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Interview with Justin Sane from Anti-Flag
Interview with Justin Sane from Anti-Flag Photo credit: Getty Images A band that has been punk in its truest form since the early ’90s, Pittsburgh act Anti-Flag always has something to say with a fistful of rage when it comes to the government, what you see on TV and society as a whole. Anti-Flag released their ninth studio album American Spring last month to make their voices heard once again. They’ll be ripping up the stage at Simon’s 677 on Jun 19, so I chatted with frontman Justin Sane about the band’s recent solidarity with the Occupy movement, making a difference in your community and the band’s longevity. Rob Duguay: Nearly four years after the Occupy movement started back in 2011, people have either said that the movement has fizzled out or that it’s still relevant, but on an underground level. What do you think about the present state of Occupy and how much progress do you think it has made so far? Justin Sane: I think the most important part about the Occupy movement was the truths that it brought to light and the ideas that it brought to light. It’s going to take different shapes and different forms whether you attach the name Occupy to it or not. To be honest with you it doesn’t matter. What I really thought was amazing about the movement, and it had a big influence on American Spring in a lot of ways, was the notion of hope. This idea of decentralized power that Occupy brought, the idea of direct democracy and Occupy introducing the vocabulary of wealth inequality and particularly the 99% vs. -
The Sex Pistols: Punk Rock As Protest Rhetoric
UNLV Retrospective Theses & Dissertations 1-1-2002 The Sex Pistols: Punk rock as protest rhetoric Cari Elaine Byers University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Byers, Cari Elaine, "The Sex Pistols: Punk rock as protest rhetoric" (2002). UNLV Retrospective Theses & Dissertations. 1423. http://dx.doi.org/10.25669/yfq8-0mgs This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Retrospective Theses & Dissertations by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. -
Protest Music As Adult Education and Learning for Social Change: a Theorisation of a Public Pedagogy of Protest Music
Australian Journal of Adult Learning Volume 55, Number 3, November 2015 Protest music as adult education and learning for social change: a theorisation of a public pedagogy of protest music John Haycock Monash University Since the 1960’s, the transformative power of protest music has been shrouded in mythology. Sown by musical activists like Pete Seeger, who declared that protest music could “help to save the planet”, the seeds of this myth have since taken deep root in the popular imagination. While the mythology surrounding the relationship between protest music and social change has become pervasive and persistent, it has mostly evaded critical interrogation and significant theorisation. By both using the notion as a theoretical lens and adding to scholarship in the field, this article uncovers understandings of the public pedagogical dimensions of protest music, as it takes place as a radical practice and critical form of contemporary mass culture. In doing this, this article provides a theorisation of public pedagogy as it encapsulates protest music, and those who are conceptualised as the critical and radical public pedagogues who produce this mass cultural form. Keywords: public pedagogy; protest music; adult learning; education for social change 424 John Haycock Maybe it’s just the time of year Maybe it’s the time of man I don’t know who I am But life is for learning… Joni Mitchell, Woodstock, (1970), [side B, track 5]. Introduction The emergence of protest or a political popular music in the 1960s has been inextricably linked in the popular imaginary and public history with social change and youth revolt. -
Stand by Me”—Ben E
“Stand by Me”—Ben E. King (1961) Added to the National Registry: 2014 Essay by Amanda Rodgers (guest post)* Ben E. King Original 45rpm Leiber and Stoller It started with a simple chord progression, one that had appeared in hundreds of soul and doo- wop songs already but that was used here with such effective grace that it came to be known as the “’Stand By Me’ changes.” That chord progression inspired the iconic bass line that begins the song, accompanied only by a triangle and a brush scraped lightly across the base of a snare drum. And when Ben E. King’s passionate, gospel-flavored tenor joined that simple introduction, the world sat up and took notice. Of course, this is none other than the timeless “Stand By Me,” a song that has touched millions of people’s hearts since it was recorded and released in 1961. A seamless combination of gospel and doo-wop, a love song, a protest anthem, a declaration of enduring friendship, a worship song --this incredible composition is all of these and more. In 1960, King was already a star. His band, the Drifters, had recently scored their first number- one hit with “Save the Last Dance for Me,” thanks in part to King’s heavenly tenor voice. However, due to a contract dispute, King left the Drifters just as they were picking up momentum. After he convinced Jerry Wexler at Atlantic Records to let him have a shot at a solo career, Wexler put King in touch with none other than Jerry Leiber and Mike Stoller. -
