Okay first, it is probably not a good idea to try and give this to someone as though it were your term paper, because it is something I did academically. However I truly do think that providing instruction in high school to cause the kind of critical thinking I present now, is the solution to today's problems. This is what people need to be able to do now, an argument I will support further.
Here is an example, an analysis of modern culture. Additionally there is a video at: http://youtu.be/q8ICW7swfXI
To help describe further the importance of this task.
***
Modern Culture: Final Project
For my final project I would like to
examine music. One of the reasons that I am choosing music is that I feel it is
more diverse and can help me better understand the reciprocal nature of the
process of socialization. This is a cultural study; I will examine eight media
texts to understand socialization using the fabric of oppression theory and
contrast it with liberation theory. The fabric of oppression theory and the
liberation theory are both ideas which include the concept that socialization
involves misinformation, whether read by an individual or produced by a social
group, to suppress another group (Holtzman, 2000). The fabric of oppression holds
that, stereotypes are created and maintained in the media as a means of
targeting a subordinate social group, and in some cases gaining consent from
that group for social actions executed by the dominant group. Liberation theory
involves a kind of tabula rasa involving our initial ideologies, liberation
theory holds that stereotypes are learned, and un-learning them is a process of
liberation from oppression. Stereotypes limit the choices available concerning
values, and resolving them is freeing.
Music and
Culture
The music I have chosen contrasts a great deal.
Although the dialectic between the group perspective and the individual
perspective will help with my analysis, I also see that the self-other
dichotomy present in musical lyrics can be ambiguous. People tend to listen to
music which they gain salience with, and they become more familiar with the
groups that they choose to identify with through the symbols in the music.
Cultural studies are a framework which involves
processing the prevailing ideology of the groups which produce the media, and
the content of the media (Holtzman, 2000).
When exploring the genre for the
final project, I had to consider the nature of the strategies which artists use
to produce music. I need to establish establishing in what ways rap and rock as
musical genres are similar. They are both expressions which are a sort of
cultural road-sign. With music we can understand the society at the time the
music was created. Holtzman described very well a strategy for analyzing media
as a way of interpreting social issues and organized media according to the
issues they represented. When interpreted correctly, media texts paint a
portrait of the time and culture they are written in and are salient with the
mainstream values in that context (Holtzman, 2000). They demonstrate the values
of the musicians; and the musician’s views on events from the context of their
socioeconomic class, race, and gender. Music like the Crosby Stills Nash and
Young song tell us about a cultural event from the artist’s perspective inside
the workings of that culture, in “Ohio” the picture is about 1970 (Crosby,
Stills, Nash & Young, 1970). In “Cradle to the Grave” the view is from
inside a less affluent black urban society of men (Shakur, 1994). Anecdotally,
these are portraits of a culture. That is where the similarities end. Country
songs and rap music are similar contexts in terms of socioeconomic class (Holtzman,
2000). Comparing the rap texts I will present to the rock songs in the project,
it is obvious that the rock music is much more carefully planned around a fixed
cultural event or issue. Rap is typically linear, it tends to tell a story and
opinions in the rap are expressed through shared experiences. Rock music is
carefully composed and orchestrated, and the latest trend in rap is freestyle,
where a musician practices his ability to rhyme and rap live during a show
without any planning. For all of the rock texts except for the Rise Against
track there is a specific moment in history or literary character depicted in
the song. The Rise Against song is composed around socioeconomic class as a
social issue and expresses jubilant disdain for inequality (Rise Against,
2008). The rap songs all tell stories about experiences from the perception of
the individuals creating them and are not centered on specific historically
recorded events or people. This is precisely the dynamic I wanted to present.
These genres contrast as much as possible so that my analysis is dyadic and can
be written more concisely.
Depictions in a rap song are usually related to
fictional violent events. Rap songs consist of the use of a symbology which
tells a story that is often representing a violent event or behavior, the true
meaning of the song is analogous and not necessarily directly describing
historical events in the song. Rap in some ways is a live performance, and
artists develop stump techniques which will allow them to continue performing
live without any pre-planning. Often one of the techniques is the mention of a
firearm, or something equally sensational, to buy time while the artist
mentally composes the next set of lyrics. In this case, the song is not
actually about a firearm, it is about the artist’s compositional skills. On the
album Ill Communication, The beastie
boys spend time rapping about the nature of their art form and in one song
challenge a black musician to take part; the resulting music is very clearly
focused on fictional objects and events and subjectively describes the skill
that each musician has socially and in the studio (Beastie Boys, 1994).
