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Home , American Idiot, Get Thee Behind Me Satan, Killing in the Name, Music and politics, Pay Me My Money Down, Prophets of Rage

POS 355 and in the American Context

Spring 2018

Professor: Mark Brewer Office: 113a North Stevens Hall Office Phone: 207-581-1863 Department: 207-581-1871 Fax: 207-581-4856 E-mail: [email protected] Office Hours: Tuesday 9:30-10:30am, Wednesday 12:15-2:15pm, and by appointment Electronic Materials: Blackboard

FOR TECHNICAL ASSISTANCE: Do not contact the instructor. Instead, call 1-877-947- HELP or 207-581-4591 or e-mail [email protected]

Technical support office hours: 8am to 4:30pm (M-F) during May Term, Summer & Breaks 8am to 6pm (M-TH) & 8am to 5pm (F) during Fall & Spring semesters Limited Email Support Nights, Weekends, School Breaks & Holidays

Course Format

This is an on-line course that uses the Blackboard system. There is no physical classroom meeting space or time. All course materials (except for the required books and some reserve materials, described below), including lecture notes, discussion questions, your responses and questions, examinations, and all other assignments will be posted to Blackboard. You can of course e-mail me individually with any questions and/or concerns that you wish to raise privately, but all material meant to be engaged by the class as a whole should be posted to Blackboard. If you are having any trouble accessing or using Blackboard, please contact technical assistance through the avenues listed above.

Course Objectives and Focus

When most people think about politics, music is usually not a topic that comes immediately to mind. This is an unfortunate oversight, as music has long played an important role in politics. The music one is exposed to is in many ways a product of the social context one finds her or himself in. This determines at least in part the political content and messages that one is exposed to through music, and ultimately affects individual political beliefs and behaviors. Musical play an important role in defining one’s social identity (which is of course politically relevant), thus making music a key factor in the creation of this social construct. In addition, candidates for public office and officials often use music in the attempt to shape and condition individuals’ political views and interactions with the . Music also often plays an important role in attempts to both change and defend a variety of practices and institutions in American society. For all of these reasons, along with many others, the intersections of music and politics merit close examination. As a result of successfully completing this course, students will be able to:

• comprehend the key role philosophers have assigned to music in the functioning of state and society • recognize how music is crucial in many of the ways in which citizens and their government interact, such as , protest, and the development and transmission of political culture • explain the relationships between music and social identities in the • realize how music has been used to both foster and resist social and political change

Course Requirements

The subject matter of this course both allows for and demands critical engagement of materials and ideas, free and open dialogue, and high levels of comity and collegiality. This course also demands an intensive focus on one of the most important abilities that a student should develop during her or his experience with higher education: communication and analysis through the written word. A student’s performance in this course will be determined by assignments and activities grounded in critical thinking, debate and discussion, and writing.

Course Requirements

The subject matter of this course both allows for and demands critical engagement of materials and ideas, free and open dialogue, and high levels of comity and collegiality. This course also demands an intensive focus on one of the most important abilities that a student should develop during her or his experience with higher education: communication and analysis through the written word. A student’s performance in this course will be determined by assignments and activities grounded in critical thinking, debate and discussion, and writing.

Student Postings: This course is organized around the reading and/or listening materials for each of our class sessions. I will also post some notes and commentary for each session, and additional materials will be posted from time to time. It is imperative that you complete all of the materials assigned for this course. In addition to forming the shared foundation for our discussions in this course, completing all the required materials in a timely fashion will be essential for your grade. For each of our 26 substantive class sessions, each student will have to submit two postings. The first will be an initial reaction to the readings assigned for that particular session. The second posting will be a response to the initial reaction of at least one other student in the class. The initial reaction is due by noon on the day of each session, and the response is due by 8:00pm on the same day. Send your postings to the posting submission area for that particular session number. The postings for each session will be worth 15 total points, with the initial reaction worth 10 and the response worth 5. With 26 total substantive sessions, this means that the postings will account for 390 total points. Initial reaction and response postings will be worth 50% of a student’s final grade in this course. An initial reaction posting should be approximately 2-3 paragraphs in length, and a response should be approximately 1-2 paragraphs in length. Please note the use of the word “approximately” in both of the previous two sentences. Some additional information about the format and content of the postings is provided below:

1. Postings should clearly show that you have completed the assigned materials, but they should not be summaries of the materials. Your postings should present an argument or point of view regarding the assigned material. The position presented in your postings should always be clear, well argued, and supported by evidence and concise reasoning. As a student at a distance, it is important that you know about the University of Maine on academic integrity. Violations of student academic integrity include any actions which attempt to promote or enhance the academic standing of any student by dishonest means (e.g., cheating, plagiarism, fabrication, and academic misconduct). Students may be accused, charged, and penalized for any violations as appropriate. In addition to any academic action taken by an instructor, these violations are also subject to action under the University of Maine Student Conduct Code. This policy can be found in the University of Maine Student Handbook, available at: http://umaine.edu/handbook/academics/academic-integrity/

2. All postings must be your own words and thoughts. First and foremost, we are engaging in an intellectual dialogue here. Using the thoughts and words of others, with proper attribution, to support your own points is a valuable contribution to this dialogue. Claiming others’ thoughts and words as your own is not. In addition, plagiarism is strictly prohibited by University of Maine policy, and such academic dishonesty will be dealt with harshly in this course. More is said on plagiarism under “Student Responsibilities” below.

3. All postings should be carefully edited for content, style, punctuation, and grammar before being posted to the class. Purchase a style guide (if you do not already own one) and use it as you compose your postings. Make sure to use standard English, proper grammar, and an academically rigorous writing style, not the sloppy, informal electronic language that we all sometimes fall into when composing e-mail, exchanging texts, or contributing to online discussion forums. This is a college course, and one of its central purposes is to further develop your skills as writers. Postings will be evaluated on both substance and writing quality.

4. Perhaps most important, all postings must show respect for the ideas and opinions of others in this course. This class is a community where all have the right to feel comfortable to freely express their ideas and contribute to the community dialogue. It is the responsibility of all of us to insure that this is the case. This does not mean that criticism of others’ ideas is unacceptable. On the contrary, critiquing the thoughts of others (and of ourselves) is absolutely essential for real learning to occur. However, critiques must always be offered in a professional, courteous, and respectful way. Personal attacks and ridicule should be avoided at all costs, and will not be allowed in this course.

5. All postings must be submitted on time, or they will subject to a late-penalty of 1 point per hour of lateness for both initial reaction postings and response postings. Extensions to the posting deadline must be requested in writing (e-mail is acceptable) at least 12 hours in advance, and will be granted only in extreme situations. The only exception on this matter will be if there is a failure with the University’s network or with the Blackboard system.

Analytical Essays: Each class session for this course has an assigned set of readings and/or listening materials. Each of the sessions (except for Sessions 1, 25, 27, and 28) also has a topic related to these materials that serves as the basis of an analytical essay assignment for that particular session. These essays should be approximately five-to-seven pages in length. Each student is required to complete two of the analytical essay assignments over the course of the semester. Students have the freedom to choose which two topics they wish to write on. Outside research is not required for the analytical essays, but of course is allowed. Specific essays are due by 5:00pm TWO WEEKS from the day and session to which they are assigned, except for the essay for Session 26, which is due by 5:00pm on May 9. Late essays will be penalized a full letter grade for each day that they are past due, and an essay is considered a day late at 5:01pm two weeks from the date on which it was assigned. Extensions to the above deadline for the analytical essay assignment must be requested in writing (e-mail is acceptable) at least 48 hours in advance, and will be granted only in extreme situations. Each individual essay is worth 15% of a student’s final grade, meaning that 30% of the overall course grade will come from this assignment. Please word process the essays, double-spaced and with no smaller than an 11-point font. Submit essays at the analytical essay submission area in Blackboard.

Final Examination: There will be a final examination for this course. It will be completely open-book and open-note, and the material on the exam will be mixture of short and long essay questions. Students must work on the final examination independently. The final examination will be posted by 5:00pm on May 4, and will be due to my e-mail inbox by 4:00pm May 9. There will be a late-penalty of a full letter grade for each day the final examination is past due, and an exam is considered a day late at 4:01pm on May 8, with the same exceptions noted above. The final examination will be worth 20% of a student’s final grade in this course. Your responses to the final examination will be evaluated on both content and writing quality. Submit final examinations at the final examination submission area in Blackboard.

