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Student Number: 5014163

Music: A Major Motif in American History

In the year 2020, the Recording Academy introduced a new category for its world famous

Grammy Awards. New awards are often added when genres of music are innovated, or to

recognize a new part of the industry, but this time, something entirely different was added to the

list. The award introduced was “Best Song for Social Change”. In subsequent ceremonies, social

change will be recognized alongside the year’s top albums and artists. This category focuses on

songs addressing a “timely social issue” promoting “understanding, peacebuilding and empathy”

(Strauss). While few were likely surprised by this forward thinking inclusion into a popular

event, it represented a long overdue acknowledgement: social change is a key part of all art. The

sociological context of music is often a major point of discussion, and there is no reason it would

not be considered just as songwriting, packaging, and recording are. In many cases, the social

and political messages of music often can outshine discourse concerning the music itself. For

these reasons, it’s natural to assume music and social change have had tied connections

throughout American history. This assumption leads to an essential question: How does popular

music reflect and contribute to social change in America?

The history of music in America is as extensive and far reaching as the history of the

country itself. The American revolution is tied to the history of “Yankee Doodle”, a now famous

children's song with a deeper historical background. Created by British soldiers to mock

American revolutionaries, the song was sung by Americans with an ironic tone to show pride in

their movement (Henwood). This is an extremely early and simple example of political messages

behind American music, but the ideas behind this story run deeply through a now famous type of

composition: the protest song. Songs like these are designed to promote concepts that are
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otherwise controversial, and they tend to reach maximum influence during times of major social

unrest. Later in the still early stages of American history is another classic example of protest

music, “John Brown’s Body”, a song from the Civil War era. At what was quite literally

America’s most divided moment, the ideology and goals of the northern armies were represented

through song. This simple tune is much like other protest songs of the time, memorable and

clear. As Bridgett Henwood of Vox News notices, early protest songs such as these are “simple

and repetitive, and therefore easy to learn and share with others” (Henwood). Songs like this

spread a distinct message across a wide group, while also functioning as a way to rally and

inspire the tireless efforts of soldiers. Before a proper recording of music could be carried with

people at war, it was necessary to spread these songs through in-person performance.

Although European settlers brought the majority of American music during initial

colonization, as a unique American culture began to form, so too did uniquely American music.

As a result of this cultural expansion, serious and academic study of American music became

common during the early stages of the 20th century. Besides the few aforementioned traditional

pieces, this was the time political messages became integral to the music of certain groups,

specifically becoming popular with labor workers. As a writer from Indiana University East

points out, “because most laborers at the time were illiterate and many spoke languages other

than English, music became a unifying force for all of them” (“American protest music: a brief

history”). Again, music became an experience that could be shared among numerous and diverse

groups of passionate people. Songwriters conveyed unfair working conditions, religious

hypocrisy, and more. This trend of issue-driven music continued to expand, especially in the

genres of folk, jazz, and blues. Soon, as these genres gained influence with major and

mainstream music labels, popular protest music was born. Finally, this music was being bought
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and sold in mass, and no longer had to be shared primarily through oral tradition. (Henwood).

This is when the era of popular music truly began, the time most essential to understanding the

connections between music and societal change.

The early 1900’s era of recorded music is chalked full of some of the most celebrated

socially progressive music. One example known worldwide is Woody Guthrie’s “This Land is

Your Land”. Having been sung throughout the country, at schools and rallies, “This Land” is now

known primarily as an anthem of American patriotism (Spitzer). In a country recently obliterated

economically by the Great Depression, unnuanced patriotism as seen in the then-popular “God

Bless America” by Irving Berlin was a frustration for many Americans. Guthrie responded with

his take on the state of his country. The original writing Guthrie penned is filled with left-wing

ideology. This is an example of how politics can influence both the writing and use of a piece of

music. Although written as a clear critique of many aspects of American society, the

interpretation of “This Land” has varied greatly. The widely known renditions of this song lack

many of its original lyrics. The era of McCarthyism, unfounded accusations of anti-American

activities and behavior, that followed shortly after the writing of this song is often cited as a

reason its original messages had to be masked (Spitzer). Many choose to perform the verses that

are more agreeable for a large audience, or even the ones they themselves agree with. Music, like

all art, can be interpreted entirely independently of its creator's intentions. When mass social and

political themes are involved, this interpretation and recreation may naturally censor an artist’s

more extreme ideals.