Conversely, in rock music the song lyrics are planned, and orchestrated very
carefully. The songs typically do not use objects or events as a symbology that
the lyrics are built around, instead rap lyrics are more typically emotional or
represent the thought process the artist is engaged in while thinking about a
person, or event. Rock contrasts greatly with this. It is evident in some
mainstream rock like the artist Tool for example. In “10,000 Days”, there is a
philosophical influence or a greater knowledge base that is being written from,
that is very carefully pondered and then written to fit the new music from the instruments
in the band (Tool, 2006).
Social Issues
This is a brief analysis of a few media texts which
are all cross-sections of race, class, and violence. What was convenient about
choosing these issues is that they tend to occur and be represented at about
the same place and time during historical events. Also, many of the texts
describe an individual experience which in some way includes all of these
factors.
Social class and inequality are intertwined with
racism in the United States for African Americans (Holtzman, 2000). This was
one of Tupac Shakur’s favorite things to write about. In one of the texts I
selected, the lifestyle of the dominant socioeconomic class for African
Americans is evaluated and portrayed; “Cradle 2 the Grave” is an image of
socioeconomic class and the potential for violence (Shakur, 1994). Nas spends
time in his rap called “I gave you power” comparing violence with racism, the
message in this song is that violence is used as a major component of racism,
and being violent is being used (Jones, 1996). I needed to include a white
rapper to contrast the difference in lyrics and social issues. Eminem raps
about a relationship that has gone awry and about the potential for violence
which erupts from strong feelings in relationships (Mathers, 2010). The fact
that Eminem is a white person who found his place writing in a genre which was
founded in political protest from black people also allows me to evaluate race
as an issue. Finally, I wanted to blend the lines between rock and rap, and I
included a rap about violence in the media from a new band. Linkin Park is a
band which combines rap and rock, and the rap in the song talks about how
violence in drama on stage is a part of artist’s success (Linkin Park, 2007).
In my analysis of rock media, I chose to focus on
two or three texts where I could determine the issues of class and violence
intersect. So naturally I will make mention of two current rock bands which had
and continue to write music about politically charged issues surrounding class.
The bands are Rage Against the Machine, and Rise Against. In addition, I
selected a track from U2, and one from Crosby Stills Nash & Young. Although
the Crosby Stills Nash and Young track is more like a recount of a specific
historical event which was violent, as a sign of the times. While exploring the
genre I found an article published by Laura Finley at Western Michigan
University, which examines the lyrics of Rage Against the Machine in detail
(Finley, 2002). So one of the interesting things about this project will be
examining current views and interpretations of the texts and whether my views
are congruent with those.
The song “Sunday, Bloody Sunday” by U2 is
purportedly written about an event on January 30, 1972 when paratroopers as a police action
killed 13 Irish citizens at a protest in Derry, Ireland. The protest was a
civil rights protest. So this song is indeed about one place in history where
race, violence and class appear to intersect (U2, 1983). According to Laura
Finley (2002), the Rage Against the Machine song “Voice of the Voiceless” is
about Mumia Abu Jamal, whose imprisonment for killing a police officer is
viewed as corrupt. “Voice of the Voiceless” has a strong theme regarding racial
and social injustices (Rage Against the Machine, 1999). The Rise Against song
“Re-education (Through Labor)” is a very strong message about inequality in
labor and socioeconomic class, and the potential for unrest in society (Rise
Against, 2008). Generally all of these texts are very well thought out and
composed, and are produced because their messages are successful. This is a
somewhat encouraging perspective on the media and those texts that people can
identify with. Because the theme of these songs is primarily an outright
rejection of corruption and violence the themes they express might be
beneficial if they are indeed stable in mainstream society. On May 4, 1970, the
Kent State shootings occurred. Shortly after this Neil Young wrote the
composition and lyrics for “Ohio
Media Texts
The texts I selected are: “Cradle 2 The Grave” By
Tupac Shakur with Thug Life, “I Gave You Power” By Nasir Jones (NaS), “I Love
the Way you Lie” By Marshall Mathers (Eminem), “Bleed it Out” by Linkin Park,
“Sunday, Bloody Sunday” by U2, “Ohio” by Crosby, Stills, Nash & Young,
“Voice of the Voiceless” by Rage Against the Machine, and “Re-Education
(Through Labor)” by Rise Against. Eight tracks seems like enough for this brief
analysis, I will present each track, its highlights and its relevance in terms
of the fabric of oppression and liberation theories of socialization.
