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A protest song is a song that is associated with a movement for social change and hence part of the broader category of topical songs (or songs connected to current events). It may be folk, classical, or commercial in genre.
Among social movements that have an associated body of songs are the abolition movement, women's suffrage, the labour movement, the human rights movement, civil rights, the anti-war movement and 1960s counterculture, the feminist movement, the sexual revolution, the gay rights movement, animal rights movement, vegetarianism and veganism, gun control, and environmentalism.
Protest songs are often situational, having been associated with a social movement through context. "Goodnight Irene", for example, acquired the aura of a protest song because it was written by Lead Belly, a black convict and social outcast, although on its face it is a love song. Or they may be abstract, expressing, in more general terms, opposition to injustice and support for peace, or free thought, but audiences usually know what is being referred to. Beethoven's "Ode to Joy", a song in support of universal brotherhood, is a song of this kind. It is a setting of a poem by Friedrich Schiller celebrating the continuum of living beings (who are united in their capacity for feeling pain and pleasure and hence for empathy), to which Beethoven himself added the lines that all men are brothers. Songs which support the status quo do not qualify as protest songs.
Protest song texts may have significant cognitive content. The labour movement musical Pins and Needles summed up the definition of a protest song in a number called "Sing Me a Song of Social Significance." Phil Ochs once explained, "A protest song is a song that's so specific that you cannot mistake it for BS."
An 18th-century example of topical song intended as a feminist protest song is "Rights of Woman" (1795), sung to the tune of "God Save the King", written anonymously by "A Lady" and published in the Philadelphia Minerva, October 17, 1795. There is no evidence that it was ever sung as a movement song, however. A more recent song advocating sexual liberation is "Sexo" (1985) by Los Prisioneros.
The sociologist R. Serge Denisoff saw protest songs rather narrowly in terms of their function, as forms of persuasion or propaganda. Denisoff saw the protest song tradition as originating in the "psalms" or songs of grassroots Protestant religious revival movements, terming these hymns "protest-propaganda", as well.
Denisoff subdivided protest songs as either "magnetic" or "rhetorical". "Magnetic" protest songs were aimed at attracting people to the movement and promoting group solidarity and commitment – for example, "Keep Your Eyes on the Prize" and "We Shall Overcome". "Rhetorical" protest songs, on the other hand, are often characterized by individual indignation and offer a straightforward political message designed to change political opinion. Denisoff argued that although "rhetorical" songs often are not overtly connected to building a larger movement, they should nevertheless be considered as "protest-propaganda". Examples include Bob Dylan's "Masters of War" (which contains the lines "I hope that you die / And your death'll come soon") and "What's Going On" by Marvin Gaye.
Ron Eyerman and Andrew Jamison, in Music and Social Movements: Mobilizing Tradition in the Twentieth Century (1998), take issue with what they consider Denisoff's reductive approach to the history and function of song (and particularly traditional song) in social movements. They point out that Denisoff had paid little attention to the song tunes of protest music, considered them strictly subordinate to the texts, a means to the message. It is true that in the highly text-oriented western European song tradition, tunes can be subordinate, interchangeable, and even limited in number (as in Portuguese fado, which only has 64 tunes), nevertheless, Eyerman and Jamison point out that some of the most effective protest songs gain power through their appropriation of tunes that are bearers of strong cultural traditions. They also note that:
There is more to music and movements than can be captured within a functional perspective, such as Denisoff's, which focuses on the use made of music within already-existing movements. Music, and song, we suggest, can maintain a movement even when it no longer has a visible presence in the form of organizations, leaders, and demonstrations, and can be a vital force in preparing the emergence of a new movement. Here the role and place of music needs to be interpreted through a broader framework in which tradition and ritual are understood as processes of identity and identification, as encoded and embodied forms of collective meaning and memory.
