theme in their songs. [[Brad Paisley]]'s 2013 album ''[[Wheelhouse (album)|Wheelhouse]]'' included the track "[[Accidental Racist]]", which became controversial, generating many negative reviews. {{Citation needed|date=March 2019}} [[Will Hermes]], in his critique in ''Rolling Stone'', commented: "It's probably not going to win any awards for songcraft and rapping, but in the wake of movies like ''Django Unchained'' and ''Lincoln'', it shows how fraught racial dialogue remains in America."<ref>Will Hermes, "[https://www.npr.org/2013/04/09/176669458/brad-paisley-ventures-out-of-countrys-wheelhouse Brad Paisley Ventures Out of Country's 'Wheelhouse']", heard on ''All Things Considered'' (April 9, 2013), NPR website (accessed March 30, 2019).</ref> Paisley stated, "This song was meant to generate discussion among the people who listen to my albums."<ref>{{cite journal|title=Brad Paisley-a Different Kind of Cowboy before 'Accidental Racist'?|journal=Journal of Popular Music Studies|volume=29|article-number=e12201|doi=10.1111/jpms.12201|year=2017|last1=Kosar|first1=Anthony J.|doi-access=free}}</ref>
==Classical music== [[Ludwig van Beethoven|Beethoven]]'s [[Symphony No. 3 (Beethoven)|third symphony]] was originally called "Bonaparte". In 1804 [[Napoleon]] crowned himself emperor, whereupon Beethoven rescinded the dedication. The symphony was renamed "Heroic Symphony composed to Celebrate the Memory of a Great Man".{{Citation needed|date=November 2013}}
[[Giuseppe Verdi|Verdi]]'s chorus of Hebrew slaves in the opera ''[[Nabucco]]'' is a kind of rallying-cry for Italians to throw off the yoke of Austrian domination (in the north) and French domination (near Rome)—the "[[Risorgimento]]". Following unification, Verdi was awarded a seat in the national parliament.{{Citation needed|date=November 2013}}
In late nineteenth century England, choral music was performed by mass choirs of workers and much music was written for them, by, for example, [[Samuel Coleridge-Taylor]] and [[Ralph Vaughan Williams]]. When the young Vaughan Williams wondered what kind of music to write, [[Hubert Parry]] advised him to "write choral music as befits an Englishman and a democrat".<ref>Ralph Vaughan Williams: ''A Musical Autobiography''</ref> Others, including [[Frederick Delius]] and Vaughan Williams's friend [[Gustav Holst]] also wrote choral works, often using the words of [[Walt Whitman]].
[[Richard Taruskin]] of the University of California accused [[John Adams (composer)|John Adams]] of "romanticizing terrorists" in his opera ''[[The Death of Klinghoffer]]'' (1991).<ref>Article in the December 9, 2001, ''The New York Times'' Arts and Leisure section{{full citation needed|date=May 2021}}</ref>{{Clarify|date=March 2017|reason=Exactly how does this accusation by Taruskin constitute a political stance--is it Taruskin, as a music critic, or is it Adams, who somehow is obviously guilty of the charge?}}
American classical composer [[Miguel del Águila|Miguel del Aguila]] has written over 130 works many of which center on social issues such as the genocide of [[Native Americans in the United States|Native Americans]] during the European conquest, and the [[Dirty War|Guerra Sucia]] victims. More recent works like Bindfold Music deal with [[Social justice|social injustice]] in contemporary US society.
===In the Soviet Union=== [[RAPM (association)|RAPM]] (The Russian Association of Proletarian Musicians) was formed in the early 1920s. In 1929 Stalin gave them his backing. [[Shostakovich]] had dedicated his [[Symphony No. 1 (Shostakovich)|first symphony]] to Mikhail Kvadri. In 1929 Kvardi was arrested and executed. In an article in ''The Worker and the Theatre'', Shostakovich's ''[[Tahiti Trot]]'' (used with the ballet ''[[The Golden Age (Shostakovich)|The Golden Age]]'') was criticised; Ivan Yershov claimed it was part of "ideology harmful to the proletariat"". Shostakovich's response was to write his third symphony, ''The First of May'' (1929) to express "the festive mood of peaceful construction".<ref>''Shostakovich and Stalin'' by Solomon Volkov (2004)</ref><ref>''Shostakovich Studies'' (1995) edited by David Fanning</ref>
[[Prokofiev]] wrote music to order for the Soviet Union, including ''Cantata for the 20th Anniversary of the October Revolution'' (1937). [[Aram Khachaturian|Khachaturian]]'s ballet ''Spartacus'' (1954/6) concerns gladiator slaves who rebel against their former Roman masters. It was seen as a metaphor for the overthrow of the Czar.{{Citation needed|date=November 2013}} Similarly Prokofiev's music for the film ''[[Alexander Nevsky (Prokofiev)|Alexander Nevsky]]'' concerns the invasion of Teutonic knights into the Baltic States. It was seen as a metaphor for the Nazi invasion of the USSR.{{Citation needed|date=November 2013}} In general Soviet music was neo-romantic while Fascist music was neo-classical.{{Citation needed|date=November 2013}}
