Respond to each of the following prompts. Word count should be at least 750 words total. Include a works cited page. You must incorporate/cite the Dunaway reading. Submissions that do not cite it will receive a ZERO, but may be resubmitted for a capped grade of up to 70%.

1. How does Dunaway define ‘political music’? Do you agree? Why, or why not? What are the 3 characteristics of political songs as artefacts?

According to our reading, the author notes that “music may be said to be political when its lyrics or melody evoke or reflect a political judgement by the listener” (Dunaway, 1987, p. 269). He also states that an important context of political music is “the function of a particular work in a particular setting at a particular place in time” (Dunaway, 1987, p. 269). I agree with the definition, but I do think it is too broad. Political judgement by the listener solely is not adequate to make the piece political. A song can interpreted and used in many ways, but in essence, the purpose that the artist or writer meant for it makes it what it is. However, when listeners agree on one purpose that they think the song should serve, that piece automatically becomes political music in their eyes and the original purpose no longer holds importance. I agree with the second statement that I quoted as it shows how fluctuating music can be over time and space. One song can mean very differently for someone who lives across the world from you or someone who is much older than you are. I believe that people’s experiences, background, culture, tradition, and personality play major roles in how they perceive words. In the case of music, lyrics can imply so many messages than one can imagine, but people stick to what they know to interpret it.

Therefore, political music has a different meaning to everyone and each one could be the correct one.

The three characteristics of political songs as artefacts are as follow. Firstly, “the lyrics of the songs inevitably express the world view of their authors and singers.” The second characteristic is that the tunes themselves act as historical indicators.” And lastly, songs should display dynamics and history of a community, providing cultural insight to the group (Dunaway, 1987, p. 272-273)

2. What are some presidential campaign songs in American history? Name at least 2 from

the early 20th century. Going beyond the reading, doing individual research, identify at

least one popular song that was used during a 21st century U.S. presidential campaign. How was it used? What was the artist’s reaction to its use in this way?

The reading highlighted several presidential campaign songs in American history. While there were many presidents who made use of music to boost their campaigns, “the candidates to use songs most effectively were Franklin Roosevelt” (Dunaway, 1987, p. 280) with Happy Days are Here Again and We’ve Got Franklin D. Roosevelt Back Again. Both of these songs came to become symbols of his era. After 1948, campaign songs, along with face-to-face campaigning, became a shadow with the presence of media and advertising. Songs such as Happy Landin’ with Landon, We’re Madly for Adlie, and Go with Goldwater quickly became historical artefacts (Dunaway, 1987, p. 280).

One popular song that was used during Joe Biden’s presidential campaign was Shallow by Lady Gaga. She performed it at one of President Biden’s campaigns in Philadelphia and Pittsburgh. Lady Gaga was trying to get people to vote as she supports President Biden with her live performance of the song. Her message was that “this is not political, this is not red or blue,

this is about the people, this is about heart” (NBC News, 2020). She said that voting was a way to fight for what you believe for.

3. Choose a contemporary popular song that you believe is political in some way. What type(s) of song do you think it is (according to Dunaway’s types, see page 286)? What function(s) does the song serve (according to Dunaway’s model, see page 286-7)? Cite excerpts of the song’s lyrics to support your answers. Discuss the songs in terms of: mood, genre, instrumentation, voice/speaker, poetics (metaphors, slang, double meanings, etc.), imagery, historical context, & themes.

A contemporary popular song that I believe is political in some way is Freedom performed by Beyoncé and Kendrick Lamar, co-written by Carla Marie Williams. According to an interview The Fader had with Carla Williams, it turns out that the song is much more than it seems. This song fits into five types out of twelve on Dunaway’s list on page 286.

The first is “protest and complaint against exploitation and oppression” as they wrote this after Philando Castile and Alton Sterling were killed by police brutality. Kendrick Lamar’s rap verse said:

Eight blocks left, death is around the corner Seven misleadin' statements 'bout my persona Six headlights wavin' in my direction

Five-o askin' me what's in my possession Yeah I keep runnin', jump in the aqueducts Fire hydrants and hazardous

The second is “aspiration towards a better life, a more just society” for the mothers of those men, and other men that can become victims of police brutality one day.

Smoke alarms on the back of us

But mama don't cry for me, ride for me

And when they carve my name inside the concrete

I pray it forever reads

The third is “campaign songs of particular parties and movements” with the song supporting the Black Lives Matter movement and becoming an anthem after Trump was elected.

I can't move Freedom, cut me loose

Singin', freedom

The fourth is “commemoration of popular struggles past and present” to highlight the historical trauma of slavery and present trauma of violence against African American people.

'Cause I need freedom, too I break chains all by myself

Won't let my freedom rot in hell Hey! I'ma keep running

'Cause a winner don't quit on themselves

The fifth is “protest against racial stereotyping,” or more explicitly, racism and oppression, against African American people.

Like yeah, open correctional gates in higher desert Yeah, open our mind as we cast away oppression

Yeah, open the streets and watch our beliefs

Freedom serves four out of eight purposes on Dunaway’s list on page 286-287. The first is to “solicit or arouse support for a movement” as she makes herself a model of someone who will not quit in this movement:

I'ma wade, I'ma wave through the waters Tell the tide, "Don't move"

I'ma riot, I'ma riot through your borders Call me bulletproof

The second is to “create cohesion, solidarity, and morale for members of this movement” and third is to “recruit individuals into a specific movement” as she reminds them of the historical trauma that their people all shared—slavery—in movements advocating for justice for the African American community:

Freedom Where are you?

'Cause I need freedom, too

The fourth is to “describe a social problem in emotional terms” as Kendrick Lamar tells the painful truth of how the community is treated:

Stole from me, lied to me, nation hypocrisy Code on me, drive on me

Wicked, my spirit inspired me

The genres that Freedom belongs to are hip-hop, contemporary R&B, and gospel music. The song infused many instruments, most notably is drums and electrical keyboard, with the use of a choir. Beyoncé’s voice was powerful and shows commitment, pain, like a cry for help, for a change. There were many metaphors in Kendrick Lamar’s rap verse, including his counting from 10 to 5 to tell the story of how men are treated by the police. In her beginning verse, Beyoncé also sang “painting white flags blue,” implying that now it’s not just about black versus white, it’s black versus blue, the police. The historical context here is clear as oppression and racism against the African American community, though went unnoticed for a while by some people, is still very blatant and impactful against the community.