Another iconic example of music’s influence on social change is Billie Holiday’s

“Strange Fruit”, one of the most popular songs associated with the civil rights movement. Using

an interpretation of Abel Meeropol’s 1937 poem “Bitter Fruit”, Holiday’s recording in 1939 uses
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sickening metaphors to depict the horrors of lynchings occuring in America’s south. Many

southern radio stations refused to play the song, but its message and power eventually led to

huge popularity and sales (Fields). A song with such violent and tragic themes would typically

have trouble receiving huge recognition, especially in a market where simple love songs

dominated, but “Strange Fruit” denied common trends. A prime example of how audiences

respond when a piece focuses so heavily on a topic many are passionate about, it also shows a

direct influence into the political world resulting from its release. During a conservative filibuster

in the U.S. senate concerning antiracist policy, copies of the song were sent to each senator after

its release (Blackburn). In this story, “Strange Fruit” became both an artful reflection and a

supreme call to action for its movement. Although the original poem had local influence, as well

as attention in the world of poetry, the song became synonymous with activism at the time, and

can now be considered historically as a document with similar importance to some of the most

seminal orations in American history. It appears that the simple act of applying words to music

can change the way it is perceived on a wide scale, and help promote a message in an accessible,

and artful medium.

The trends of protest music only expanded as social unrest became prominent during the

era of the Vietnam War. Massive protests captured America's attention as political matters,

especially in the middle class, became more emotionally charged than ever. Chapters of the

Students for a Democratic Society, one of the most notable protest groups of the time, expanded

from 11 to over 300 throughout the 1960’s (Cooper). As radicalism and anti-government

sentiment rose in popularity, so did music with these themes. The 1960’s saw some of the most

scathing criticisms of government in popular music. Bob Dylan’s “Masters of War” of 1962

included “as venomous, and self-righteous an indictment of militarism as popular music had
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seen” (Candaele). This is a clear response to the further extremism of the time. In situations such

as this, social unrest creates a demand for music that reflects these feelings, and this same music

likely spreads the messages of a movement further. Music such as Dylan’s is known to push

boundaries, but the existing movements of the time allowed for its reach. This song also

demonstrates a noticeable limit to the influence of many of these songs. Although known widely

today for their influence, songs like “Masters of War” did not appeal to the standards of

radio-friendly pop hits of the time. Instead, these songs were listened to and performed primarily

by those in more niche groups of college students and activist organizations. As Kerry Candaele

of the Gilder Lehrman Institute of American History puts it, “Songs by popular musicians were

written for the radio and often with a popular audience in mind” (Candaele). As with many other

mediums, artistic intention has to be curbed in some form due to the pressure of financial

success. Themes dissecting the darkness of current events could not be played to an audience that

is often more focused on good feelings and catchy melodies.

Of course, there are some notable exceptions to this trend. Certain songs have managed to

achieve the success of topping pop radio charts, while still maintaining their more serious social

themes. However, sacrifice is still made once one of these songs reaches its large audience.

Oftentimes, themes are forgotten, or completely misinterpreted. “Fortunate Son” by Creedence

Clearwater Revival carries many of the same ideas that populated anti-war protest music of the

1960’s and 70’s, but through the performance of a catchy rock tune, reached mass appeal. The

result of this mass popularity is a scattered use and interpretation of the work. In television and

film, the song is often used to simply remind the audience of the Vietnam era, without

necessarily confronting its themes. In a more surprising case, John Fogerty, the writer of

“Fortunate Son”, wrote multiple cease-and-desist letters to then-presidential candidate Donald

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Trump, who had used the songs at his rallies. John Fogerty believed that Trump’s politics

completely conflicted with his message in the song, and that Trump has been playing it because

to him, “It’s like a scene out of all the Vietnam War movies” (Brown). At first, it might be hard

to see how a massive political figure could play a song that stands against their primary values,

but this is likely a result of a song’s massive popularity. At some point, its existence as a radio hit

outweighs its lyrical themes in the views of overall American society.