===Music in Nazi Germany=== [[Igor Stravinsky|Stravinsky]] stated in 1930, "I don't believe anyone venerates [[Benito Mussolini|Mussolini]] more than I";<ref>{{cite book|last=Sachs|first=Harvey|title=Music in fascist Italy|year=1988|publisher=Norton|location=New York|isbn=978-0-393-02563-7|author-link=Harvey Sachs}}</ref> however by 1943 Stravinsky was banned in Nazi Germany because he had chosen to live in the USA. Beginning in 1940, [[Carl Orff]]'s cantata ''[[Carmina Burana (Orff)|Carmina Burana]]'' was performed at Nazi Party functions, and acquired the status of a quasi-official anthem.<ref>''The Oxford History of Western Music, vol 4'' (2005) by Richard Taruskin</ref> In 1933 Berlin Radio issued a formal ban on the broadcasting of jazz. However, it was still possible to hear swing music played by German bands. This was because of the moderating influence of [[Goebbels]], who knew the value of entertaining the troops. In the period 1933–45 the music of [[Gustav Mahler]], a Jewish Austrian, virtually disappeared from the concert performances of the Berlin Philharmonic.<ref>{{cite book|last=Levi|first=Erik|title=Music in the Third Reich|year=1996|publisher=St. Martin's Press|location=New York|isbn=978-0-312-12948-4}}</ref> [[Richard Strauss]]'s opera ''[[Die Schweigsame Frau]]'' (The Silent Woman) was banned from 1935 to 1945 because the librettist, [[Stefan Zweig]], was a Jew.<ref>{{Citation |title= The Twisted Muse |last= Kater |first= Michael |year= 1999 |publisher= [[Oxford University Press]] |isbn= 978-0-19-513242-7 }}</ref>
==White Power music== {{Main|White power music|Nazi punk}}
Racist music or [[white power music]] is music associated with and promoting [[neo-Nazism]] and [[white supremacy]] ideologies.<ref>''Intelligence Report'': a project of the [[Southern Poverty Law Center]], Issues 133–136; Southern Poverty Law Center, Klanwatch Project, Southern Poverty Law Center. Militia Task Force, Publisher Klanwatch, 2009.</ref> Although [[Musicology|musicologists]] point out that many, if not most early cultures had songs to promote themselves and denigrate any perceived enemies, the origins of Racist music is traced to the 1970s. By 2001 there were many music genres with 'white power rock' the most commonly represented band type, followed by [[National Socialist black metal]].<ref name=pulera>Dominic J. Pulera, ''Sharing the Dream: White Males in a Multicultural America'', pages 309–311.</ref> 'Racist country music' is mainly an American phenomena while Germany, Great Britain, and Sweden have higher concentration of white power bands.<ref name=pulera/> Other music genres include 'fascist experimental music' and 'racist folk music'.<ref name=pulera/> Contemporary white-supremacist groups include "subcultural factions that are largely organized around the promotion and distribution of racist music."<ref>Barbara Perry, ''Hate Crimes'', Greenwood Publishing Group, {{ISBN|0-275-99569-0}}, {{ISBN|978-0-275-99569-0}}, 2009, pages 51–2.</ref> According to the [[Human Rights and Equal Opportunity Commission]] "racist music is principally derived from the far-right skinhead movement and, through the internet, this music has become perhaps the most important tool of the international neo-Nazi movement to gain revenue and new recruits."<ref>[http://www.hreoc.gov.au/racial_discrimination/cyberracism/examples.html "Racist Music: Publication, Merchandising and Recruitment"], ''[[Cyber racism]]'', Race Discrimination Unit, HREOC, October 2002.</ref><ref>Anne Rooney, ''Race Hate'', Evans Brothers, 2006, {{ISBN|0-237-52717-0}}, {{ISBN|978-0-237-52717-4}}, page 29.</ref> The news documentary ''[[VH1]] News Special: Inside Hate Rock'' (2002) noted that Racist music (also called 'Hate music' and 'Skinhead rock') is "a breeding ground for [[Domestic terrorism in the United States|home-grown terrorists]]."<ref>David Bianculli, [https://archive.today/20120710073858/http://articles.nydailynews.com/2002-02-18/entertainment/18189857_1_white-supremacist-eighth-letter-hate ''Vh1 Special Goes Behind The (racist) Music''], ''[[New York Daily News]]'', February 18, 2002.</ref> In 2004 a neo-Nazi record company launched "Project Schoolyard" to distribute free CDs of the music into the hands of up to 100,000 teenagers throughout the U.S., their website stated, "We just don't entertain racist kids ... We create them."<ref>Abraham Foxman, [http://www.worldpress.org/Americas/1997.cfm "Hate Music: New Recruitment Tool for White Supremacists"], ''Worldpress.org'', December 17, 2004.</ref> Brian Houghton, of the [[National Memorial Institute for the Prevention of Terrorism]], said that Racist music was a great recruiting tool, "Through music ... to grab these kids, teach them to be racists and hook them for life."<ref>[https://web.archive.org/web/20120105013218/http://www.koco.com/r/3962764/detail.html "Record Label Targets Teens With Hate Message: Sampler CD Of White Power Music Circulating In Numerous U.S. Schools"], Ohio/Oklahoma Hearst Television Inc. on behalf of ''KOCO-TV'', December 1, 2004.</ref>
== By country == {{Recentism section|date=March 2024}} Aware of the motivational power of music,<ref name="Polpop" /> politicians across the world seek to incorporate different songs into their campaigns. However, the viewpoints of the musicians and the politicians using their music occasionally clash. In addition to [[protest song]]s created specifically to call attention to matters of [[social change]], musicians around the world resist politicians. Governments and leaders also assert their resistance to critical musicians in a variety of ways. Within each different national and cultural context, musician resistance and politician response is a unique relationship.