Summary of Course Grade Components:

Initial Reaction and Response Postings: 50% Analytical Essays (2 total): 30% Final Examination: 20%

IMPORTANT NOTICE

In the event of disruption of normal course activities, the format for this course may be modified to enable completion of the course. In that event, you will be provided an addendum to this syllabus that will supplement, modify, and/or supersede this version.

Student Responsibilities

As noted earlier in this syllabus, students are expected to complete all readings and listening materials assigned for a particular class session before making their initial reaction posting for that day. As you will notice in the course schedule outlined below, there is a good deal of assigned material for this course. If for any reason you think that you may be unable to complete all of the assigned material on time, I suggest you drop the course now. Students who have not done the assigned reading and listening will be hard pressed to contribute to our discussions in a constructive manner. Failure to do the reading will also negatively affect your performance on exams. I cannot stress strongly enough the importance of completing the assigned material for each class session.

The web-based format of this course provides us with some challenges, but also with some unique opportunities as well. We will all have more time to develop our thoughts more fully before presenting them, and consider others’ thoughts prior to responding. Also, those students who find it awkward or difficult to be full contributors in a regular classroom setting should not face such obstacles here. We should be able to establish a thoughtful and energetic online community. But the responsibility for doing so lies with each of us.

In addition, I expect each student to be aware of what is going on in American politics and society. In other words, I expect you to follow the news. At a minimum, this should entail watching a national news broadcast or listening to the national news on NPR a day. Ideally students will read a good national newspaper such as , The Post, The Times, or Street Journal every day. Those publications that carry a cost can be accessed free of charge via Fogler Library. Given the subject matter of this course, you should also spend some time each day listening to music, of any or variety. I also encourage each of you to bring music for us to listen to if you feel it is appropriate for the subject of a particular class meeting and it has been obtained legally. Students should also be aware that some of the required reading/listening material for this course contains language and/or images that some might find offensive. Those with concerns on this issue should discuss them with the instructor as soon as possible.

Cheating and plagiarism constitute much more than serious violations of University of Maine policy. They indicate a lack of respect for those fellow students who will have worked hard to earn their grade. As such, cheating and/or plagiarism will not be tolerated in this class. Any cheater or plagiarist will, at a minimum, automatically receive a failing grade in this course. Additional disciplinary action will be pursued within the University. If the University of Maine is not your primary institution, I will notify your home institution as well. It is unfortunate that this must be emphasized in a course syllabus, as most students perform honestly.

Assistance

My office hours are listed on the first page of this syllabus. I am also available by appointment. If you are having difficulty with the course material or need help with any other facet of the class, please do not hesitate to come and discuss the matter with me. E-mail is generally the best way to get in touch with me. If you have a disability for which you may be requesting an accommodation, please contact Disability Support Services via telephone at 581-2319, TTY 581- 2325, e-mail at [email protected] , or in person at 121 East Annex as early as possible in the term.

Sexual Discrimination Reporting

The University of Maine is committed to making campus a safe place for students. Because of this commitment, if you tell a teacher about an experience of sexual assault, sexual harassment, stalking, relationship abuse (dating violence and domestic violence), sexual misconduct or any form of gender discrimination involving members of the campus, your teacher is required to report this information to the campus Office of Sexual Assault & Violence Prevention or the Office of Equal Opportunity.

If you want to talk in confidence to someone about an experience of sexual discrimination, please contact these resources:

For confidential resources on campus: Counseling Center: 207-581-1392 or Cutler Health Center: at 207-581-4000. For confidential resources off campus: Rape Response Services: 1-800-310-0000 or Partners for Peace (formerly Spruce Run): 1-800-863-9909.

Other resources: The resources listed below can offer support but may have to report the incident to others who can help:

For support services on campus: Office of Sexual Assault & Violence Prevention: 207-581- 1406, Office of Community Standards: 207-581-1409, University of Maine Police: 207-581- 4040 or 911. Or see the OSAVP website for a complete list of services at http://www.umaine.edu/osavp/

Required Readings

4 books are required for this class. They are:

Mark Mattern, Acting in Concert: Music, Community, and Political Action, New Brunswick, NJ: Rutgers University Press, 1998.

Bill C. Malone, Don’t Get Above Your ’: and the Southern Working Class, Urbana, IL: University of Illinois Press, 2002.