Cradle 2 the Grave
This is one of Tupac’s portraits of
socioeconomic class, race and violence on the streets of urban America. Tupac
has a chorus that sums up the theme for the artists who participate in the song
(1994), “From tha Cradle to the Grave, life ain't never been easy Living in the
ghetto.”. The song is a sequence of raps from various voices, the first is
Tupac himself lamenting on growing up in the ghetto. The ghetto is a term for low income neighborhoods and run down
urban areas in a city. There is a reference for ghetto in most current
dictionaries, and dictionary.com refers to Ghetto
(n.d.),
1.) A section of a city, especially a thickly populated
slum area, inhabited predominantly by members of an ethnic or other minority
group, often as a result of social or economic restrictions, pressures, or
hardships. 2.) (Formerly, in most European countries) a section of a city in
which all Jews were required to live. 3.) A section predominantly inhabited by
Jews. 4.) Any mode of living, working, etc., that results from stereotyping or
biased treatment: job ghettos for women; ghettos for the elderly.
Clearly,
Tupac in this rap is describing inequality and its influence on the lives of
individuals in urban America. Violence is also present in the rap, because of
inequality. Tupac Shakur’s rap refers to (1994), “Penitentiary chances was an
all day thang. The only way to advance. And if you slang then you'd better have
your nikes on. Cause when we fight it's in the middle of the night with no
lights on.”. Slanging is a term for drug dealing in rap songs, and this song is
describing that there are greater chances at economic success in the ghetto while drug dealing. He is saying
that because of economic inequality, the unavailability of jobs and good
education, and the availability of drugs and illicit substances; that violence
and incarceration is more likely.
Tupac’s rap is a stereotype. He is
describing a very real phenomenon in urban America, though he is also making it
easy to internalize and justify oppression. In the fabric of oppression theory
Tupac is describing being a part of a target group, young black men, in a lower
socioeconomic strata, the ghetto.
What Tupac strived to do in his music though was not to just describe issues and
instead to offer solutions, with an epistemology for surviving in hard economic
times. So while the song may promote stereotypes, which is a negative effect in
terms of liberation, the process of becoming aware of those stereotypes may
help individuals listening to the rap shed them. Shakur encourages this (1994),
“Never die be a hustler mothafuckas and makin' thugs out you suckas. From the
cradle to the grave.”. Tupac is describing his success hustling and intended to be an example for this mindset, referred
to as thugging, for young black men.
This is relatively typical for most of Tupac Shakur’s work, until his death in
1996.
I Gave You Power
NaS uses a firearm as a symbol for
expressing inequality. He feels used, because the military and life in lower
socioeconomic strata in general, expects violence. He tells a story about being
a firearm, as though he were property being forced to exact harm. The analogous
representation lends itself to issues concerning race, class, and violence. In
the United States one way out of poverty is to serve in the Armed Forces. The
military provides stable employment, education, housing and health benefits for
service people. This occupation is dangerous, and it is a way out of poverty
because initially, beginning military work only requires a diploma or GED from
high school, and a relatively absent criminal record. The only limitation to
serving in the military is a person must be physically fit and able to serve.
The military as an occupation in this way tends to ask more of people in lower
socioeconomic classes who would benefit most from service. Similarly, as in the
previous text from Tupac Shakur, it is clear that in the texts the perception
is that violence is more common in low income areas; this is also expressed in
Jones’ rap. Jones believes that this violence is intentional. Nasir Jones tells
a story of refusing to perpetuate violence (1996),
My creation was for blacks to kill blacks It's gats
like me that accidentally, go off, makin niggaz memories. But this time, it's
done intentionally. He walked me outside, saw this cat. Cocked me back, said,
"Remember me?". He pulled the trigger but I held on, it felt wrong. Knowing
niggaz is waiting in hell for 'im. He squeezed harder, I didn't budge, sick of
the blood. Sick of the thugs, sick of wrath of the, next man's grudge.