=== Brazil === Since his election as the [[2018 Brazilian general election|President of Brazil in 2018]], [[Jair Bolsonaro]] had become an increasingly controversial leader. Much like rightist contemporaries Donald Trump and Narendra Modi, Bolsonaro has been described as both a populist and nationalist. While Bolsonaro directly supports far-right policies on gay rights and gun ownership,<ref>{{Cite news |last=Boadle |first=Anthony |date=2017-09-28 |title=Far-right presidential hopeful aims to be Brazil's Trump |url=https://www.reuters.com/article/us-brazil-politics-bolsonaro-interview-idUSKCN1C2384 |access-date=2020-10-24 |work=Reuters |language=en}}</ref> more moderate conservatives also claim that he supports their interests.<ref>{{Cite news |date=2018-04-02 |title=Brazil's rising tide of young conservatives seeks change |url=https://www.bbc.com/news/world-latin-america-43414315 |access-date=2020-10-24 |work=BBC News |language=en-GB}}</ref> To gain support from Brazil's conservative voters, Bolsonaro's speeches were heavily nationalistic and patriotic.<ref>{{Cite journal |last1=Tamaki |first1=Eduardo Ryo |last2=Fuks |first2=Mario |date=April 2020 |title=Populism in Brazil's 2018 General Elections: An Analysis of Bolsonaro's Campaign Speeches |url=http://www.scielo.br/scielo.php?script=sci_abstract&pid=S0102-64452020000100103&lng=en&nrm=iso&tlng=en |journal=Lua Nova: Revista de Cultura e Política |issue=109 |pages=103–127 |doi=10.1590/0102-103127/109 |issn=0102-6445 |s2cid=226061722 |doi-access=free}}</ref> While Bolsonaro's direct appeals to the people were more limited within his national addresses, he emphasized a prideful brand of Brazilian nationalism. As a figure whose policies and actions have been deeply polarizing and divisive,<ref>{{Cite journal |last=Ivanov |first=Vladimir G. |date=2020-12-15 |title=The Evolution of Populism in South America: Was J. Bolsonaro's Victory in the 2018 Brazilian Presidential Election a Precedent or a Model for the Region? |journal=RUDN Journal of Political Science |volume=22 |issue=1 |pages=71–80 |doi=10.22363/2313-1438-2020-22-1-71-80 |issn=2313-1446 |s2cid=234587214 |doi-access=free}}</ref> Bolsonaro became a main source of scorn and criticism for Brazilian musicians both domestic and abroad.
Musician [[Caetano Veloso]], who was exiled during Brazil's military dictatorship that lasted from the 1964 to 1985, called Bolsonaro's heavy-handed nationalistic rhetoric and leadership "an utter nightmare."<ref>{{Cite news |last1=Briso |first1=Caio Barretto |last2=Phillips |first2=Tom |date=2020-07-29 |title='It's just madness': Brazil music legend Caetano Veloso on Bolsonaro |url=https://www.theguardian.com/music/2020/jul/29/caetano-veloso-brazil-bolsonaro-so-confused-so-incompetent |access-date=2020-10-24 |work=The Guardian |language=en-GB |issn=0261-3077}}</ref> While Veloso's brand of music is not protest music, he takes the opportunity to speak out and use his visibility for resistance. In August 2020, Veloso joined a chorus of prominent Brazilian figures in mocking Bolsonaro for his perceived role in an embezzlement and money laundering scheme.<ref>{{Cite magazine |title='I'd Like to Punch You in the Mouth.' Brazil's Far-Right President Jair Bolsonaro Enraged by Reporter's Question About Payments to His Wife |url=https://time.com/5882886/jair-bolsonaro-punch-reporter-question/ |access-date=2020-10-24 |magazine=Time}}</ref>
While some Brazilian artists like Veloso resisted mainly from their social media accounts, Brazil has a rich history of protest music against its former authoritarian dictatorship regime that is continued by many contemporary artists.<ref>{{Cite news |last=Farago |first=Jason |date=2015-09-14 |title=Exile, arrest and torture: why Brazil's pop artists risked everything |url=https://www.theguardian.com/artanddesign/2015/sep/14/brazil-exile-arrest-and-torture-pop-artists-risked-everything |access-date=2020-10-24 |work=The Guardian |language=en-GB |issn=0261-3077}}</ref> Artists from all over the country had found ways to resist, criticize, and allude to Bolsonaro in their works. Troubadour [[Chico César]] took a direct approach by asserting that Bolsonaro's supporters were fascists, composer Manu da Cuíca veiled his criticism included a warning about Bolsonaro as one of the dangerous "gun-toting messiahs," and singer Marina Iris indirectly worked in criticism against the regime as persistent themes of angst and frustration toward the current state of Brazil.<ref name=":3">{{Cite news |last=Phillips |first=Caio Barretto Briso Tom |date=2019-12-28 |title=Brazil's artists lead a chorus of resistance to Jair Bolsonaro |url=https://www.theguardian.com/world/2019/dec/28/brazil-artists-lead-chorus-of-resistance-jair-bolsonaro |access-date=2020-10-24 |work=The Observer |language=en-GB |issn=0029-7712}}</ref> These customary forms of Brazilian music, rooted in indigenous musical forms, are a key form of anti-status quo music.<ref>{{Cite journal |last1=Lena |first1=Jennifer C. |last2=Peterson |first2=Richard A. |date=May 2011 |title=Politically Purposed Music Genres |url=http://journals.sagepub.com/doi/10.1177/0002764211398080 |journal=American Behavioral Scientist |language=en |volume=55 |issue=5 |pages=574–588 |doi=10.1177/0002764211398080 |issn=0002-7642 |s2cid=144061958|url-access=subscription }}</ref> In response to the resistance, instead of adopting music like Trump or relying on the support of his followers like Modi, Bolsonaro drastically cut the public support and resources for musicians, film-makers, and visual artists. Many artists viewed this act as payback for their resistance.<ref name=":3" /> However, several right-wing Brazilian rappers took it upon themselves in the music scene to defend and support Bolsonaro.