Glenn C. Altschuler, All Shook Up: How Rock ‘n’ Roll Changed America, New York: , 2003.

Jeffrey O.G. Ogbar, Hip-Hop Revolution: The Culture and Politics of Rap, Lawrence, KS: University Press of Kansas, 2007.

These books are available through both the UM Orono Bookstore. The contact number for the bookstore is listed below.

UM Orono Bookstore Telephone: 207-581-1700 UM Orono Bookstore Fax: 207-581-1132

There are also some required materials (all assigned materials are required) that are not in the books listed here. These materials are listed as (reserve) in the following course schedule and are available at Fogler Library via hard copy reserve (one copy only) and e-reserve (password: pos355brewer). Listening materials are e-reserve only. E-reserves are accessible from the “Services and Forms” link off of the Library’s main page (http://www.library.umaine.edu/). Readings e-reserves are available as pdf files, meaning students will need Adobe Acrobat Reader to view them. Acrobat Reader can be downloaded free of charge at: http://www.adobe.com/products/acrobat/readstep2.html

Course Schedule

The following will be our agenda for the semester. Remember, you are expected to complete the readings listed below prior to the class meeting for which they are assigned. This schedule is subject to change by the instructor, depending on the progress we make in covering course material.

Session 1: January 23 Introductions

We will begin by introducing ourselves and further organizing ourselves for our course. Please post a personal introduction to the Session 1 folder by 5:00pm on this day. Please include a little information about yourself such as where you are from, where you currently reside, what your academic plans are, and why you are taking this course. Take the time to read your colleagues’ introductions before Session 2. This is also an opportunity to raise any questions about the syllabus or the course in general.

Session 2: January 25 Music, Society, and the State: Philosophical Perspectives, Part I

• , The , Book II-Book III (375a-403d) (reserve) • Plato, The Laws, Book II (reserve) • Aristotle, The Politics, selections from Book VII and Book VIII (reserve)

Analytical Essay Topic: Is censorship of music by the state ever justified?

Session 3: January 30 Music, Society, and the State: Philosophical Perspectives, Part II

• Jean-Jacques Rousseau, Discourse on the Sciences and the Arts (reserve) • Theodor Adorno, Introduction to the Sociology of Music, Chap. 3-4 (reserve) • Allan Bloom, The Closing of the American Mind, “Music” (reserve)

Analytical Essay Topic: Should the state play a role in the musical education and socialization of its citizens?

Session 4: February 1 Understanding

• Theodor Adorno, Introduction to the Sociology of Music, Chap. 2 (reserve) • Roy Shuker, Understanding Popular Music, 2nd ed., Chap. 1 & 8 (reserve)

Analytical Essay Topic: What makes popular music popular?

Session 5: February 6 The Interaction of Music and Politics: Part I

• Mark Mattern, Acting in Concert, Chap. 1-5

Analytical Essay Topic: Is music a good mechanism for fostering social change?

Session 6: February 8 The Interaction of Music and Politics: Part II

• Mattern, Acting in Concert, Chap. 6-8 • , “” • Samuel F. Smith, “America” http://memory.loc.gov/cocoon/ihas/loc.mbrs.berl.13051/default.html • Julia Ward Howe, “The Battle Hymn of the Republic," performed by Unknown Artists • Katharine Lee Bates () and Samuel Ward (music), “America the Beautiful,” performed by Unknown Artist • Francis Scott Key, “The Star-Spangled Banner" • Daniel Decatur Emmett, “Dixie,” http://www.npr.org/programs/morning/features/patc/dixie/index.html#audio • Cast of Hamilton, "Non-Stop," from Hamilton: An American Musical https://www.youtube.com/watch?v=8aefuWGmKTY

Analytical Essay Topic: Can music effectively promote patriotism?

Session 7: February 13 , Part I

• John Greenway, American Folksongs of Protest, Preface and Introduction (reserve) • Richard A. Reuss, with JoAnne C. Reuss, American Folk Music and Left-Wing Politics, 1927-1957, Introduction and Chap. 1 (reserve) • Jerome L. Rodnitzky, Minstrels of the Dawn, Introduction, Chap. 1 & 8 (reserve)

Analytical Essay Topic: What is the purpose of folk music?