This
analogous representation is somewhat encouraging, Jones is sending a message of
pacifism, and in the rap tells the story in a way that indicates he would be
happiest not being used to exact harm. He seeks to send a message of peace,
though it is still easy to internalize the stereotype, to rationalize being
expected to act violently. Again this song comes from the perspective of an
individual within a targeted social group; a group he says is targeted for
violence, and forms a stereotype. Again the message in the song is to resist
the stereotypes.
I Love the Way You Lie
Eminem’s rap is about a
dysfunctional relationship and his aim is to create a theme which helps explain
domestic violence (Mathers, 2010). What is unique about this rap is it is not
about the class of the society or his race directly. This rap is about violence
resulting from relationships that develop in those situations. Again, Mathers
creates a stereotype, more people can identify with this song and identify with
the experience. Media producers are not intentionally creating stereotypes,
instead they are doing so because it is in their economic best interest to
appeal to the targeted groups (Holtzman, 2000). I have a personal experience
related to this, my best friend got into a relationship she was unhappy with,
and in order to describe her fears she used this song. By internalizing the
reasoning behind the lyrics sung by Rhianna in Mathers’ song (2010), “Just gonna
stand there and watch me burn. But that's alright because I like the way it
hurts. Just gonna stand there and hear me cry. But that's alright because I
love the way you lie.”. My friend was able to decide that her relationship
could become violent, and was dysfunctional, and she left the relationship.
Eminem seems to have a talent for representing membership in what he feels is a
targeted social group, except he is an affluent white man who is healthy and
talented. Eminem does not represent any targeted groups concerning race or
socioeconomic class. However Mathers’ music does represent a clear stereotype. His
art appears to express a violent personality which very many people gain
salience with. On a more positive note, because Eminem can represent typical
violent behaviors as in the example with my best friend, people can avoid
violent patterns in life. Eminem has more in common socially with the rock
musicians in this project.
Bleed it Out
Linkin Park presents us with a song
that is both rap and rock. This individual track has more in common with rap
than rock, however. The song is describing the musician’s talent and his
reluctance to lend toward violence in his lyrics; he is lamenting that violence
is what sells in the media and expresses disdain. Because this music comes from
the musician’s internal dialogue, is his representation of the subjective story
the song is telling, and his story is a shared experience; it is more similar
to the rap songs in this context.
However because Linkin Park is a largely successful band, the problems
presented in the rap are not representative of a targeted social group in the
fabric of oppression. This song reverses the schema, the musician seems to feel
that he is expected to present violence on stage by his fans, and he is
refusing to be violent himself instead he writes about it. In this way Linkin
Park is saying, that they are a successful band but feel oppressed in this
occupation (2007), “Truth is you can stop and stare. Run myself out and no one
cares. Dug the trench out laid down there. With a shovel up out of reach
somewhere.”. This rap represents freedom from violent stereotypes, and is
liberating in that he instead provokes the audience who must also choose to be
non-violent to identify with the struggle in the story. This text, which is
unique in many ways, also seems to challenge conventional notions of class and
violence.
Voice of the Voiceless
This text is the first analysis of
rock media in this project. The song by Rage Against the Machine is purportedly
about the case of Mumia Abu-Jamal, who resides in prison for the killing of a
police officer (Finley, 2002). Finley’s article goes on to argue that
investigating Rage Against the Machine is an investigation in the criminology
of radical activists. Finley frames the song in a way that describes it as
justification for criminal ideologies, which blame the owning class for
violence and crime, to a greater extent than the individuals convicted of
crimes (Finley, 2002). The song does appear to elucidate this example of a time
in history where, the lines of guilt and innocence are unclear because of
corruption due to the race and class of the individuals involved. The murder of
Daniel Faulkner is a series of events shrouded with inconsistencies in
reporting by witnesses and in the actions of investigators and officials in the
legal system. It is not unanimously clear that the evidence in the case certainly
convicts Abu-Jamal, whose death sentence was reversed because of confusing
instructions given to the jury at the time of his conviction. Further, there
are accusations of corruption and racism on the part of the presiding judge
Albert F. Sabo. There is testimony which clearly implicates Sabo as a racist,
which comes from Terri Maurer-Carter who was a court appointed reporter. As
retrieved from a website representing Abu-Jamal; Maurer-Carter’s declaration
reads (2001),
In 1982, a few months after I started working at the
Court of Common Pleas, I was sent to a courtroom different than that I usually
worked in because the judge I was assigned to was going to be doing
"VOP" (Violation of Probation) and post-verdict motion hearings there
that day. I went through the anteroom on my way to that courtroom where Judge
Sabo and another person were engaged in conversation.