=== China === {{Excerpt|Political music in China|templates=no}}
=== Ethiopia === {{Excerpt|Music and politics in Ethiopia}}
=== India === After the 2014 [[2014 Indian general election|Lok Sabha election]], [[Narendra Modi]] was sworn in Prime Minister of India.<ref>{{Cite web|date=May 20, 2014|title=Pranab Mukherjee: Narendra Modi appointed Prime Minister, swearing in on May 26|url=https://timesofindia.indiatimes.com/news/Narendra-Modi-appointed-Prime-Minister-swearing-in-on-May-26/articleshow/35388297.cms|access-date=2020-10-24|website=The Times of India|language=en}}</ref> Modi, who is notable for this effective nationalistic appeal to the Indian people,<ref>{{Cite journal|last=López Areu|first=Mario|date=2018-09-21|title=El populismo hinduista de Narendra Modi: reimaginando la nación india|url=https://www.cidob.org/es/articulos/revista_cidob_d_afers_internacionals/119/el_populismo_hinduista_de_narendra_modi_reimaginando_la_nacion_india|journal=Revista CIDOB d'Afers Internacionals|issue=119|pages=113–134|doi=10.24241/rcai.2018.119.2.113|s2cid=240177406|doi-access=free}}</ref> quickly began to centralize power<ref>{{Cite journal|last=Sen|first=Ronojoy|date=2015-10-02|title=House Matters: The BJP, Modi and Parliament|journal=South Asia: Journal of South Asian Studies|volume=38|issue=4|pages=776–790|doi=10.1080/00856401.2015.1091200|s2cid=147683722|issn=0085-6401}}</ref> and subject both civil and foreign non-governmental organization to scrutiny.<ref>{{Cite news|title=Indian charities battle for survival after government crackdown|url=https://www.ft.com/content/41e65a46-1ca3-4cfa-b1db-c7a1b7273996 |archive-url=https://ghostarchive.org/archive/20221210/https://www.ft.com/content/41e65a46-1ca3-4cfa-b1db-c7a1b7273996 |archive-date=2022-12-10 |url-access=subscription|access-date=2020-10-24|newspaper=Financial Times|date=30 September 2020|last1=Kazmin|first1=Amy}}</ref>
With Modi's populist support and increasing governmental power, musicians face a unique social and political landscape in their options for resistance. In May 2020, an arrest warrant was brought against singer Mainul Ahsan Noble for making derogatory comments toward Modi on Facebook.<ref>{{Cite web|last=Liakat|first=Farjana|title=Singer Noble sued for 'derogatory remarks' on Indian PM Modi|url=https://en.prothomalo.com/entertainment/music/case-filed-against-singer-noble|access-date=2020-10-24|website=Prothomalo|date=28 May 2020 |language=en}}</ref> While the lawsuit was filed by a private Indian citizen who "could not accept such defamatory remarks against the PM of [India]." With India's populist turn, criticism and resistance against politicians is now riskier for musicians. The late singer [[S. P. Balasubrahmanyam|S.P. Balasubrahmanyam]] carefully resisted the actions of Modi when he suggested that artists from Southern India were subject to different restrictions than Bollywood artists at Modi's 2019 Change Within gathering.<ref>{{Cite web|title=Here is why singer SP Balasubrahmanyam is upset with PM Modi's 'Change Within' meet|url=https://www.newindianexpress.com/entertainment/tamil/2019/nov/03/here-is-why-singer-sp-balasubrahmanyam-is-upset-with-pm-modis-change-within-meet-2056473.html|access-date=2020-10-24|website=The New Indian Express|date=3 November 2019 }}</ref> Where Noble's overt comments ignited anger and legal action, Balasubrahmanyam's muted criticism did not draw the same response. Because Modi's populist policy choices strongly suggest to the Indian people that he is concerned with welfare of the everyday citizen,<ref>{{Cite journal|last1=Acemoglu|first1=Daron|last2=Egorov|first2=Georgy|last3=Sonin|first3=Konstantin|date=2013-05-01|title=A Political Theory of Populism *|url=https://academic.oup.com/qje/article/128/2/771/1942304|journal=The Quarterly Journal of Economics|language=en|volume=128|issue=2|pages=771–805|doi=10.1093/qje/qjs077|s2cid=1237679|issn=0033-5533|hdl=1721.1/65159|hdl-access=free}}</ref> more citizens come to his aid and resistance to Modi becomes more difficult for contemporary Indian musicians.
