Protest Music And Protest Music On The Civil Rights Movement

Motown Records was founded in 1959 by Berry Gordy who turned his music production company into history’s most successful black-owned record label company.

The 1960s were a time of great protest, public opinion, freedom for music, invention, and racism. In America in 1960 the Civil Rights Movement was underway and the Vietnam War had already been going on for 5 years, where approximately 900 American troops were already serving. The 1960s produced some of the greatest musical artists seen in history, and one in particular was Bob Dylan. Bob Dylan is thought to be one of the greatest influence on popular culture in all time, and is one of the main and influential protest song artists of the 1960s. Dylan grew up in a time of great change, and he lived through many different significant events in American history such as World War Two, the development of the television, the increase of radio use

All cultures following prehistory had a musical background, therefore everyone can connect more effectively with a music containing a message than a speech, therefore spreading the message more effectively. “The freedom songs are playing a strong and vital role in our struggle” (MLK). In the case of the Civil Rights Movement, it was the prominent method to give the group a voice, represent them, and highlight their determination for social change. When times were hard for the movement, they would also rely on songs to sustain morale:

Rock 'n' roll reflects the values of the Civil Rights movement of the 1960s and helps the movement convey its message. The Civil Right Movement addressed three areas of discrimination: education, social segregation, and voting rights.

Young African American’s had to take an active role because many older adults were set in their ways, too afraid to do anything. Previously learning in school, The NAACP was the primary group focusing on civil rights. Further reading has shown that this is not completely accurate. Per Cleveland sellers, the NAACP was widely known but had setback from certain events. Many students who were involved in sit-ins before the freedom writers were believed to be under the SCLC or NAACP. As in the book, many African Americans only know of the NAACP. The SNCC group was a small student led group that also planned and participated in demonstrations. The SNCC formed to give younger blacks more of a voice in the civil rights movement because they felt that the SCLC was out of touch for them. With support from Ella Barker the SNCC worked their way into the movement. The SNCC evolved over time, from being a small unknown student organization, to a very known

Louis Armstrong is a man of many talents and skills known for creating a new environment, especially in his home town of New Orleans. He was born into poverty on August 4, 1901 in the streets of Back o’ Town (Meckna). He’s a professional jazz performer who played with Oliver and Henderson. He started as a soloist for Henderson after marrying Lil Hardin. He has many nicknames in which some are Satchmo and Pops. He also played as a second trumpet for King Oliver. He interprets and contributes to the genre of jazz, creates great form through his performance in the “Hot Chocolates,” and his work represents a whole for equality and the civil rights movement.

It was no coincidence that rock ‘n’ roll and the civil rights movement started at the same time. The genre originated from African American music and was greatly discriminated against. Traditional white Americans would target anything bad about it. But as the teenager demographic of the 1950s started increasing the sales of the music, the genre started gaining more popularity. It was the style of Elvis Presley and his new voice that made girls weak in the knees and boys want to be him. Artists such as Presley had enough influence to change the view of their devoted fans on civil rights issues. Soon as protest songs and rock ‘n’ roll became more popular and influential, it began a gap between the young adult generation and their parents

One of the most elements of the book is the evolution of the organization called SNCC. SNCC (Student Nonviolent Coordinating Committee) was founded in conjunction with the lunch counter sit0ins that originated in Greensboro, North Carolina in February 1960. SNCC activists were known to practice slow, tedious and patient voter registration drives in the most dangerous parts of the South. However, they seldom received credit for their efforts on a national level. Despite their lack of national attention, SNCC activists often managed to annoy white federal officials and black civil rights leaders. SNCC attracted radicals from the Revolutionary Action Movement, black nationalists from the North and a host of other mavericks. From its humble beginnings, SNCC was a peaceful group that used nonviolent methods to seek racial equality. Over the course of time, SNCC became more assertive in their methods of demanding racial equality and

This is not to say that the entire meaning of gospel music changed once they began being used in the movement, but songwriters and movement leaders were careful to make sure that the meaning behind the songs could be interpreted in a way that was equally related to political activism as well as non secular desirings. In this way, they were designed to “attract the masses, raise consciousness, enliven elder activism, incite youth activism, invigorate mass meetings, promote prayer vigils, and instill self-confidence” (Rabaka, 55). These songs had a lot riding on them. But as it turned out, it was not too difficult to take mainly spiritual and guiding pieces and turn them into the soundtrack of a movement. Take “We Shall Overcome”, which quickly became the anthem of the Civil Rights Movement, as an example.

The 1960’s in America was often referred to as an age of protest because of not only the social protests that have taken place, but also for the upbringing of protest music, which became very popular during that era. The roots of protest music were largely from folk music of American musicians during 1950’. Folk musicians, such as Joe Hill, composed labor union protest songs and distributed song booklets, hoping to “fan the flames of discontent.” (Rodnitzky pg. 6) Symbolically, this meant that the songs, the fan, would reduce the uncontrollable social protests that the United States government caused with the misleading information that they did not keep their word on, or the flames of discontent. Other folk musicians, such as Woody Guthrie and Pete Seeger, traveled around the United States spreading their “message music” and becoming involved in political movements. Guthrie and Seeger were the pioneers of protest music, bringing their folk music to New York City and merging it with urban music. Woody’s songs were about the masses, often identifying problems and offering solutions. While Seeger was cautious about referring to his music as folk music, preferring the term “people’s music,” meaning that not everyone may had the same thoughts, but they all expressed it in their own unique musical sense. For both Woody and Seeger, folk music was a necessity in these protests, when the needs

Protest music in the United States dates back to the 19th century. This protest music focused around subjects that were topical for the time period. Among these topics were the Civil War. Another topic was slavery, and its abolition. A final topic was women’s suffrage.

For centuries, Gospel music has influenced and promoted African-American social, moral and ethical values, playing an imperative role in modelling their past and future. Originating from the hardships of slavery and the strength of Christian worship, Gospel music has adapted to musical tastes through the development of a number of sub-genres, while retaining its moral and spiritual framework. Throughout its musical history, Gospel music has had a profound and predominant influence on its devotees and followers. During the turbulent years of the American Civil Rights Movement, Gospel music played a vital role in building the foundations of stability and

Eddie James “Son” House, Jr., an American blues singer and guitarist once stated, "People keep asking me where the blues started and all I can say is that when I was a boy we always was singing in the fields. Not real singing, you know, just hollerin', but we made up our songs about things that was happening to us at the time, and I think that's where the blues started (Cohn, 1993).”

To what extent can music provide a means of resistance for challenging the power relations of racism, class and gender?

“Where Have All The Flowers Gone?” by Pete Seeger became a popular anti-war protest song during the 1960s. This song did not only protest against the Vietnam War but also made their generation more aware about the global problems. Songs like “Not Ready to Make Nice” by Dixie chicks about freedom of speech was written after they received death threats for singing against the Iraq war, protests against the violation of human rights. But music is not only used to protest, it is also used to give hope and optimism. “We Shall Overcome”, a song sung by Guy Carawan together with the Montgomery Gospel Trio and the Nashville Quartet, is perhaps the best known example of civil rights song. Instead of blaming the government, this song registered a feeling of hope and faith among African-Americans during the civil rights movement.