Session 8: February 15 Folk Music, Part II

• , “This Land is Your Land,” “Do-Re-Mi,” and “Jesus Christ,” all from This Land is Your Land: The Asch Recordings, Volume 1 • The , “Get Thee Behind Me Satan,” “Round and Round Hitler’s Grave,” “Which Side Are You On?,” and “Jim Crow,” all from for Political Action • , “If I Had a Hammer” and “,” both from The Essential Pete Seeger • , “Blowin’ in the Wind,” “Masters of War,” and “Hard Rain’s A-Gonna Fall,” all from The Freewheelin’ Bob Dylan and “With God on Our Side,” from They Are a-Changin’ • , “Ghetto,” “With God on Our Side,” and “Don’t Think Twice, It’s All Right,” all from The First 10 Years • , “Eyes on the Prize,” “Pay Me My Money Down,” and “We Shall Overcome,” all from We Shall Overcome: The Seeger Sessions

Analytical Essay Topic: Is folk music still relevant in contemporary American society?

Session 9: February 20 Country and Western, Part I: Identity Session I

• Bill C. Malone, Don’t Get Above Your Raisin’, Preface, Introduction, Chap. 1-4

Analytical Essay Topic: Who does country music speak to?

Session 10: February 22 Country and Western, Part II: Identity Session II

• Hank Williams, “Honky Tonkin,’” “Your Cheatin’ Heart,” and “Hey Good Lookin,’” all from 20 of Hank Williams’ Greatest Hits • Loretta Lynn, “Coal Miner’s Daughter” and “Fist City,” both from The Definitive Collection • Dolly Parton, “Coat of Many Colors” and “Jolene,” both from Ultimate Dolly Parton • , “Workin’ Man ,” “If We Make it Through December,” and “The Bottle Let Me Down,” all from Merle Haggard—20 Greatest Hits • Hank Williams, Jr., “Family ,” “Whiskey Bent and Hell Bound,” and “A Country Boy Can Survive,” all from Hank Williams, Jr.’s Greatest Hits • Alan Jackson, “Little Bitty,” “Where I Come From,” and “Remember When,” all from Greatest Hits 2 • Martina McBride, "Independence Day," from The Way that I Am https://www.youtube.com/watch?v=4VPpAZ9_qAw • Gretchen Wilson, “Here for the Party” and “Redneck Woman,” both from Here for the Party • SHeDaisy, “God Bless the American Housewife,” from Fortuneteller’s Melody • Miranda Lambert, "Gunpowder & Lead," from Crazy Ex-Girlfriend • Zac Brown , "Chicken Fried," from The Foundation • Craig Campbell, "Family Man," from Craig Campbell • , "This is Country Music," from This is Country Music • Maddie and Tae, "Girl in a Country ," released as a single, https://www.youtube.com/watch?v=_MOavH-Eivw

Analytical Essay Topic: What can you tell about a person by knowing that she or he listens to country music?

Session 11: February 27 Country and Western, Part III: Political Message and Activism

• Bill C. Malone, Don’t Get Above Your Raisin’, Chap. 5-8, Conclusion • Loretta Lynn, “The Pill,” from The Definitive Collection • Merle Haggard, “Okie From Muskogee” and “The Fightin’ Side of Me,” both from Merle Haggard—20 Greatest Hits • Johnny Cash, “The Man in Black,” from The Man in Black • Lee Greenwood, “God Bless the USA,” from American Patriot • Allison Krauss and Union Station, “Bright Sunny South,” from New Favorite • Alan Jackson, “Little Man” and “Where Were You,” both from Greatest Hits 2 • Toby Keith, “American Soldier,” from Shock’n Y’All; “Courtesy of the Red, White, and Blue” and “Beer For My Horses,” both from Greatest Hits 2 • Dixie Chicks, “Travelin’ Soldier,” from Home; “Not Ready to Make Nice,” from • John Rich, “Shuttin Down,” from Shuttin Detroit Down • Sturgill Simpson, "Call to Arms," from A Sailor's Guide to Earth https://www.youtube.com/watch?v=uFk3mtcXTN4

Analytical Essay Topic: Is country music conservative? Why or why not?