However, criticism of Modi may be less careful abroad. Desi-American punk [[The Kominas]] and several other South Asian performers organized an anti-Modi benefit in [[New York City]]<ref name=":2">{{Cite web|title='Fuck Modi', a Protest Show in NYC, Will Go Up on Sunday Alongside Houston's 'Howdy Modi' Event|url=https://www.vice.com/en/article/fuck-modi-a-protest-show-in-nyc-will-go-up-on-sunday-alongside-houstons-howdy-modi-event/|access-date=2020-10-24|website=Vice.com|date=20 September 2019 |language=en}}</ref> to coincide with a Trump administration-organized, pro-Modi event in [[Houston]].<ref>{{Cite web|agency=PTI|date=Sep 19, 2019|title=Modi US Visit 2019: Donald Trump hints at some announcement at 'Howdy Modi!' event in Houston|url=https://timesofindia.indiatimes.com/india/trump-hints-at-some-announcement-at-howdy-modi-event-in-houston/articleshow/71197155.cms|access-date=2020-10-24|website=The Times of India|language=en}}</ref> The New York City pro-Kashmir opposition event triggered attacks and condemnation from some Indians online, but no international legal actions against the bands and artists involved. Despite the opposition event highlighting human rights abuses regarding the military lockdown of Kashmir, the populist view of Modi as a purifier of corruption and defender of the Indian people persists among much of India.<ref>{{Cite journal|last=Wojczewski|first=Thorsten|date=2020-09-01|title=Populism, Hindu Nationalism, and Foreign Policy in India: The Politics of Representing "the People"|url=https://academic.oup.com/isr/article/22/3/396/5303907|journal=International Studies Review|language=en|volume=22|issue=3|pages=396–422|doi=10.1093/isr/viz007|issn=1521-9488}}</ref> To further expand their musical acts of resistance, the Kominas are considering bringing the punk anti-Modi opposition events to different countries and even perhaps [[New Delhi]].<ref name=":2" />
=== Philippines === {{Excerpt|Protest music against the Marcos dictatorship}}
=== South Africa === {{Excerpt|Music in the movement against apartheid|templates=-Apartheid}}
=== United States === {{See|Music and women's suffrage in the United States}} [[File:Nixon and Sinatra shake hands (1972).jpg|thumb|[[Richard Nixon]] with [[Frank Sinatra]]]] In the [[United States]], musicians including [[Victor Willis]], [[Neil Young]], the [[Dropkick Murphys]] and [[Explosions in the Sky]] have taken issue with or action against such politicians as President [[Donald Trump]], Wisconsin Governor [[Scott Walker (politician)|Scott Walker]] and Texas Senator [[Ted Cruz]]. These conflicts between popular musicians and politicians in the United States are common in the election cycle, but play out differently.<ref>{{Cite news |title=Former Village People member says original band ‘would never’ play Trump rally |last=Betts |first=Anna |date=2025-01-21 |url=https://www.theguardian.com/us-news/2025/jan/21/village-people-trump-inauguration |url-status=live |archive-url=https://web.archive.org/web/20260328120559/https://www.theguardian.com/us-news/2025/jan/21/village-people-trump-inauguration |archive-date=2026-03-28 |access-date=2026-05-25 |work=The Guardian |url-access=subscription |publisher=Guardian News & Media |language=en}}</ref>
Trump used Young's song "[[Rockin in the Free World]]" from the beginning of his presidential campaign against [[Hillary Clinton]] in 2015. While Young argued Trump was not authorized to use the song in his campaign, a Trump spokesperson stated the song was legally obtained through a license with [[American Society of Composers, Authors and Publishers|ASCAP]] and that the campaign "will continue to [use his song] regardless of Neil's political views."<ref>{{Cite magazine |last1=Newman |first1=Jason |date=2015-06-17 |title=Neil Young, Donald Trump Spar Over Song Use |url=https://www.rollingstone.com/politics/politics-news/neil-young-donald-trump-spar-over-rockin-in-the-free-world-use-42869/ |access-date=2020-10-23 |magazine=Rolling Stone |language=en-US}}</ref> And though the song itself, from 1989, may appear to be an endorsement of the American lifestyle, closer examination reveals criticism of the George H. W. Bush administration.<ref>{{Cite web |title=Rockin' In The Free World by Neil Young |url=https://www.songfacts.com/facts/neil-young/rockin-in-the-free-world |access-date=2020-10-24 |website=songfacts.com}}</ref> This suggests that the effect of music in a political campaign cannot be limited to lyrics alone.<ref>{{Cite journal |last1=Dewberry |first1=David R. |last2=Millen |first2=Jonathan H. |date=2014-03-15 |title=Music as Rhetoric: Popular Music in Presidential Campaigns |url=http://www.tandfonline.com/doi/abs/10.1080/15456870.2014.890101 |journal=Atlantic Journal of Communication |language=en |volume=22 |issue=2 |pages=81–92 |doi=10.1080/15456870.2014.890101 |issn=1545-6870 |s2cid=143140182|url-access=subscription }}</ref> Despite the song's pointed words and Young's continued resistance, the Trump campaign began using the song again in 2018 in his presidential reelection campaign.<ref>{{Cite magazine |last1=Greene |first1=Andy |date=2018-11-06 |title=Neil Young: Trump 'Does Not Have My Permission' to Play 'Rockin' In The Free World' |url=https://www.rollingstone.com/music/music-news/neil-young-trump-does-not-have-my-permission-to-play-rockin-in-the-free-world-752774/ |access-date=2020-10-23 |magazine=Rolling Stone |language=en-US}}</ref>
Similarly, in 2015, Scott Walker utilized the Dropkick Murphys' popular cover of [[Woody Guthrie]]'s "I'm Shipping Up to Boston" at a political event in Iowa. Owing heavily to disagreements over issues like unions, the band tweeted "please stop using our music in any way ... we literally hate you!!!" to Walker.<ref>{{Cite magazine |title=Dropkick Murphys Tell Gov. Scott Walker, 'Stop Using Our Music' |url=https://www.billboard.com/articles/news/6450875/dropkick-murphys-scott-walker-stop-using-our-music |access-date=2020-10-23 |magazine=Billboard |language=en}}</ref> While there was no threat of legal action, the band took to social media to distance themselves from Walker and resist his usage of their song.