Algerian raï protest musicEdit
Raï (Arabic: "opinion" رأي) is a form of folk music, originated in Oran, Algeria from Bedouin shepherds, mixed with Spanish, French, African and Arabic musical forms. Its origins date back to the 1920s and has been primarily evolved by the women referred to as cheikhas, who performed in cafes, bars or bordellos, often for men. A typical performance included the cheikhas accompanied by two to four male instrumentalists playing a gasba (a wooden flute) and gallal (a metal drum). Rai was considered a rejection of the traditional Algerian music of the time, and the cheikhas " . . . used lewd lyrics focusing on the hardships in life facing peasant women in a big city, the pain of love, the lure of alcohol, immigration, and mourning" .
By the 1950s, and through the 1960s, male musicians began performing rai music and incorporated the use of what was considered to be modern musical instruments of that time, such as the violin, the accordion, the lute, and the trumpet. As the genre evolved over time, it continued to have associations with political movements and organizations, such as the Algerian Freedom Fighters who rallied against the French occupation. Even after Algeria achieved independence in 1962, Rai continued to have an adverse relationship with the Algerian government, which exerted a tight grip upon its culture. In fact, Raï had been banned from broadcast media, though it thrived in underground spaces, such as cabarets. It was forbidden to the point of one popular singer, Cheb Hasni, being assassinated. However, since the government lifted its restrictions on rai in the 1980s, it has enjoyed some considerable success.
The song "Parisien Du Nord" by Cheb Mami is a recent example of how the genre has been used as form of protest, as the song was written as a protest against the racial tensions that sparked the 2005 French riots. According to Memi:
It is a song against racism, so I wanted to sing it with a North African who was born in France ... Because of that and because of his talent, I chose K-Mel. In the song, we say, 'In your eyes, I feel like foreigner.' It's like the kids who were born in France but they have Arab faces. They are French, and they should be considered French."
Rai continues to be regarded, as Al-Neen states, "[the] music of rebellion and the symbol of cynicism. Rai has emerged as an outlet for voicing the frustrations of youths and placing greater emphasis on freedom and liberty".
Indigenous issues feature prominently in politically inspired Australian music and include the topics of land rights, and aboriginal deaths in custody. One of the most prominent Australian bands to confront these issues is Yothu Yindi. Other Australian bands to have confronted indigenous issues include Tiddas, Kev Carmody, Archie Roach, Christine Anu, The Herd, Neil Murray, Blue King Brown, the John Butler Trio, Midnight Oil, Warumpi Band, Paul Kelly, Powderfinger and Xavier Rudd.
In addition to Indigenous issues, many Australian protest singers have sung about the futility of war. Notable anti-war songs include "And The Band Played Waltzing Matilda" (1972) by Eric Bogle, and "A Walk in the Light Green" (1983) by Redgum, most often remembered by its chorus "I was only nineteen".
The first famous Belorussian protest songs were created at the beginning of the 20th century during the rise of Belorussian People's Republic and war for independence from Russian Empire and Soviet Russia. This period includes such protest songs as "Advieku My Spali" ("We've slept enough", also known as Belorussian Marselliese) and "Vajaćki Marš" ("March of the Warriors"), which was an anthem of Belorussian People's Republic. The next period of protest songs was in the 1990s, with many created by such bands as NRM, Novaje Nieba and others, which lead to unspoken prohibition of these musicians. As an example, Lavon Volski, frontman of NRM, Mroja and Krambambulia, had issues with officials at the majority of his concert due to the criticism of the Belorussian political system. One of the most famous bands of Belarus, Lyapis Trubetskoy, was forbidden from performing in the country due to being critical of Aleksandr Lukashenka in his lyrics. These prohibitions lead most "forbidden" bands to organize concerts in Vilnius, which, though situated in modern Lithuania, is considered to be a Belorussian historical capital because less than a hundred years ago most dwellers of Vilnius (Vilnia, as it was called before it was given to Lithuania) were Belorussians. But at the middle of the 2010s, the situation began to change a bit and many protest bands started to organize concerts in Belarus.