Judge Sabo was discussing the case of Mumia
Abu-Jamal. During the course of that conversation, I heard Judge Sabo say,
"Yeah, and I'm going to help them fry the nigger." There were three
people present when Judge Sabo made that remark, including myself. (p. 1)
She
goes on to state that she is subject to prosecution if her statements are found
to be falsified. The Rage Against the Machine song does use this event as a
justification for a radical ideology, but many facts in the Abu-Jamal case are
disputed. The nature of the disputes indicate that Abu-Jamal is a person who is
a member of a targeted social group. The Rage Against the Machine song appears
to create a rationalization for criminalization as in Finley’s argument,
however the actual facts in the murder case itself are unclear to me. Rage
Against the Machine however, does present a radical thesis that promotes
membership in groups with an agenda that is against the oppression of the
working class. Zack De La Rocha’s father Roberto was a member of a Chicano art
collective Los Four. Zack’s ideas
seem to come from awareness of Chicano heritage, and of the effects of racism
and classism in the United States. Finley’s argument is valid in that this
music could promote radical criminology, except she never tends to the
possibility that the thesis in the music of Rage Against the Machine might be
socially accurate. It is clear that this text does handle the issues of race,
class, and violence in a unique way which is controversial and representative
of ideologies from groups that are targeted for oppression. This is a complex
song and does not tend to evoke a stereotype, instead it raises awareness of
social issues in a way that could be viewed as liberating. The lyrics of Rage
Against the Machine might promote this awareness in an empirical way. As Finley
notes (2002), “In addition to the need to teach students about the radical
perspective, it is also becoming increasingly important for students to analyze
the role of media in their own knowledge base.” (p. 163).
Ohio
May 1970. Anti-war protests at Kent State University
in Ohio had escalated. One building on campus the ROTC building was on fire and
had been boarded up before the Ohio National Guard had arrived. During the
protests, the Ohio National Guard opened fire on the crowds and left four
people dead and wounded nine. The protests were about strong anti-war sentiment
in the United States at the time of the Nixon Presidency and the escalation of
the Vietnam War into Cambodia. People were refusing to fight, and many did not
have a choice. At one point during the protest Governor James A. Rhodes states
“They're the worst type of people that we harbor in America. I think that we're
up against the strongest, well-trained, militant, revolutionary group that has
ever assembled in America." (Mazelis & Martin, 2010). I believe most
reports about this event because it was the focal point for anti-government
protesting after it happened in 1970, even though the source cited above is a
pair of authors for an organization with strong political views. Ohio, is a
portrait of this time. The issues of racism and classism are not as evident in
this text, because at that time the military was not based on volunteers or
people who chose to serve because of an economic or social need. The military
was formed by a provision of law which required people to serve in Vietnam.
Ohio was written about the protests though, does not indicate that any group
besides the political dissenters were targeted for oppression. It is thought
that the spectacle of events at Kent State helped to reduce stereotyping of
protestors and widen public anti-war sentiment. Ohio does create a stereotype,
but it was so mainstream that it could hardly be noticed, people who dissented
the actions of the government were a part of most every socioeconomic class and
race. The lyrics of the song are very simple, and simple characters in media
are often the most stereotyped (Holtzman, 2000). However, this ideological
premise was so widespread that any stereotyping of people who heard the message
was invisible at the time the song was produced, except by people who agreed
with the conflict in Vietnam in 1970. The song is an example of liberation.
Re-Education (Through Labor)
If Rage Against the Machine can be
referred to as an example of radical criminology, then Rise Against can be said
to be provocative in the same way. Rise Against has produced a song which,
seeks to establish the meaning of classism and evoke a sense of success among
the working class. Toward the end of the song, it establishes that the working
class has been waiting and striving to resist the objectives of the owning
class. This song elucidates the potential for violence erupting from classism
and serves as a unifying mantra for the working class. Rise Against states
(2008),
I won't crawl on my knees for you. I won't believe
the lies that hide the truth. I won't sweat one more drop for you. 'Cause we
are the rust upon your gears. We are the insect in your ears. We crawl. We
crawl. We crawl... all over you.