Session 12: March 1 , Part I: Identity

• Burton W. Peretti, The Creation of Jazz, Chap. 1, 4, & 10 (reserve)

Analytical Essay Topic: Who listens to jazz, and why do they do so?

Session 13: March 6 Jazz, Part II: Social and Political Implications

• Louis Armstrong, “Black and Blue,” from Louis Armstrong Favorites • Duke Ellington featuring Mahalia Jackson, “Part IV [Come Sunday]” and “Part VI [23rd Psalm],” from Black, Brown, and Beige • , “,” from The Ultimate Billie Holiday • Charles Mingus, “Original Faubus Fables,” from Charles Mingus Presents Charles Mingus • , “To be Young, Gifted, and Black,” from Misunderstood; “Mississippi Goddam” from Sings Nina • Max Roach, “Driva’ Man,” “Freedom Day,” and “All Africa,” all from We Insist! Freedom Now Suite • Archie Shepp, “Ballad for a Child” and “Quiet Dawn” both from Attica Blues

Analytical Essay Topics: Is jazz socially and/or politically relevant?

Session 14: March 8 , Part I: Identity

• Glenn C. Altschuler, All Shook Up, Chap. 1-4 • Elvis Presley, “That’s All Right,” and “Good Rockin’ Tonight,” both from The Sun Sessions • Jerry Lee Lewis, “Great Balls of Fire” and “Whole Lot of Shakin’ Going On,” both from The Definitive Collection • The Kinks, “I’m Not Like Everybody Else,” from The Ultimate Collection • Rolling Stones, “Paint It, Black,” “,” and “Sympathy for the Devil,” all from Hot Rocks • The Doors, “Riders on the Storm” and “The End,” both from The Best of the Doors • Nirvana, “” and “Lithium,” both from Nevermind

Analytical Essay Topic: What is the message of rock and roll?

March 13 and 15—Spring Break NO CLASS SESSIONS DURING THIS PERIOD

Session 15: March 20 Rock and Roll, Part II: Political Message and Activism

• Glenn C. Altschuler, All Shook Up, Chap. 5-6, epilogue • Bob Dylan, “Like a ,” “Ballad of a Thin Man,” and “Desolation Row,” all from Highway 61 Revisited • Buffalo Springfield, “For What It’s Worth,” from Buffalo Springfield (second edition) • Sly and the Family Stone, “Stand,” “Don’t Call Me Nigger, Whitey,” and “Everyday People,” all from Stand; • , “Southern Man” and “Ohio,” both from Decade • and the Wailers, “Slave Driver” and “400 Years,” both from Catch a Fire; “Burnin’ and Lootin’” and “Oppressed Song,” both from Burnin’; “Get Up Stand Up,” “Redemption Song,” and “Exodus,” all from Legend • Creedence Clearwater Revival, “Bad Moon Rising” and “Wrote a Song for Everyone,” both from Green River; “Fortunate Son,” from Willy and the Poor Boys • , “Imagine,” “,” and “Power to the People,” all from Working Class Hero • Randy Newman, “Rednecks” and “Mr. President (Have Pity on the Working Man),” both from Good Old Boys • Bruce Springsteen, “Born in the U.S.A.,” from Born in the U.S.A., and “The Rising,” from The Rising • Tracy Chapman, “Fast Car” and “Talkin’ Bout a Revolution,” both from Tracy Chapman • Dispatch, “The General,” from Bang Bang • Bright Eyes, “When the President Talks to God,” released as a single • The White Stripes, “Icky Thump,” from Icky Thump • John Mayer, “Belief,” from Continuum

Analytical Essay Topic: Is rock and roll subversive?

Session 16: March 22 Rock and Roll: Punk

• Craig O’Hara, The Philosophy of Punk, Chap. 1, 5, & 6 (reserve) • MC5, “Back in the U.S.A.” and “American Ruse,” both from Back in the U.S.A • The Ramones, “I Wanna Be Sedated,” from Road to Ruin; “My Brain is Hanging Upside Down,” from Animal Boy; “Censorshit,” from Mondo Bizzaro • Patti Smith, “Free Money” and “Break it Up,” from Horses • Black Flag. “No Values” and “American Waste,” from The First Four Years; “Police Story” and “TV Party,” from Damaged • , “California Uber Alles,” from Fresh Fruit for Rotting Vegetables; “A Commercial,” “Rambozo the Clown,” “ for Sale,” and “Ckickenshit Conformist,” from Bedtime for • , “Career Opportunities” and “,” both from The Essential Clash • , “You Are (The Government),” from Suffer • , “,” from American Idiot • , "Make it Stop (September's Children)," from Endgame • Moby and the Void Pacific , "Erupt & Matter," from These Systems Are Failing https://www.youtube.com/watch?v=9wOZNGias5I

Analytical Essay Topic: What is the political message of punk?