Britain and IrelandEdit
Early British protest songsEdit
English folk songs from the late medieval and early modern period reflect the social upheavals of their day. In 1944 the Marxist scholar A. L. Lloyd claimed that "The Cutty Wren" song constituted a coded anthem against feudal oppression and actually dated back to the English peasants' revolt of 1381, making it the oldest extant European protest song. He offered no evidence for his assertion, however and no trace of the song has been found before the 18th century. Despite Lloyd's dubious claim about its origins, however, the "Cutty Wren" was revived and used as a protest song in the 1950s folk revival, an example of the importance of context in determining what may be considered a protest song. In contrast, the rhyme, "When Adam delved and Eve span, who was then the gentleman?", is attested as authentically originating in the 1381 Peasant Revolt, though no tune associated with it has survived. Ballads celebrating social bandits like Robin Hood, from the 14th century onwards, can be seen as expressions of a desire for social justice, though although social criticism is implied and there is no overt questioning of the status quo.
The era of civil and religious wars of the 17th century in Britain gave rise to the radical communistic millenarian Levellers and Diggers' movements and their associated ballads and hymns, as, for example, the "Diggers' Song". with the incendiary verse:
But the Gentry must come down,
and the poor shall wear the crown.
Stand up now, Diggers all!
The Digger movement was violently crushed, and so it is not surprising if few overt protest songs associated with it have survived. From roughly the same period, however, songs protesting wars and the human suffering they inflict abound, though such song do not generally explicitly condemn the wars or the leaders who wage them. For example, "The Maunding Souldier" or "The Fruits of Warre is Beggery", framed as a begging appeal from a crippled soldier of the Thirty Years War. Such songs have been known, strictly speaking, as songs of complaint rather than of protest, since they offered no solution or hint of rebellion against the status quo.
The advent of industrialization in the 18th and early 19th centuries was accompanied by a series of protest movements and a corresponding increase in the number of topical social protest songs and ballads. An important example is "The Triumph of General Ludd", which built a fictional persona for the alleged leader of the early 19th century anti-technological Luddite movement in the cloth industry of the north midlands, and which made explicit reference to the Robin Hood tradition. A surprising English folk hero immortalized in song is Napoleon Bonaparte, the military figure most often the subject of popular ballads, many of them treating him as the champion of the common working man in songs such as the "Bonny Bunch of Roses" and "Napoleon's Dream". As labour became more organized songs were used as anthems and propaganda, for miners with songs such as "The Black Leg Miner", and for factory workers with songs such as "The Factory Bell".
These industrial protest songs were largely ignored during the first English folk revival of the later 19th and early 20th century, which had focused on songs that had been collected in rural areas where they were still being sung and on music education. They were revived in the 1960s and performed by figures such as A. L. Lloyd on his album The Iron Muse (1963). In the 1980s the anarchist rock band Chumbawamba recorded several versions of traditional English protest songs as English Rebel Songs 1381–1914.
Colin Irwin, a journalist for The Guardian, believes the modern British protest movement started in 1958 when the Campaign for Nuclear Disarmament organized a 53-mile march from Trafalgar Square to Aldermaston, to protest Britain's participation in the arms race and recent testing of the H-bomb. The protest "fired up young musicians to write campaigning new songs to argue the case against the bomb and whip up support along the way. Suddenly many of those in skiffle groups playing American songs were changing course and writing fierce topical songs to back direct action." A song composed for the march, "The H-Bomb's Thunder", set the words of a poem by novelist John Brunner to the tune of "Miner's Lifeguard":
Men and women, stand together
Do not heed the men of war
Make your minds up now or never
Ban the bomb for evermore.
Folk singer Ewan MacColl was for some time one of the principal musical figures of the British nuclear disarmament movement. A former agitprop actor and playwright. MacColl, a prolific songwriter and committed leftist, some years earlier had penned "The Ballad of Ho Chi Minh" (1953), issued as single on Topic Records, and "The Ballad of Stalin" (1954), commemorating the death of that leader. Neither record has ever been reissued.
According to Irwin, MacColl, when interviewed in the Daily Worker in 1958, declared that:
There are now more new songs being written than at any other time in the past eighty years—young people are finding out for themselves that folk songs are tailor-made for expressing their thoughts and comments on contemporary topics, dreams, and worries,
In 1965, folk-rock singer Donovan's cover of Buffy Sainte-Marie's "Universal Soldier" was a hit on the charts. His anti-Vietnam War song "The War Drags On" appeared that same year. This was a common trend in popular music of the 1960s and 1970s. The romantic lyrics of pop songs in the 1950s gave way to words of protest.