This
is suggestive of a strong message to the owning class, it is an analogy that
describes the power of the working class. This song is an example of liberation
from classism, because it raises awareness if inequality and esteem for the
working class. According to the fabric of oppression this is a message from a
targeted group. It is necessary for the owning class to perpetuate stereotypes
in the media and in government, to gain the consent of the people for their
actions (Holtzman, 2000). This is a strong message of passive action to resist
consenting to the owning class. The song is clearly interpreted along existing
lines which are typically unseen otherwise, and as such is beneficial in terms
of liberation.
Sunday, Bloody Sunday
U2 is a band that has a keen
interest in writing about controversial political events, and tends to promote
a message of peace and also encouraging messages for targeted groups. Before
Bono, the lead singer, would sing “Sunday, Bloody Sunday” he would announce
that it was “Not a rebel song”. Probably because the political implications of
this song are so tenuous and far reaching that it would be dangerous if he took
sides in the conflict which happened. Prior to the events in Derry, Ireland on
January 30th, 1972. Political tensions between Catholics and
Protestants in Ireland were very high and the British government saw Derry as a
focal point of activities of the Provisional IRA and a group of demonstrators
named the National Ireland Civil Rights Association. Violence was escalating
from both sides of the issue. In August of 1971 laws were passed in Ireland
which allowed internment of suspects without legal charges, and the prohibition
of marches in protest. The people in Ireland persisted in demonstrating anyhow,
and the escalating tensions led the British government to send paratroopers
from the 1st Battalion Parachute Regiment to attempt to maintain
order. People were dying on both sides. On January 30th 1972 the
violence between classes escalated so greatly that the paratroopers fired on
unarmed people, and in total 13 civilians died from gunshots and injuries
sustained from advancing military vehicles. Classism plays a major role in the
violence as well as differences in political and religious views. U2’s song,
recalls this time in history and asks for lasting peace. The song uses musical
lyrics to emphasize the writer’s dismay with the violence, and asks that
“Tonight we can be as one.” (U2, 1983). The song was produced in 1983 and was
still relevant to political tensions which continued to exist after the 1972
episode. This song asks for an end to violence and asks the victims on both
sides to practice forgiveness. From a fabric of oppression standpoint, the
conflict between the British government and the people in Derry, Ireland was
motivated by classism and religious discrimination. There were clear lines of
oppression between a dominant group and a subordinate group, which was
perpetuated by the government. The song is liberating in that it does not form
a stereotype, instead it raises awareness of this historic event in order to
ask for peace.
Conclusion
All of these songs tell stories, but
I find rock to be objective analysis, and rap to be subjective perception.
Where rock music tells an exoteric story that people can relate to, a rap
musician is telling his or her story on an esoteric level. On one side of the
dialectic, there is the internal experiential viewpoint of race class and
violence, on the other I have the external recording from historical events,
resulting from these issues. It is clear that there is a consistent message in
the songs, and in some way, all of these texts contribute to liberation and the
abolishment of typical stereotypes. Where stereotypes are created, they lead to
the strengthening of targeted social groups and raise social awareness about
critical events and issues. All of these songs are striving to express or cause
in some way, a change in the structure of society. The commonalities in these
texts are representations of resistance to oppression, with the exception of
the Eminem song, which details the experience of a person who is viewed as an
outsider. The Eminem text still results in resistance to violence, when
interpreted by people who understand the meaning of the text as in the example
given. These are all portraits of a time given from individuals who strive to
improve society toward their ideals which they believe are positive. Whether or
not the audience interprets the texts in that way is a matter of some debate.
Clearly though it is in the musician’s best interest to create music which a
greater number of people identify with in a positive way. It would be difficult
to maintain the argument after the creation of this document that only rap is
created out of a protest against racism and classism, as these themes are
prevalent throughout the document. However I will maintain that the
architecture for the development of these themes and the stories constructed is
dyadic; rap tells a personal story, rock appeals to public sentiment about
current events. This kind of dialectic is consistently present within the
symmetry of artistic representation and culture.
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Sunday, bloody sunday. On War [CD].
New York, NY: Island.
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