The Role of Political Protest
4.12 The Role of Political Protest Standard 4.12: The Role of Political Protest Examine the role of political protest in a democracy. (Massachusetts Curriculum Framework for History and Social Studies) [8.T4.12] FOCUS QUESTION: What are the Different Ways That Political Protest Happens in a Democracy? Building Democracy for All 1 Rosa Parks being fingerprinted by Deputy Sheriff D.H. Lackey after being arrested for boycotting public transportation, Montgomery, Alabama, February, 1956 Public domain photograph from The Plain Dealer newspaper The right to protest is essential in a democracy. It is a means for people to express dissatisfaction with current situations and assert demands for social, political, and economic change. Protests make change happen and throughout the course of United States history it has taken sustained protests over long periods of time to bring about substantive change in governmental policies and the lives of people. Protest takes political courage as well, the focal point of Standard 4.11 in this book. The United States emerged from American protests against England’s colonial rule. Founded in 1765, the Sons of Liberty and the Daughters of Liberty organized protests against what they considered to be unfair British laws. In 1770, the Boston Massacre happened when British troops fired on protestors. Then, there was the Boston Tea Party (December 16, 1773) when 60 Massachusetts colonists dumped 342 chests of tea—enough to make 19 million cups—into Boston Harbor. In 1775, there were armed skirmishes between colonists -
The Contemporary Relevance of Protest Song Aileen Dillane, Martin
Stand Up, Sing Out: The Contemporary Relevance of Protest Song Aileen Dillane, Martin J. Power, Amanda Haynes and Eoin Devereux Sound is an integral part of protest, and singing is a way for ordinary people, as well as amateur or professional musicians, to sonorously raise their voices in an appeal for justice. The intimate and sensuous activity of singing, in solo form or as part of a collective, has a power and persuasiveness beyond mere rhetoric. Because of music’s ubiquity, its presence in all cultures, and its fundamental ownership by all human beings, it is a medium and a performance act that is essentially recognisable, familiar, and translatable; therefore, it has the potential to reach across social and political divides, or, at the very least, reveal our shared humanity. Music, of course, is not intrinsically good or inherently utopian, even if, in making music – in musiking - people celebrate not only who they are, but also often who they hope to become (Small 1998: xi). Like any medium, music can be used for malign propaganda purposes. It can disinform, it can proselytise, it can incite, and it can exclude; singers, song texts and performance activities may, in fact, be part of the very systems that reproduce oppressive structures and behaviours (Turino 2008). But when singing is mobilized in order to counter injustice, to challenge inequality, to rise above hate and fear, to appeal against the normalisation of bigotry, racism, misogyny, homophobia, and a myriad of other anti-democratic, anti-human practices, then the power of song is revealed as affective, persuasive, ethical and hopeful. -
Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967
Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2012 Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967 James M. Maynard Trinity College, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the American Film Studies Commons, American Literature Commons, and the American Popular Culture Commons Recommended Citation Maynard, James M., "Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967". Senior Theses, Trinity College, Hartford, CT 2012. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/170 Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967 Jamie Maynard American Studies Program Senior Thesis Advisor: Louis P. Masur Spring 2012 1 Table of Contents Introduction..