Some musicians have effectively used copyright law to resist the political use of their music. When Ted Cruz included the Explosions in the Sky song "Your Hand in Mine" in an endorsement video for Texas Governor [[Greg Abbott]], the band tweeted they were "absolutely not okay with it."<ref>{{Cite web |last=Hogan |first=Marc |date=24 February 2016 |title=Explosions in the Sky "Not OK" With Ted Cruz Using Their Music in Campaign Video |url=https://pitchfork.com/news/63747-explosions-in-the-sky-not-ok-with-ted-cruz-using-their-music-in-campaign-video/ |access-date=2020-10-23 |website=Pitchfork |language=en-us}}</ref> The band's label, Temporary Residence, forced the Cruz campaign to remove the video due to a violation of U.S. Copyright Law. Legally, politicians can license music without consulting the artists themselves through deals with performance rights organizations.<ref>{{Cite journal |last=Schwender |first=Danwill D. |date=2017 |title=The Copyright Conflict between Musicians and Political Campaigns Spins Around Again |journal=American Music |volume=35 |issue=4 |pages=490–500 |doi=10.5406/americanmusic.35.4.0490 |issn=0734-4392 |jstor=10.5406/americanmusic.35.4.0490 |s2cid=158604967}}</ref> Where the Trump campaign sidestepped consulting Young and legally licensed "Rockin' in the Free World" from such an organization (ASCAP), Cruz's effort did neither.
In the United States there is also a long and complex history of public schools instilling support for the military through their musical activities, and of music teachers either endorsing or resisting these tendencies.<ref name="Another Perspective">{{Cite journal |last1=Hebert |first1=David G. |year=2015 |title=Another Perspective |url=https://journals.sagepub.com/doi/abs/10.1177/0027432114564190 |journal=Music Educators Journal |volume=101 |issue=3 |pages=77–84 |doi=10.1177/0027432114564190 |s2cid=145184292|url-access=subscription }}</ref> Musicologists have noted the impact of [[militarism]] in US society, arguing that "militarism endangers music education" and that although military models are inappropriate for the education of schoolchildren in a democracy,<ref>Hebert, David and Kertz-Welzel, Alexandra (2016). ''Patriotism and Nationalism in Music Education''. London: Routledge Press {{ISBN|1409430804}}</ref> there is evidence that "In the United States, we find an array of music education partnership projects with the military that would be unthinkable in many other countries.<ref name="Another Perspective" />
==See also== {{Portal|Music|Politics}} {{div col|colwidth=25em}} *[[Anarcho-punk]] *[[Arsch huh, Zäng ussenander]] *[[Birlikte]] *[[Brexit in popular culture]] *[[Crust punk]] *[[Ecomusicology]] *[[Environmentalism in music]] *[[Freedom songs]] *[[Hardline (subculture)]] *[[Irish rebel music]] *[[List of anarchist musicians]] *[[List of anti-war songs]] *[[List of national anthems]] *[[List of socialist songs]] *[[List of songs about the September 11 attacks]] *[[List of songs about the Vietnam War]] *[[Love Music Hate Racism]] *[[March (music)]] *[[Music and political warfare]] *[[New musicology]] *[[Nonviolent resistance]] *[[Nueva canción]] *[[Oi!]] *[[People's Songs]] *[[Political controversies in the Eurovision Song Contest]] *[[Contemporary art in Egypt#Political song and music|Political song in Egypt]] *[[Riot grrrl]] *[[Rock Against Racism Northern Carnival]] *[[Rock Against Sexism]] *[[Role of music in World War II]] *[[Stop Murder Music]] *[[This machine kills fascists]] *[[War song]] {{div col end}}
==References== {{Reflist|30em}}
==Sources== *{{cite encyclopedia|editor-last1=Cloonan|editor-first1=Martin|editor-last2=Garofalo|editor-first2=Reebee|title=Music in the Struggle to End Apartheid: South Africa|last=Drewett|first=Michael|pages=153–165|encyclopedia=Policing Pop|publisher= Temple University Press|year=2003|location=[[Philadelphia]], Pennsylvania, USA}} *{{cite journal|last=Gilbert|first=Shirli|title=Singing Against Apartheid: ANC Cultural Groups and the International Anti-Apartheid Struggle|journal=Journal of Southern African Studies|date=27 April 2007|volume=33|issue=2|doi=10.1080/03057070701292848|url=http://www.sahistory.org.za/sites/default/files/amandla%20cultural%20group_1.pdf|pages=421–441|s2cid=145605467|access-date=26 October 2016}} *{{cite journal|last=Schumann|first=Anne|title=The Beat that Beat Apartheid: The Role of Music in the Resistance against Apartheid in South Africa|journal=Wiener Zeitschrift für kritische Afrikastudien|volume=14|issue=8|year=2008|url=https://stichproben.univie.ac.at/fileadmin/user_upload/p_stichproben/Artikel/Nummer14/Nr14_Schumann.pdf |access-date=24 October 2016|pages=17–39}}