As their fame and prestige increased in the late 1960s, The Beatles—and John Lennon in particular—added their voices to the Anti-war. In the documentary The US Versus John Lennon, Tariq Ali attributes the Beatles' activism to the fact that, in his opinion, "The whole culture had been radicalized: [Lennon] was engaged with the world, and the world was changing him." "Revolution", 1968, commemorated the worldwide student uprisings. In 1969, when Lennon and Yoko Ono were married, they staged a week-long "bed-in for peace" in the Amsterdam Hilton, attracting worldwide media coverage. At the second "Bed-in" in Montreal, in June 1969, they recorded "Give Peace a Chance" in their hotel room. The song was sung by over half a million demonstrators in Washington, DC, at the second Vietnam Moratorium Day, on 15 October 1969. In 1972 Lennon's most controversial protest song LP was released, Some Time In New York City, the title of whose lead single "Woman Is the Nigger of the World", a phrase coined by Ono in the late 1960s to protest sexism, set off a storm of controversy, and in consequence received little airplay and much banning. The Lennons went to great lengths (including a press conference attended by staff from Jet and Ebony magazines) to explain that they had used the word nigger in a symbolic sense and not as an affront to African Americans. The album also included "Attica State", about the Attica Prison riots of September 9, 1971; "Sunday Bloody Sunday" and "The Luck Of The Irish", about the massacre of demonstrators in Northern Ireland and "Angela", in support of black activist Angela Davis. Lennon also performed at the "Free John Sinclair" benefit concert in Ann Arbor, Michigan, on December 10, 1971. on behalf of the imprisoned antiwar activist and poet who was serving 10 years in state prison for selling two joints of marijuana to an undercover cop. On this occasion Lennon and Ono appeared on stage with among others singers Phil Ochs and Stevie Wonder, plus antiwar activists Jerry Rubin and Bobby Seale of the Black Panthers party. Lennon's song "John Sinclair" (which can be heard on his Some Time In New York City album), calls on the authorities to "Let him be, set him free, let him be like you and me". The benefit was attended by some 20,000 people, and three days later the State of Michigan released Sinclair from prison.
The 1970s saw a number of notable songs by British acts that protested against war, including "Peace Train" by Cat Stevens (1971), and "War Pigs" by Black Sabbath (1970). Sabbath also protested environmental destruction, describing people leaving a ruined Earth ("Into the Void" including, "Iron Man"). Renaissance added political repression as a protest theme with "Mother Russia" being based on One Day in the Life of Ivan Denisovich and being joined on the second side of their 1974 album Turn of the Cards by two other protest songs in "Cold Is Being" (about ecological destruction) and "Black Flame" (about the Vietnam War).
As the 1970s progressed, the louder, more aggressive Punk movement became the strongest voice of protest, particularly in the UK, featuring anti-war, anti-state, and anti-capitalist themes. The punk culture, in stark contrast with the 1960s' sense of power through union, concerned itself with individual freedom, often incorporating concepts of individualism, free thought and even anarchism. According to Search and Destroy founder V. Vale, "Punk was a total cultural revolt. It was a hardcore confrontation with the black side of history and culture, right-wing imagery, sexual taboos, a delving into it that had never been done before by any generation in such a thorough way." The most significant protest songs of the movement included "God Save the Queen" (1977) by the Sex Pistols, "If the Kids are United" by Sham 69, "Career Opportunities" (1977) (protesting the political and economic situation in England at the time, especially the lack of jobs available to the youth), and "White Riot" (1977) (about class economics and race issues) by The Clash, and "Right to Work" by Chelsea. See also Punk ideology.
War was still the prevalent theme of British protest songs of the 1980s – such as Kate Bush's "Army Dreamers" (1980), which deals with the traumas of a mother whose son dies while away at war. However, as the 1980s progressed, it was British prime minister Margaret Thatcher who came under the greatest degree of criticism from native protest singers, mostly for her strong stance against trade unions, and especially for her handling of the UK miners' strike (1984–1985). The leading voice of protest in Thatcherite Britain in the 1980s was Billy Bragg, whose style of protest song and grass-roots political activism was mostly reminiscent of those of Woody Guthrie, however with themes that were relevant to the contemporary Briton. He summarized his stance in "Between the Wars" (1985), in which he sings: "I'll give my consent to any government that does not deny a man a living wage."