…………………………………………………………………………………4 Chapter One: Developing the niche for rock culture & Monterey as a “savior” of Avant- Garde ideals…………………………………………………………………………………...7 Chapter Two: Building the rock “umbrella” & the “Hippie Aesthetic”……………………24 Chapter Three: The Yin & Yang of early hippie rock & culture—developing the San Francisco rock scene…………………………………………………………………………53 Chapter Four: The British sound, acid rock “unpacked” & the countercultural Mecca of Haight-Ashbury………………………………………………………………………………71 Chapter Five: From whisperings of a revolution to a revolution of 100,000 strong— Monterey Pop………………………………………………………………………………...97 Conclusion: The legacy of rock-culture in 1967 and onward……………………………...123 Bibliography……………………………………………………………………………….128 Acknowledgements………………………………………………………………………..131 2 For Louis P. Masur and Scott Gac- The best music is essentially there to provide you something to face the world with -The Boss 3 Introduction: “Music is prophetic. It has always been in its essence a herald of times to come. Music is more than an object of study: it is a way of perceiving the world. -
My Voice Is My Weapon: Music, Nationalism, and the Poetics Of
MY VOICE IS MY WEAPON MY VOICE IS MY WEAPON Music, Nationalism, and the Poetics of Palestinian Resistance David A. McDonald Duke University Press ✹ Durham and London ✹ 2013 © 2013 Duke University Press All rights reserved Printed in the United States of America on acid- free paper ♾ Cover by Heather Hensley. Interior by Courtney Leigh Baker Typeset in Minion Pro by Tseng Information Systems, Inc. Library of Congress Cataloging- in- Publication Data McDonald, David A., 1976– My voice is my weapon : music, nationalism, and the poetics of Palestinian resistance / David A. McDonald. pages cm Includes bibliographical references and index. isbn 978-0-8223-5468-0 (cloth : alk. paper) isbn 978-0-8223-5479-6 (pbk. : alk. paper) 1. Palestinian Arabs—Music—History and criticism. 2. Music—Political aspects—Israel. 3. Music—Political aspects—Gaza Strip. 4. Music—Political aspects—West Bank. i. Title. ml3754.5.m33 2013 780.89′9274—dc23 2013012813 For Seamus Patrick McDonald Illustrations viii Note on Transliterations xi Note on Accessing Performance Videos xiii Acknowledgments xvii introduction ✹ 1 chapter 1. Nationalism, Belonging, and the Performativity of Resistance ✹ 17 chapter 2. Poets, Singers, and Songs ✹ 34 Voices in the Resistance Movement (1917–1967) chapter 3. Al- Naksa and the Emergence of Political Song (1967–1987) ✹ 78 chapter 4. The First Intifada and the Generation of Stones (1987–2000) ✹ 116 chapter 5. Revivals and New Arrivals ✹ 144 The al- Aqsa Intifada (2000–2010) CONTENTS chapter 6. “My Songs Can Reach the Whole Nation” ✹ 163 Baladna and Protest Song in Jordan chapter 7. Imprisonment and Exile ✹ 199 Negotiating Power and Resistance in Palestinian Protest Song chapter 8. -
A-Force-More-Powerful-Study-Guide
Production Credits Educational Outreach Advisors Written, Produced and Directed by: Steve York Dr. Kevin Clements, International Alert, London, England Narrated by: Ben Kingsley Martharose Laffey, former Executive Director, National Series Editor and Principal Content Advisor: Council for the Social Studies, Washington, D.C. Peter Ackerman Joanne Leedom-Ackerman, former Chair, Managing Producer: Miriam A. Zimmerman Writers in Prison Committee, International PEN Sheilah Mann, Director of Educational Affairs, Editors: Joseph Wiedenmayer and David Ewing American Political Science Association, Washington, D.C. Executive Producer: Jack DuVall Doug McAdam, Center for Advanced Study Senior Production Executives for WETA: in the Behavioral Sciences, Stanford University Richard Thomas, Polly Wells and Laurie Rackas Sidney Tarrow, Maxwell M. Upson Executive-in-Charge of Production: Dalton Delan Professor of Government, Cornell University Outreach/Study Guide Educational materials for A Force More Powerful: Writer: Jonathan Mogul A Century of Nonviolent Conflict were developed Editor: Barbara de Boinville in association with Toby Levine Communications, Inc., Potomac, Maryland. Project Staff, WETA Senior Vice President, Strategic Projects: To order the companion book, A Force More Francine Zorn Trachtenberg Powerful: A Century of Nonviolent Conflict, Project Manager, Educational Services by Peter Ackerman and Jack DuVall, call St. Martin’s & Outreach: Karen Zill Press at 1-800-221-7945, ext. 270. You will receive a Art Director: Cynthia Aldridge 20% discount when you order with a major credit card. Administrative Coordinator: Susi Crespo Intern: Justine Nelson Video Distribution To order videocassettes of the two 90-minute programs Web Development, WETA for home use, or the six 30-minute modules Director, Interactive Media: Walter Rissmeyer for educational/institutional use, please contact: Manager, Interactive Media: John R. -
PDF of This Issue
