by Stephen P. Cummings, MSW, ACSW, LSW
This article is based on a #MacroSW Twitter chat on protest songs. #MacroSW Twitter chats are held every Thursday night at 9 p.m. Eastern. For more information, check out https://macrosw.com. The New Social Worker is a #MacroSW media partner.
Megaphone
I didn’t know I wanted to be a social worker until I was in my late 20s, but I’ve loved music as far back as I can remember. I was convinced the greatest job a person could have was as a disk jockey for the local radio station. As an older child, I wanted to be a music journalist. I started reading Rolling Stone magazine when I was 13. Rolling Stone was seen as a resource for both critical music writing and political discourse. These two areas of focus—politics and music—began to make sense to me. It was the Reagan era, and “Born in the USA” was not the first song about Vietnam I remember hearing, but it was the first song that fit the concept of “protest song” in the popular culture.
I was aware of the lasting impact of the Vietnam War, even though I was far too young to have firsthand knowledge of it. I was struck by how Springsteen had to fight to keep his song from being appropriated politically, when the Reagan campaign sought to appropriate “Born in the USA” as straightforwardly patriotic, rather than Springsteen’s intent: it was a protest song (Dolan, 2014).
The Elements of the Protest Song
So, what constitutes a protest song? On the surface, this seems straightforward—a topical song with a focus on social justice and social change. That said, the best songs are propelled by their themes and their quality. Dorian Lynskey, music writer for The Guardian, notes: “In songs such as ‘Strange Fruit, Ohio,’ ‘A Change Is Gonna Come,’ or ‘Ghost Town,’ the political content is not an obstacle to greatness, but the source of it. They open a door and the world outside rushes in” (2011). A protest song, then, could include three elements—a social justice issue, a movement that carries the message, and the song’s quality. Some songs are organic to their specific movements. However, it’s important to consider what constitutes a “movement.” Social justice issues aren’t linear and don’t occur as a single wave. Some movements sustain in the face of incremental change. Concepts like class or race struggle inspire songs that are not necessarily tethered to a specific place on the timeline.
What's Going On
Consider Marvin Gaye’s “What’s Going On,” released in 1971. This song lives on in the collective consciousness. The song’s subject centers on police brutality targeting anti-war protests. Gaye is noted for describing the song as one of love, not protest. However, the song fits the general definition of a protest song, and the themes—unfortunately—remain relevant. Along with message and movement, the song’s impact is built upon artistry. As Mike Katzif noted on NPR, “If it weren’t for Gaye’s skillful songcraft, his message might have been lost” (2011).
Looking back at “What’s Going On,” it’s worthwhile to consider the lasting impact, given the changes in how music is distributed. Until recently, methods for disseminating a song were pretty standard—tangible formats (vinyl, tape, CD) and the airwaves (radio, television).
Look at how music is popularized in the age of social media and internet commerce. The ease of compiling playlists on social media platforms cannot be understated. The #MacroSW playlist, for example, was initially compiled and shared within one hour. Anyone who recalls curating mixtapes by recording from other sources, and then sharing them with friends, may look at the efficiency of this kind of curation and, perhaps, feel nostalgic at the work it took to get a mixtape made back in the 1980s.
The Expanding Culture
Along with advancing technology, we also see an expansion of musical genres and subgenres. Not long ago, the popularity of a song was measured by looking at two indicators: sales of the song in single form, and radio airplay. Current measurements include calculating streaming volume, sales across physical and digital outlets, and radio airplay. This creates multiple pathways for more artists to reach a wider audience. This expansion relates to the demise of the “monoculture” (Touré, 2011).
Up until the 1990s, “massive musical moments” were notably frequent; the music of the moment was everywhere, seemingly impossible to ignore. Think of Public Enemy’s It Takes A Nation of Millions to Hold Us Back, another popular work of social commentary. In the year of its release, 1987, it was ubiquitous, so you were likely to hear it, even if rap music wasn’t your thing. Now, writes Touré, “If you’re under 25, you’ve never felt a True Massive Musical Movement” (2011).
It’s less likely that any one artist sparks a cultural phenomenon. The reasons for this aren’t necessarily evident; we may be preoccupied with many more media options outside of music, and the ability to access music is simply more diverse than ever. And social media isn’t necessarily a barrier—as movements ignite and grow, music creation and sharing is a part of the movement. Writing for The Atlantic, Salamishah Tillet (2015) notes the recent events in Ferguson, including the decision not to indict Darren Wilson, led to J. Cole releasing “Be Free,” distributed in 2014 through multiple platforms, including SoundCloud.