Also in the 1980s the band Frankie Goes to Hollywood released a political pop protest song Two Tribes a relentless bass driven track depicting the futility and starkness of nuclear weapons and the Cold War. The video for the song depicted a wrestling match between then-President Ronald Reagan and then-Soviet leader Konstantin Chernenko for the benefit of group members and an eagerly belligerent assembly of representatives from the world's nations, the event ultimately degenerating into complete global destruction. This video was played several times at the 1984 Democratic National Convention. Due to some violent scenes ("Reagan" biting "Chernenko"'s ear, etc.), the unedited video could not be shown on MTV, and an edited version was substituted. The single quickly hit the number one spot in the United Kingdom. Several mixes of the track features actor Patrick Allen, who recreated his narration from the Protect and Survive public information films for certain 12-inch mixes (the original Protect and Survive soundtracks were sampled for the 7-inch mixes).
Irish rebel songsEdit
Irish rebel music is a subgenre of Irish folk music, played on typically Irish instruments (such as the Fiddle, tin whistle, Uilleann pipes, accordion, bodhrán etc.) and acoustic guitars. The lyrics deal with the fight for Irish freedom, people who were involved in liberation movements, the persecution and violence during Northern Ireland's Troubles and the history of Ireland's numerous rebellions.
Among the many examples of the genre, some of the most famous are "A Nation Once Again", "Come out Ye Black and Tans", "Erin go Bragh", "The Fields of Athenry", "The Men Behind the Wire" and the Republic of Ireland's national Anthem "Amhrán na bhFiann" ("The Soldier's Song"). Music of this genre has often courted controversy, and some of the more outwardly anti-British songs have been effectively banned from the airwaves in both England and the Republic of Ireland.
Paul McCartney also made a contribution to the genre with his 1972 single "Give Ireland Back to the Irish", which he wrote as a reaction to Bloody Sunday in Northern Ireland on January 30, 1972. The song also faced an all-out ban in the UK, and has never been re-released or appeared on any Paul McCartney or Wings best-ofs. The same year McCartney's former colleague John Lennon released two protest songs concerning the hardships of war-torn Northern Ireland: "Sunday Bloody Sunday", written shortly after the 1972 massacre of Irish civil rights activists (which differs from U2's 1983 song of the same title in that it directly supports the Irish Republican cause and does not call for peace), and "The Luck Of The Irish", both from his album Some Time in New York City (1972).
The Wolfe Tones have become legendary in Ireland for their contribution to the Irish rebel genre. The band has been recording since 1963 and has attracted worldwide fame and attention through their renditions of traditional Irish songs and originals, dealing with the former conflict in Northern Ireland. In 2002 the Wolfe Tones' version of "A Nation Once Again", a nationalist song from the 19th century, was voted the greatest song in the world in a poll conducted by the BBC World Service
An Irish alternative rock/post punk band from Dublin, U2 broke with the rebel musical tradition when in 1983 they wrote their song "Sunday Bloody Sunday". The song makes reference to two separate massacres in Irish history of civilians by British forces – Bloody Sunday (1920) and Bloody Sunday 1972 – however, unlike other songs dealing with those events, the lyrics call for peace as opposed to revenge.
Ahmed Fouad Negm is considered a key dissident figure whose poetry in colloquial Arabic gave voice to the underclass in Egypt, and inspired protesters. He teamed up in the 1960s with composer Sheikh Imam Eissa who gave music to his verses, the partnership lasting for twenty years. Lines from Negm's poem "Who Are They, and Who Are We?" were chanted at Tahrir Square in 2011 during protests against President Hosni Mubarak.
Music played a key role in mobilizing the 2011 protests at Tahrir Square against President Hosni Mubarak which led to the Egyptian revolution. "Ezzay," meaning "How come?" by Egyptian singer and actor Mohamed Mounir is considered one of the most popular songs associated with the protests. "Irhal," meaning "Leave", by Ramy Essam became an internet hit, and was subsequently described in the media as having become an anthem for the revolution.