Session 17: March 27 Rock and Roll: Women and Rock • Sheila Whiteley, Women in Popular Music, Introduction, Chap. 2, 3, 9, &11 (reserve) • Joni Mitchell, ‘Big Yellow Taxi,” from Ladies of the Canyon • , “Like a Virgin,” “Material Girl,” and “Express Yourself,” all from The Immaculate Collection • Ani DiFranco, “Reprieve,” from Reprieve, “Letter to a John,” and “If He Tries Anything,” from Out of Range; “Not a Pretty Girl” and “Crime for Crime,” from Not a Pretty Girl • , "Rebel Girl," from Yeah, Yeah, Yeah, Yeah • Liz Phair, “Divorce Song,” from Exile in Guyville • Lauryn Hill, “Mystery of Iniquity,” from Lauryn Hill MTV Unplugged • Pink, “Dear Mr. President,” from I’m Not Dead • Sleater Kinney, “ Ending” and “,” from One Beat • PJ Harvey, “Sheela-Na-Gig,” from Dry • , "Born This Way," from Born This Way • St. Vincent, "Fear the Future," from Masseduction https://www.youtube.com/watch?v=X5L9LKxYoQw

Analytical Essay Topic: Is there is distinct female perspective from women rock and roll artists?

Session 18: March 29 Rock and Roll: Heavy Metal • Robert Walser, Running with the Devil: Power, Gender, and Madness in , Chap. 1, 4, & 5 (reserve) • Black Sabbath, “Paranoid” and “War Pigs,” both from Paranoid • Iron Maiden, “Run to the Hills” and “Invaders,” from The Number of the Beast • Guns N’ Roses, “Welcome to the Jungle,” “Mr. Brownstone,” and “Anything Goes,” all from Appetite for Destruction • Pantera, “Strength Beyond Strength,” “Slaughtered,” and “I’m Broken,” from Far Beyond Driven • Slayer, “Dissident Aggressor” and “Spill the Blood,” from South of Heaven • , “” and “Settle for Nothing” from Rage Against the Machine; “” and “Without a Face,” both from Evil Empire • Arch Enemy, “Despicable Heroes,” from Anthems of

Analytical Essay Topic: Is heavy metal harmful to social order?

Session 19: April 3 The Blues and R & B, Part I

• David Joyner, American Popular Music, 2nd ed., Chap. 5 and 19 (reserve) • Robert Johnson, “Rambling on my Mind,” “Hellhound on my Trail,” and “I’m a Steady Rollin’ Man,” all from The Complete Recordings • , “Any Woman’s Blues,” from Any Woman’s Blues; “Black Mountain Blues” from Blues Queen • Ma Rainey, ‘Prove it on Me” from Hustlin’ Blues; “Cell Bound Blues” from Night Time Blues • , “Bourgeois Blues,” “Jim Crow Blues,” “Jim Crow #2,” and “Hitler Song,” all from Bourgeois Blues: Leadbelly Legacy, Volume 2

Analytical Essay Topic: What are the origins of the blues?

Session 20: April 5 The Blues and R & B, Part II

• Sam Cooke, “A Change Is Gonna Come,” from Portrait of a Legend • The Impressions, “People Get Ready,” from People Get Ready • Aretha Franklin, “Respect,” from I Never Loved a Man the Way I Love You • James Brown, “Say it Loud (I’m Black and I’m Proud)” from 20 All-Time Greatest Hits • Marvin Gaye, “What’s Going On” and “Mercy Mercy Me (The Ecology),” both from What’s Going On • Stevie Wonder, “Big Brother,” from Talking Book; “Higher Ground” and “Living for the City,” both from Innervisions; “Village Ghetto Land” and “Black Man,” both from Songs in the Key of Life • Janet Jackson, “State of the World,” “Interlude: Race,” and “The Knowledge,” all from Rhythm Nation 1814 • , “Crack Music” and “Roses,” from Late Registration • John Legend, "In America," from Underground (television miniseries) https://www.youtube.com/watch?v=KJO9t2WNyzk

Analytical Essay Topic: Can music serve as a vehicle to escape oppression?