==Further reading== *{{cite journal |last1=Biley |first1=Ron |title=Woody Guthrie and the Christian Left: Jesus and "Commonism" |journal=Journal of Texas Music History |date=2007 |url=https://gato-docs.its.txstate.edu/center-for-texas-music-history/journals/volume-7/Volume_7_Woody-Guthrie-and-the-Christian-Left-Jesus-and-Commonism/Volume_7_Woody%20Guthrie%20and%20the%20Christian%20Left%20Jesus%20and%20Commonism.pdf |publisher=Center for Texas Music History |access-date=2021-05-16 |archive-date=2021-05-16 |archive-url=https://web.archive.org/web/20210516022920/https://gato-docs.its.txstate.edu/center-for-texas-music-history/journals/volume-7/Volume_7_Woody-Guthrie-and-the-Christian-Left-Jesus-and-Commonism/Volume_7_Woody%20Guthrie%20and%20the%20Christian%20Left%20Jesus%20and%20Commonism.pdf }} *{{cite book |last1=Brand |first1=Oscar |author1-link=Oscar Brand |title=The Ballad Mongers: the Rise of Modern Folk Song |date=1962 |publisher=[[Funk & Wagnalls]] |url=https://archive.org/details/balladmongersris00bran}} *{{Citation|first=Courtney|last=Brown|author-link=Courtney Brown (researcher)|title=Politics In Music: Music and Political Transformation from Beethoven to Hip Hop|place=Atlanta: Farsight Press|year=2008|isbn= 978-0-9766762-3-2}} *{{cite book|last=Denselow|first=Robin|title=When The Music's Over: The Story of Political Pop|url=https://archive.org/details/whenmusicsoverst0000dens|url-access=registration|year=1989|publisher=Faber and Faber|location=London|isbn=978-0-571-13906-4|author-link=Robin Denselow}} *{{cite book|last=Doggett|first=Peter|author-link=Peter Doggett|title=There's A Riot Going On: Revolutionaries, Rock Stars, and the Rise and Fall of '60s Counter-Culture|url=https://archive.org/details/theresriotgoingo00dogg|url-access=registration|year=2008|publisher=Canongate|location=Edinburgh|isbn=978-1-847-67114-1}} *{{cite book |last1=Dunson |first1=Josh |title=Freedom in the Air: Song Movements of the Sixties |date=1965 |publisher=Greenwood Press |isbn=978-0-313-22393-8 |url=https://archive.org/details/freedominairsong0000duns}} *{{cite book|last=Fanning|first=David|title=Shostakovich studies|year=2006|publisher=Cambridge University Press|location=Cambridge|isbn=978-0-521-02831-8|author-link=David Fanning (musicologist)}} *{{cite book |editor1-last=Garofalo |editor1-first=Rubee |title=Rockin' the Boat: Mass Music and Movements |date=1992 |publisher=South End Press |url=https://archive.org/details/rockinboatmassmu00garof}} *{{cite book|last=Goodyer|first=Ian|title=Crisis Music: The Cultural Politics of Rock Against Racism|year=2009|publisher= Manchester University Press|location=Manchester|isbn=978-0-719-07924-5}} *{{cite book |last1=Greenway |first1=John |author1-link=John Greenway (folklorist) |title=American Folksongs of Protest |date=1953 |publisher=University of Pennsylvania Press |url=https://archive.org/details/americanfolksong00gree}} *{{cite journal|last=Karakayali|first=Nedim|title=Two Assemblages of Cultural Transmission: Musicians, Political Actors and Educational Techniques in the Ottoman Empire and Western Europe|journal=Journal of Historical Sociology|date=September 5, 2010|volume=23|issue=3|pages=343–371|doi=10.1111/j.1467-6443.2010.01377.x|url=http://repository.bilkent.edu.tr/bitstream/11693/22234/1/Two%20assemblages%20of%20cultural%20transmission%20Musicians%2c%20political%20actors%20and%20educational%20techniques%20in%20the%20Ottoman%20Empire%20and%20Western%20Europe.pdf|hdl=11693/22234}} *{{cite journal|last=Keller|first=Marcello Sorce|title=Why is Music So Ideological, and Why Do Totalitarian States Take It So Seriously? A Personal View from History and the Social Sciences|journal=Journal of Musicological Research|date=April 2007|volume=26|issue=2–3|pages=91–122|doi=10.1080/01411890701361086|s2cid=216113565}} *{{cite book|last=Kutschke|first=Beate|title=Neue Linke/Neue Musik|year=2007|publisher= Böhlau|location=Cologne and Weimar|isbn=978-3-412-17906-9}} *{{cite book |isbn=978-1-139-05168-2 |editor1=Kutschke, Beate |editor2=Norton, Barley |last=Kutschke |first=Beate |title=Music and Protest in 1968 |year=2013 |publisher=Cambridge University Press |location=Cambridge |doi=10.1017/CBO9781139051682}} *{{citation|last=Kutschke|first=Beate|title=Musikkulturen in der Revolte.Studien zu Rock, Avantgarde und Klassik im Umfeld von '1968'|year=2008|publisher= Franz Steiner|location=Stuttgart |isbn=978-3-515-09461-0}} *{{cite book |first=Beate |last=Kutschke |title=Protest Cultures |year=2016 |editor-last=Fahlenbrach |editor-first=Kathrin |publisher=Berghahn |location=New York and Oxford |publication-date=2016 |pages=264–272 |chapter=Political Music and Protest Song |editor-last2=Klimke |editor-first2=Martin |editor-last3=Scharloth |editor-first3=Joachim}} *Lieberman, Robbie (1988). ''My Song is my Weapon: People's Songs, American Communism, and the Politics of Culture, 1930-50'', Un. Of Illinois Press *{{cite book|last=Lynskey|first=Dorian|title=33 Revolutions Per Minute: A History of Protest Songs|title-link=33 