On the opposite end of the spectrum, music can individually change the social landscape

through individuals' experience with the medium. Gina Gailmard, a long-time educator with a

background in music, has written extensively on the connection between music and education. In

an interview, she made the point that “When you’re talking about social change, we can look at it

from a global, big generational shift… When you look at it from a smaller, micro viewpoint, in

kids growing up, the importance of music and artists is their growth.” Exploring music as a part

of an individual's development is an idea that she believes has been underutilized. An artistic

form like music, she believes, can have a universal effect on people of all ages. She noticed how

many youth are passionate about certain ideas, and how music has always been a way of

expressing it. “No matter the decade I was teaching,” Gailmard said, “music was a passion of my

students, it spoke to whatever was going on in the social zeitgeist.” She saw how each generation

of students used music to express themselves, despite the obvious changes in what was popular

or commonly believed. Music, as Gailmard believes, is universally appealing to students, and

thus makes up a huge part of their social development.

The emotional performance of a song also contributes to its influence. Some of the most

famously influential performers are known for their lively attitudes that allowed for memorable

and anthemic music. During the riots of late 1960’s urban America, Arethra Franklin topped the
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charts with the iconic “Respect”. This, and many of her other hits, made the focal point the

electric delivery of Franklin’s voice. As James Haskins writes in his book on Black American

music, “Whatever she was thinking, she sang that song like it was the soul declaration of

independence” (157). Songs like this became anthems because they were written in a style where

the impact comes from the sound rather than the specific lyrics. A similar example of pure

performative energy is James Brown, who is known for holding a similarly high standard of

energy. Haskins describes how “He would scream into the mike, prance all over the stage, fall to

his knees, then jump up, spin around, and finally crash to the floor in a split” (143-145). These

extreme antics on stage attracted the attention necessary to spread the messages Brown had

concerning the civil rights movement. His pride and swagger allowed his presence to be felt

across America, and along with that, his views.

The personal connection one has with the musical world can be monumental for their life,

for good or for worse. Mary Fettig, a veteran of the California Bay Area jazz scene, touched on

this idea in an interview. “Music touches our soul.” She wrote, “Sometimes the lyrics take a

while to take hold as it's often the groove or melody that captures the attention. I certainly

remember that as a kid. The listener will ultimately arrive at the intention of the artist.” Mary has

been involved in well known music groups for many years. Starting out as the first female

member of the Stan Kenton Orchestra, she was introduced to the controversies of social politics

in music from the start. Fettig described how “It made for a lot of media interest which I was

bombarded with at a time I just wanted to play music.” Examples like these show how social

pressures overtake the artistic side of working for some musicians. The music scene is often seen

as the forefront of progressive thinking and new ideas. But in some situations, like Fettig’s,

people in the industry must endure the possibly unwanted media attention that comes along with
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something others see as controversial. It is through this, the effects of the sociological world on

music could be detrimental to artists in certain situations.

To further the exploration of music’s specific ability to bring movement, one must further

understand its emotional appeal. As arguments are made for a new idea or concept, music can

provide an emotionally rhetorical perspective that something like an opinion piece may not.

Some specific examples demonstrate this concept perfectly. When writing his scathing depiction

of a Vietnam soldier returning home, “What’s Going On?”, Marvin Gaye took note of creating a

picture that connected on a heartful level, one that is not simply argumentative. Opening the song

with what sounds like a celebration, Gaye’s tearful lyrics interrupt good times with a confused

disillusionment. Tom Moon, writing for National Public Radio, wrote how the track “started as a

party but became something else, something much closer to a prayer” (Moon). Instead of angry

or accusatory claims against those in power, the song depicts the feelings associated with the

troubled times Gaye observed. In this way, as Moon writes in the same article, “It wasn't protest

music in the strictest sense” (Moon). Yet, the song has gone down as one of the most memorable

pieces of its era, its album even going on to rank at the top of Rolling Stone Magazine’s “500

Greatest Albums of All Time” list (McCabe). The track is a perfect example of socially

progressive music connecting to people in ways that few other methods can.