Session 21: April 10 Rap and , Part I: Identity Session I

• Jeffrey O.G. Ogbar, Hip-Hop Revolution, Chap. 1-3

Analytical Essay Topic: What can the origins of rap and hip hop tell us about its content?

Session 22: April 12 Rap and Hip Hop, Part II: Identity Session II

• Pubic Enemy, “Bring the Noise” and “Don’t Believe the Hype,” both from It Takes a Nation of Millions to Hold Us Back • Queen Latifah, “Queen of Royal Badness,” from All Hail the Queen • Dr. Dre, “Nuthin’ But a ‘G’ Thang” and “Let Me Ride,” both from The Chronic • 2Pac, “Me Against the Word,” “Fuck the World,” “Outlaw,” all from Me Against the World • , “The Real Slim Shady,” “Kill You,” and “Criminal,” all from The Marshall Mathers LP

Analytical Essay Topic: Why is rap music so popular among young people of all races in the United States?

Session 23: April 17 Rap and Hip Hop, Part III: Political Message and Activism Session I

• Jeffrey O.G. Ogbar, Hip-Hop Revolution, Chap. 4-5, epilogue

Analytical Essay Topic: How is rap and hip hop perceived in American society?

Session 24: April 19 Rap and Hip Hop, Part IV: Political Message and Activism Session II

• N.W.A., “,” from Straight Outta Compton • Queen Latifah, “Ladies First” and “The Evil That Men Do,” both from All Hail the Queen • , “Countdown to Armageddon” and “,” both from It Takes a Nation of Millions to Hold Us Back; “Welcome to the Terrordome” and “Fight the Power,” both from Fear of a Black Planet • Dr. Dre, “The Day the Niggaz Took Over” and “A Witta Gun,” both from The Chronic • The Fugees, “Fu-Gee-La,” from The Score • Lauryn Hill, “Forgive Them Father” and “Every Ghetto, Every City,” both from The Miseducation of Lauryn Hill • 2Pac, “Changes,” from Greatest Hits • Mos Def, "Mathematics," from Black on Both Sides • Eminem, "White America," from • The , “Where is the Love?,” from Elephunk • , “American Terrorist,” from Food & Liquor; "Words I Never Said," (featuring ), from Lasers • NAS, “Black President” from NAS • Immortal Technique, “The 4th Branch” and “The Cause of Death,” both from Revolutionary 2 • Jay Z and Kanye West, featuring Frank Ocean, "Made in America," from Watch the Throne • Jean Grae, "Falling Down," from iSweatergawd https://www.youtube.com/watch?v=bqfwZslWmds • Beyoncé, "Formation," from Lemonade, https://www.youtube.com/watch?v=1ZDEX2ggvao • , "The Blacker the Berry," from To Pimp a Butterfly, https://www.youtube.com/watch?v=rMxNYQ71LOk • Kendrick Lamar, "DNA," from DAMN. https://www.youtube.com/watch?v=NLZRYQMLDW4 • Joyner Lucas, "I'm Not Racist," released as a single https://www.youtube.com/watch?v=43gm3CJePn0

Analytical Essay Topic: What, if any, political statement does rap music make?

Session 25: April 24 Students’ Choice

• Each student should submit the one song not on the syllabus that should be here. Make the case for why your selection should be included.

Session 26: April 26 Music and Society: What Have We Learned?

• Charles Garrett, Struggling to Define a Nation, conclusion (reserve)

Analytical Essay Topic: What would a society without music look like?

Session 27: May 1 Summaries, Reflections, and Conclusions

Session 28: May 3 Built-in Make-up Session

If no sessions are cancelled over the course of the semester, there will be no session here.

FINAL EXAMINATION POSTED TO THE CONFERENCE BY 5:00PM. COMPLETED FINAL EXAMINATIONS ARE DUE BY 4:00PM ON TUESDAY, MAY 8, AND SHOULD BE SUBMITTED VIA BLACKBOARD.