The #MacroSW Protest Song Playlist
The #MacroSW playlist originated during one of our Twitter chats in spring 2017. Participants during the chat were asked to share what their favorite protest songs were. About a dozen suggestions were made, and at the end of the chat, I was able to publish and promote the #MacroSW playlist in the YouTube platform to our chat participants (#MacroSW Protest Song Playlist on YouTube, 2017). The list’s only guiding category is that the songs listed fit the general description of the protest song. The songs aren’t arranged in any kind of “flow” that connects the songs together. Artistically, this may run counter to the approach seasoned mixtape curators take. I would sweat these details when making mixtapes 30 years ago.
On November 9, 2017, I hosted a #MacroSW chat in which I asked questions about the playlist and about protest songs in general.
What songs should be added to the #MacroSW Protest Song Playlist?
I asked: What songs hold special meaning to you? Participants suggested and shared:
- Songs by Holly Near, Si Kahn, and Judi Small
- Pete Seeger performing “We Shall Overcome”
- The Beatles’ “Revolution”
- Bob Marley’s “Small Axe”
- Calle 13’s “Latinoamerica”
- Kendrick Lamar’s “XXX”
- Tricky’s version of Public Enemy’s “Black Steel.”
- “Nuestro Himno,” written in response to a lack of response to immigrant issues
Musical styles were also discussed, including Nueva Trova, the music of the Cuban revolution.
What makes a song a “protest song”?
The group focused on the need for a strong message in protest songs, adding that songs should be emotionally engaged so more people can connect to them at the emotional level. Songs that connect emotionally can become part of a movement to create change. Also, the artist is as important as the message. Do the artists have the personal perspective featured in the song they are performing?
What is the impact of the internet and social media on the protest song?
Chat participants shared thoughts similar to the ideas noted here. Some participants shared the perspective that younger people don’t seem to listen to protest songs, at least not as much as in the 1960s. However, this may be due to the splintering of the musical culture and the technology that expands the listening choices we can make. The nature of a song or video “going viral” can allow for active, critical discussion.
The Social Work Perspective
From this discussion, what could a social work perspective on protest songs include?
Focus on active listening. We learn, develop, and demonstrate active listening in our practice. This should extend to the music of social justice movements. It’s imperative we give the work of musicians the same attention we provide in our practice. It’s easy to treat music as one would treat wallpaper—decorative, but not significant. This defeats the purpose of the art and minimizes the work of the artist.
Look at how music is a part of our ongoing cultural awareness. This includes getting out of one’s music bubble and listening to how the soundtracks of social justice movements may originate or reflect cultures outside the comfort zone. Yes, music is a source or relaxation, enjoyment, and pleasure. Music that challenges the listener shouldn’t be dismissed, particularly when the message is meant to defy what’s normal.
Create our own artistic works. Social workers are artists. Some of us have the talent, creativity, and perseverance to create music that speaks to the social justice issues we are passionate about in our practice.
References
#MacroSW Protest Song Playlist on YouTube. (2017). https://www.youtube.com/playlist?list=PLlLGC46a0Nmu4FaOcl_ojvX_TqYARqYPV
#MacroSW 11/9/2017 Chat Archive on Storify. (2017, November 9). https://storify.com/OfficialMacroSW/macrosw-chat-11-9-2017-the-macrosw-protest-song-pl
Dolan, R. (2014, June 4). How Readan changed Bruce Springsteen’s politics. Politico Magazine. Retrieved from: https://www.politico.com/magazine/story/2014/06/bruce-springsteen-ronald-reagan-107448
J. Cole. (2014). “Be Free.” Retrieved from: https://soundcloud.com/dreamvillerecords/j-cole-be-free
Katzif, M. (2011,May 20). Marvin Gaye’s “What’s Going On: Songs We Love. National Public Radio. Retrieved from: https://www.npr.org/2011/05/21/136459286/marvin-gayes-whats-going-on-songs-we-love
Lynskey, D. (2011, February 16). What makes a great protest song. The Guardian. Retrieved from: https://www.theguardian.com/music/2011/feb/16/what-makes-a-great-protest-song
Tillet, S. (2015, January 20). The return of the protest song. The Atlantic. Retrieved from: https://www.theatlantic.com/entertainment/archive/2015/01/the-return-of-the-protest-song/384631/
Touré. (2011, September 28). Why I miss the monoculture. Salon. Retrieved from: https://www.salon.com/2011/09/29/how_niches_killed_culture/ww.theguardian.com/music/2011/feb/16/what-makes-a-great-protest-song
Stephen Cummings, MSW, ACSW, LSW, is a clinical assistant professor at the University of Iowa School of Social Work, where he is the Director of Distance Education.