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A Rhetorical Analysis of Music As a Mode of Resistance in the 21St Century

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A Rhetorical Analysis of Music As a Mode of Resistance in the 21St Century THE REVOLUTION WILL BE SPOTIFIED: A RHETORICAL ANALYSIS OF MUSIC AS A MODE OF RESISTANCE IN THE 21ST CENTURY Triauna Carey A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2020 Committee: Daniel Bommarito, Committee Co-Chair Radhika Gajjala, Committee Co-Chair Julia Halo Graduate Faculty Representative Neil Baird © 2020 Triauna Carey All Rights Reserved iii ABSTRACT Daniel Bommarito, Committee Co-Chair Radhika Gajjala, Committee Co-Chair This research project analyzes how musicians and genres of music are used as rhetorically effective modes of resistance in political and social climates in the West to break down barriers culturally and reveal systems of power. An interdisciplinary approach is implemented that combines cultural rhetorics, popular culture studies, communication studies, and ethnomusicology to investigate the way musicians send messages of resistance to different audiences and listeners. In order to do so, Huckin, Andrus, and Clary-Lemon’s concept of critical discourse analysis is used to analyze the way music lyrics convey meaning and cue the audience to certain resistant messages in different ways. In addition, Royster and Kirsch’s concept of social circulation is utilized to tap into the ways technology and online social spaces are interrogated as complex rhetorical spaces that are multidimensional and add new levels of activism for musicians. The study focuses on four mainstream genres, pop, rap and hip-hop, rock and alternative, and country, to reveal how artists in these genres use the rhetorical strategies available in the genre to reach their audience, while also navigating the power systems and structures at play. This research finds music does not move simply from the musician to listeners anymore. Instead, the continuous feedback loop through social media, popular culture, and digital music services like Spotify create a conversation that continues between musicians and listeners, giving both more power to resist through music as a method for rhetoric against the power systems working to oppress and silence. iv For Mom & Selber v ACKNOWLEDGMENTS I will always be grateful for my committee chairs Dr. Radhika Gajjala and Dr. Daniel Bommarito. From random streams of consciousness over tea to deep conversations about identity, politics, and activism, each challenged me in different ways to think outside of myself and beyond my perspectives. I would also like to thank Dr. Gregory Selber, Dr. Colin Charlton, and Dr. Andrea Riley-Mukavetz for continuing to mentor and advise me throughout the years. I could not have completed this process without their words of encouragement. Thank you to my supportive mother and Aunt Kymisha, who both listened to me ramble on as I tried to piece the concepts of this research into a whole project, and to my friends Asia, Alfonso, Aaron, KP, and Maggie. Without the love, support, and positive energy you continuously bestow upon me, I would not have been able to get through the extensive amount of research and analysis necessary for this project. vi TABLE OF CONTENTS Page CHAPTER I: HOW DID WE GET HERE? ......................................................................... 1 Research Questions .................................................................................................... 2 Exigency, Rhetorical Situation, and Rhetorical Velocity.......................................... 4 Review of Research and Previous Scholarship.......................................................... 6 Ethnomusicology and Communication Studies ............................................. 7 Rhetoric and Composition ............................................................................. 9 Case Studies ................................................................................................... 12 Defining Key Terms .................................................................................................. 14 Culture............................................................................................................ 15 Music Genres ................................................................................................. 16 Components of Analysis ............................................................................................ 19 Conclusion................................................................................................................. 20 CHAPTER II: METHODS AND METHODOLOGIES ....................................................... 21 Analyzing Westernized Music ................................................................................... 21 Methodologies............................................................................................................ 24 Method: Critical Discourse Analysis (CDA) ............................................................. 27 Method: Social Circulation ........................................................................................ 31 Criteria for Song Selection and Data Collection........................................................ 36 Limitations and Biases ............................................................................................... 39 CHAPTER III: THE GENRE OF ROCK AND ALTERNATIVE MUSIC .......................... 42 Muse and “Thought Contagion” ................................................................................ 44 vii Historical Context and Kairos for “Thought Contagion” .............................. 45 Critical Discourse Analysis for “Thought Contagion” .................................. 46 Social Circulation for “Thought Contagion” ................................................. 48 grandson and “thoughts and “prayers” ...................................................................... 53 Historical Context and Kairos for “thoughts and prayers” ............................ 54 Critical Discourse Analysis for “thoughts and prayers” ................................ 56 Social Circulation for “thoughts and prayers” ............................................... 60 Rhetorical Strategies for the Genre ............................................................................ 62 CHAPTER IV: THE GENRE OF RAP AND HIP HOP ....................................................... 67 Childish Gambino and “This is America” ................................................................. 71 Historical Context and Kairos for “This is America” .................................... 72 Critical Discourse Analysis for “This is America” ........................................ 72 Social Circulation for “This is America” ....................................................... 74 Eminem and “The Storm” .......................................................................................... 81 Historical Context and Kairos for “The Storm” ............................................ 83 Critical Discourse Analysis for “The Storm” ................................................ 84 Social Circulation for “The Storm” ............................................................... 88 Rhetorical Strategies for the Genre ............................................................................ 88 CHAPTER V: THE GENRE OF COUNTRY ....................................................................... 92 Carrie Underwood and Brad Paisley’s “Before He Tweets” ..................................... 95 Historical Context and Kairos for “Before He Tweets” ................................ 96 Critical Discourse Analysis for “Before He Tweets” .................................... 97 Social Circulation for “Before He Tweets” ................................................... 99 viii Willie Nelson and “Vote Em Out”............................................................................. 100 Historical Context and Kairos for “Vote Em Out” ........................................ 102 Critical Discourse Analysis for “Vote Em Out” ............................................ 103 Social Circulation for “Vote Em Out” ........................................................... 105 Rhetorical Strategies for the Genre ............................................................................ 106 CHAPTER VI: THE GENRE OF POP ................................................................................. 109 Katy Perry and “Chained to the Rhythm”.................................................................. 112 Historical Context and Kairos for “Chained to the Rhythm” ........................ 113 Critical Discourse Analysis for “Chained to the Rhythm” ............................ 114 Social Circulation for “Chained to the Rhythm” ........................................... 118 Live Performance at the Grammys .................................................... 122 AJR and “Burn the House Down” ............................................................................. 124 Historical Context and Kairos for “Burn the House Down”.......................... 124 Critical Discourse Analysis for “Burn the House Down” ............................. 125 Social Circulation for “Burn the House Down” ............................................ 129 Rhetorical Strategies for the Genre ............................................................................ 133 CHAPTER VII: FINDINGS, LIMITATIONS, AND IMPLICATIONS .............................. 136 How Do Musicians in Different Genres Use Music as a Mode of Resistance? ........ 138 What Rhetorical
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