MIT's The Weather Oldest and Largest Today: Pleasant, partly cloudy, 42°F (6°C) Tonight: Becoming cloudy, 30°F (-1°C) Newspaper Tomorrow: Possible snow, 33°F (J 0c) Details, Page 2 Volume 119, Number 6 Cambridge, Massachusetts 02139 Friday, February 19, 1999 .GSC l\lonnts Email Campaign .Protesting Dormitory Delays By Jane Yoo Housing and Community Affairs cent. Students living off campus and Karen E. Robinson Committee. have to pay for Internet access, 'l' STAFF REPORTERS laundry, and extra storage, In response to fears that the pro- Off-campus housing a problem Davenport said: posed construction, of a new gradu- Graduate students want the "Finding off-campus housing is ate dormitory on the corner of administration to "help develop a a nightmare," said GSC Housing ~ Sydney and Pacific Streets may not sense of community among gradu- and Community Affairs Committee be funded in the near future, the ate students by providing 'affordable Chair Kelly Davenport. Graduate Student Council recently housing alternatives close to cam- According to Hohnke, the city of .., mitiated an email campaign to "let pus," said GSC president Brian 1. Cambridge would also like to see the administration know that [gradu- Schneider. MIT bui Id more graduate student ate students] were concerned that MIT graduate students regularly housing. "MIT, by not providing the project was slipping in the spend up to 50 percent of their adequate housing, is putting 'undue " administration's priorities," accord- income on housing, while the pressure on the low-income market ing to Carsten D. Hohnke, GSC Department of Housing and Urban treasurer and past co-chair of the Development recommends 30 per- GSC, Page 21 'Sig Ep Reorganized by National, 'Majority of Brothers Kicked Out . -
Book Notes #71
Book Notes #71 August 2021 By Jefferson Scholar-in-Residence Dr. Andrew Roth Songs of Freedom, Songs of Protest Part One As always, reader responses give me ideas for future Book Notes. In this and next week’s Book Notes, I’ll be following the suggestion of several readers who, in response to the two Book Notes in June on patriotic music, thought it might be interesting to canvass America’s tradition of protest music. If one of my The American Tapestry Project’s major threads is “Freedom’s Faultlines”, those tales of race and gender, those tales of exclusion and the many times America did not live up to its stated ideals, then the songs those excluded sang as they fought for inclusion ring patriotic. For, as the Rev. Martin Luther King, Jr. said in his last speech the night before he was murdered, “Somewhere I read that the greatness of America is the right to protest for right!” [1] And, those “rights” found some of their most memorable expressions in songs of protest exhorting America, as King said, “Be true to what you said on paper.” [2] In this Note, we’ll answer “What is a protest song?”, and we’ll consider three approaches to exploring protest music: a chronological approach, a thematic- genre approach, and although it sounds kind of silly a “Greatest Hits” approach. There actually are “Top Ten”, “Top Fifty” protest song lists from reputable sources floating around the internet. Finally, we’ll dive into two of the genres for a closer look at songs protesting environmental issues and, most famously, anti-war songs from World War I through the War in Viet Nam to Operation Iraqi Freedom. -
Protest Songs: a Musical Introduction a Smithsonian Folkways Lesson Designed By: Amy R
Protest Songs: A Musical Introduction A Smithsonian Folkways Lesson Designed by: Amy R. Kenny Selinsgrove Area Middle School Selinsgrove, PA Summary: Through singing and listening to famous protests songs students will learn to discuss the musical significance as well as the social and historical context of these songs. Suggested Grade Levels: 6-8 Country: United States Region: North America Culture Group: American Genre: Protest songs Instruments: Voice, guitar Language: English Co-Curricular Areas: History, Social Studies, Civics National Standards: 1, 2, 3, 4, 5, 6, 7, 9 Prerequisites: For Lesson Segment 2, intermediate ability on a band instrument Objectives: Listen to various examples of famous protest songs to describe musical characteristics and evaluate performances Discuss the role of protest songs in a social and historical context Sing “This Land Is Your Land” Play the bass line to the chorus of “This Land Is Your Land” Learn the melody by ear on their instrument Notate the melody of the chorus Improvise melodic or rhythmic variations Create alternate lyrics to the chorus Materials: “Classic Protest Songs” from Smithsonian Folkways (SFW CD 40197) http://www.folkways.si.edu/classic-protest-songs-from-folkways/african- american-music-folk-struggle-protest/album/smithsonian Video: Freedom Singers perform “We Are Soldiers in the Army” www.folkways.si.edu/rss/itunesU/videos/rss.xml Lesson Segments: 1. An Introduction to the History of Protest Songs (National Standards 6, 7, 9) 2. Musical Performance of “This Land is Your Land” (National Standards 1, 2, 3, 4, 5) 1. An Introduction to the History of Protest Songs a. Listen to recordings of familiar protest songs: i.