To the listener, music often creates emotional effects that cannot be replicated elsewhere.

This might be the primary reason such a massive connection is seen throughout American

history. Although often limited by mass misunderstanding or censorship, music has the innate

memorability, emotional appeal, and personal feeling that can spread ideas and social movements

rapidly. Every major event in American history can be related to the artistic works of Americans

from its time, and music is never an exception. Artists can depict topics with passion, and use
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their creative skills to promote their ideas effectively. They can use their writings as a response,

rather than a mere outlet. As people listen, personal connections are made in unique ways,

influencing the lives of both individuals and eventually a group of many. A song can be funny,

emotional, heartful, bitter, and passionate. It can create feelings through both words and music,

and stick to a listener's memory like a sight or scent. It can be one person's voice, or the anthem

of a generation. It can represent a time, place, or feeling. Because of this, it is no wonder why

music is essential to the ever changing social landscape of society.

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Works Cited

“American protest music: a brief history | Library Blog.” Indiana University East, 11 January

2021,

https://www.iue.edu/blogs/library/2021/01/11/american-protest-music-a-brief-history/.

Accessed 19 March 2023.

Blackburn, Julia. ““Strange Fruit”—Billie Holiday (1939).” Library of Congress,

https://www.loc.gov/static/programs/national-recording-preservation-board/documents/St

rangeFruit_Blackburn.pdf. Accessed 19 March 2023.

Brown, August. “John Fogerty on why Donald Trump plays "Fortunate Son."” Los Angeles

Times, 30 October 2020,

https://www.latimes.com/entertainment-arts/music/story/2020-10-30/john-fogerty-trump-

fortunate-son. Accessed 19 March 2023.

Candaele, Kerry. “The Sixties and Protest Music | Gilder Lehrman Institute of American

History.” Gilder Lehrman Institute of American History |,

https://www.gilderlehrman.org/history-resources/essays/sixties-and-protest-music.

Accessed 19 March 2023.

Cooper, Lauren. “April 15, 1967: Massive Anti-Vietnam War Demonstrations.” Zinn Education

Project, https://www.zinnedproject.org/news/tdih/massive-anti-war-demonstrations/.

Accessed 19 March 2023.

Fettig, Mary. Musician. Concord, CA. Personal Interview. 21 April 2023.

Fields, Liz. “The story behind Billie Holiday's 'Strange Fruit' | American Masters.” PBS, 12 April

2021,
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https://www.pbs.org/wnet/americanmasters/the-story-behind-billie-holidays-strange-fruit/

17738/. Accessed 19 March 2023.

Gailmard, Gina. Educator. Walnut Creek, CA. Personal Interview. 16 March 2023.

Haskins, James. Black Music in America: A History Through Its People. T.Y. Crowell, 1987.

Henwood, Bridgett. “The history of American protest music, from "Yankee Doodle" to Kendrick

Lamar.” Vox, 22 May 2017,

https://www.vox.com/culture/2017/4/12/14462948/protest-music-history-america-trump-

beyonce-dylan-misty. Accessed 19 March 2023.

McCabe, Sean, and Jonathan Bernstein. “The 500 Greatest Albums of All Time – Rolling

Stone.” Rolling Stone, 22 September 2020,

https://www.rollingstone.com/music/music-lists/best-albums-of-all-time-1062063/.

Accessed 19 March 2023.

Moon, Tom. “The Story Of Marvin Gaye's 'What's Going On.'” NPR, 7 August 2000,

https://www.npr.org/2000/08/07/1080444/npr-100-whats-going-on. Accessed 19 March

2023.

Spitzer, Nick. “The Story Of Woody Guthrie's 'This Land Is Your Land.'” NPR, 15 February

2012, https://www.npr.org/2000/07/03/1076186/this-land-is-your-land. Accessed 19

March 2023.

Strauss, Matthew. “Recording Academy Adds New Awards for 2023 Grammys: Songwriter of

the Year, Best Song for Social Change, and More.” Pitchfork, 9 June 2022,

https://pitchfork.com/news/recording-academy-adds-new-awards-for-2023-grammys-son

gwriter-of-the-year-best-song-for-social-change/. Accessed 19 March 2023.