Political Action, Protest, and Repression Outline

Unit 6 - Political Action, Protest, and Repression (Continued)

Overview
  • This unit examines how music interacts with political projects and the consequences for musicians.
  • Four case studies are explored:
    1. The embrace of samba by a Brazilian dictator.
    2. The politicization of Jamaican sound systems.
    3. The use of a famous rock song for a US presidential campaign.
    4. The role of a politically charged song in an Arab uprising.
Case Study 2: Jamaican Sound Systems
  • Role of Music in Politics: Music can draw crowds, which is politically advantageous for spreading messages.
  • Political actors utilize large gatherings to project success and popularity.
Rise of Sound Systems
  • Emergence in 1940s Jamaica, replacing the indigenous mento genre.
  • Example: “Nebuchadnezzar” (1958) by Laurel Aitken, featuring:
    • Form: Verse-chorus.
    • Instrumentation: Banjo (or guitar) strumming a mento rhythm on upbeats.
  • Sound systems provided a modern alternative to traditional mento.
Sound System Definition
  • Components:
    • Equipment: Two turntables, amplifiers, speakers, truck, generator.
    • Personnel: Owner, selector (plays records), deejay (entertains crowd), guards, street vendors.
Competition in Sound Systems
  • Competitive aspects based on:
    • Rarest records, volume capacity to outplay rivals.
    • Use of physicality (“rude boy” violence) to dominate.
Development of Jamaican Recording Industry
  • Starting from 1957, sound system owners began commissioning artists to record new music, leading to genres like ska and rocksteady.
  • Example: “Simmer Down” (1963) by Bob Marley and The Wailers.
  • Musical Features: Incorporation of R&B, upbeats with “skank” guitar.
Political Context in Kingston
  • Sound systems and ska music are closely tied to everyday life in Kingston's shanty towns.
  • Associated with competing political factions:
    • Jamaica Labour Party (JLP) - right-wing.
    • People's National Party (PNP) - left-wing.
  • Sound systems quickly became politicized, aligning with political parties.
Conclusions
  • Political music can serve multiple purposes: spreading messages while entertaining.
  • Attendance at politically charged events does not equate to support.
Case Study 3: “Don’t Stop” and the 1992 US Presidential Campaign
  • Explores how non-political songs can gain political significance.
  • Reference to Ronald Reagan’s usage of “Born in the USA” in his campaigns.
1992 Presidential Campaign Highlights
  • Key players: George H. W. Bush (Republican), Bill Clinton (Democrat), Ross Perot (Independent).
  • Context included:
    • 12 years of Republican rule.
    • Emergence of the baby boom generation.
    • Economic recession aftermath.
Choosing a Campaign Song
  • Tradition of campaign songs in US history.
  • Clinton chooses “Don’t Stop” by Fleetwood Mac:
    • Appeals to baby boom voters with its optimistic message.
Fleewood Mac and “Don’t Stop”
  • Band Background: Formed in 1967, achieved major success with a stable lineup in 1974.
  • Musical Features:
    • Hit song from 1977, characterized by catchy melodies.
    • Lively 6/8 groove, male/female vocal unison in the chorus.
The Clinton-Gore Campaign
  • Campaign utilized music extensively for branding and engagement.
  • Significant events included:
    • Stump speeches with music.
    • Inauguration events featuring performances.
Epilogue
  • Fleetwood Mac reunited in 1994, showcasing how non-political songs can be politically re-contextualized.
Case Study 4: Rap and the Arab Spring
  • Focuses on how explicit political songs influenced movements.
Jasmine Revolution
  • Led by protests post-Mohamed Bouazizi's self-immolation, sparking a nationwide uprising against Zine El Abidine Ben Ali's regime.
The Viral Video - "Rais Lebled" by El General
  • Released in late 2010, it became the anthem of the revolution.
  • El General faced imprisonment for his politically charged lyrics and was later recognized as a transformative figure.
Conclusion
  • Key Takeaway: "Rais Lebled" demonstrates how music can serve as a powerful tool for political movements but poses risks for artists engaged in political expression.
Summary of Units' Insights

  • The discussions emphasize the interplay of music with political action across different contexts and geographic locations. From Jamaican sound systems to American rock campaigns and Arab uprisings—music continually shapes and reflects the sociopolitical landscape.

  • Additionally, it raises awareness about the implications for artists involved in politicized music, highlighting both the potential impact and the personal costs.