Revolutions per Minute (book)|year=2011|publisher=Harper Collins|location=London|isbn=978-0-062-07884-1}} *{{Citation|first=Ian|last=Pace|title="The Best Form of Government...": Cage's Laissez-Faire Anarchism and Capitalism|magazine=Open Space Magazine|issue=8/9|date=Fall 2006 – Spring 2007|pages=91–115}} *{{cite book|last=Peddie|first=Ian|title=The Resisting Muse: Popular Music and Social Protest|year=2006|publisher=Ashgate|location=Farnham|isbn=978-0-754-65114-7}} *Perone, James E. (2004). ''Music of the Counterculture Era'', Westport: Greenwood Press *Rachel, Daniel (2016). ''Walls Come Tumbling Down: The Music and Politics of Rock Against Racism, 2 Tone and Red Wedge'', London: Picador, {{ISBN|9781447272687}} *Reuss, Joanne C & Reuss, Richard A. (2000). ''American Folk Music and Left-Wing Politics'', Scarecrow Press *Rodnitsky, Jerome (1976). ''Minstrels in the Dawn: The Folk-Protest Singer as a Cultural Hero'', Chicago: Nelson Hall *{{cite book|last=Roy|first=William G|title=Reds, Whites and Blues: Social Movements, Folk Music, and Race in the United States|year=2014|publisher=Princeton University Press |location=New Jersey|isbn=978-0-691-16208-9}} *{{cite book|last=Seeger|first=Pete|title=Carry It On! A History in Song and Picture of the Working Men and Women of America|year=1985|publisher=Simon and Schuster|location=New York|isbn=978-0-671-60347-2|author-link=Pete Seeger|url-access=registration|url=https://archive.org/details/carryitonhistory0000unse}} *Serge Denisoff, R. (1971). ''Great Day Coming: Folk Music and the American Left''. Champaign: Un. Of Illinois Press *{{cite book|last=Street|first=John|title=Rebel Rock: The Politics of Popular Music|year=1986|publisher=Blackwell|location=Oxford|isbn=978-0-631-14345-1}} *{{cite book|last=Street|first=John|title=Politics and Popular Culture|url=https://archive.org/details/isbn_2901566396034|url-access=registration|year=1997|publisher=Temple University Press|location=Philadelphia|isbn=978-1-566-39603-5}} *{{cite book|last=Street|first=John|title=Music & Politics|year=2011|publisher=Polity Press|location=Cambridge|isbn=978-0-745-63544-6|url-access=registration|url=https://archive.org/details/musicpolitics0000stre}} *{{cite book|last=Strom|first=Yale|title=The Book of Klezmer: the History, the Music, the Folklore|year=2002|publisher=Chicago Review Press|location=Chicago|isbn=978-1-55652-445-5|author-link=Yale Strom|url-access=registration|url=https://archive.org/details/bookofklezmerhis00stro_0}} *{{cite book|last=Volkov|first=Solomon|title=Shostakovich and Stalin: The Extraordinary Relationship Between the Great Composer and the Brutal Dictator|year=2004|publisher=H. Holt|location=New York|isbn=978-0-375-41082-6|author-link=Solomon Volkov}} *{{cite book|last=Werner|first=Craig|title=A Change is Gonna Come: Music, Race and the Soul of America|year=2000|publisher=Payback Press|location=Edinburgh|isbn=978-1-841-95050-1}} *{{cite journal| last=Whiteley| first=Sheila| year=2012 | title=Countercultures: Music, Theories & Scenes, n°9-1, Nantes, Éditions Mélanie Seteun| url=http://www.cairn.info/revue-volume-2012-1-page-5.htm |journal=Volume!| volume=91| issue=1| doi=10.4000/volume.3572}} *{{cite journal| last=Whiteley| first=Sheila| year=2012 | title=Countercultures: Utopias, Dystopias, Anarchy, n°9–12, Nantes, Éditions Mélanie Seteun| url=http://www.cairn.info/revue-volume-2012-2.htm |journal=Volume!| doi=10.4000/volume.3571}}
==External links== *{{cite web | title=Music and Politics | website=[[University of Michigan]] Library Digital Collections | url=https://quod.lib.umich.edu/m/mp|quote=Music and Politics is an open access, peer-reviewed, academic journal first published in 2007}} *[https://www.musicfordemocracy.org Music for Democracy] {{Webarchive|url=https://web.archive.org/web/20210708033940/http://www.musicfordemocracy.org/ |date=2021-07-08 }} – Music Activism Political Action Organization *{{cite web | title=Making Marx in the Music: A HyperHistory of New Music and Politics | website=NewMusicBox | date=1 November 2003 | url=https://nmbx.newmusicusa.org/making-marx-in-the-music-a-hyperhistory-of-new-music-and-politics/}} by [[Kyle Gann]] *{{cite web | title=Opinion – The {{sic|Mus|cian's|nolink=y}} Role in Politics | website=CLUAS | url=https://www.cluas.com/opinion/musicians_role.htm|first= John |last=Ford|ref=none}} Written during the 2004 American Presidential election campaign. *{{cite web | title=Musical Pointers | website=Musical Pointers | url=http://www.musicalpointers.co.uk/articles/generaltopics/DowniePace.htm }} An extensive discussion in particular about modernism and Marxism between composer Gordon Downie and pianist Ian Pace.
{{Music topics}}
{{DEFAULTSORT:Music And Politics}} [[Category:Music and politics| ]] [[Category:Musicology]] [[Category:Political communication]] [[Category:Works about politics]]