Many of the songs performed at the Estonian Laulupidu are protest songs, particularly those written during the Singing Revolution. Due to the official position of the Soviet Union at the time, the lyrics are frequently allusive, rather than explicitly anti-Soviet, such as Tõnis Mägi's song Koit. In contrast, Eestlane olen ja eestlaseks jään, sung by Ivo Linna and the group In spe is explicitly in favour of an Estonian identity.
Finland has a tradition of socialist and communist protest songs Finnish Civil War, most of which were imported and translated from Soviet Russia. In the 21st century the socialist protest song tradition is somewhat continued by left wing rap artists and to lesser degree in more traditional Taistoist form by KOM-theatre choir.
"The Internationale" became the anthem of international socialism. Its original French refrain is C'est la lutte finale/ Groupons-nous et demain/ L'Internationale/ Sera le genre humain. (Freely translated: "This is the final struggle/ Let us join together and tomorrow/ The Internationale/ Will be the human race.") The "Internationale" has been translated into most of the world's languages. Traditionally it is sung with the hand raised in a clenched fist salute. "The Internationale" is sung not only by communists but also (in many countries) by socialists or social democrats. The Chinese version was also a rallying song of the students and workers at the Tiananmen Square protests of 1989.
There is not so much a protest song trend in France, but rather of a permanent background of criticism and contestation, and individuals who personify it. World War II and its horrors forced French singers to think more critically about war in general, forcing them to question their governments and the powers who ruled their society.
Several French songwriters, such as Léo Ferré (1916–1993), Georges Brassens (1921–1981), Jacques Brel (1929–1978) (actually a Belgian singer), Maxime Le Forestier (born 1949) or interpreters (Yves Montand, Marcel Mouloudji, Serge Reggiani, Graeme Allwright ...) often wrote or sang songs aligned against majority ideas and political powers. Because racial tensions did not rise to the same levels as those in the United States, criticism was focused more toward bourgeoisie, power, religion, and songs defending liberty of thought, speech and action. After 1945, immigration became a source of inspiration for some singers: Pierre Perret (born 1934), well known for his humorous songs, started writing several more "serious" and committed songs against racism ("Lily", 1977), which critically pointed out everyday racist behaviour in French society.
Brassens wrote several songs protesting war, hate, intolerance ("Les Deux Oncles" ["The Two Uncles"], "La Guerre de 14–18" ["14–18 War"], "Mourir pour des idées" ["To Die for Ideas"] "Les Patriotes" ["The Patriots"] ...), against chauvinism ("La Ballade des gens qui sont nés quelque part" ["Ballad of People Who Are Born Somewhere"]), against bourgeoisie ("La Mauvaise Réputation" ["The bad reputation"], "Les Philistins" ["The Philistines"] ...). He was often called "anarchist" because of his songs on representatives of law and order (and religion) ("Le Gorille" ["The gorilla"] "Hécatombe" ["Slaughter"] "Le Nombril des femmes d'agents" ["The navel of cops wives"], "Le Mécréant" ["The miscreant"] ...).
Ferré was also called an "anarchist". He sang against consumerism ("Vitrines" ["Shop Fronts"], "Chanson mécanisée" ["Mechanized Song"], "Il n'y a plus rien" ["There is nothing left"] ...), against French war ("Miss guéguerre" ["Miss Squabble"], "Pacific blues", "Regardez-les" ["Look at them"], "Mon général" ["My general"], "Les Temps difficiles" ["Hard Times"], "La Marseillaise"), death penalty ("Ni Dieu ni maître" ["No God no Master"], "La Mort des loups" ["The Death of the Wolves"]), Estate control ("La Gueuse", "La Complainte de la télé" ["Lament of TV"], "La Révolution" ["Revolution"], "Le Conditionnel de variétés" ["Middle of the road music conditional mood"]), illusion of representative democracy ("Ils ont voté" ["They voted"], "La Grève" ["Strike"]), dictatorships ("Franco la muerte", "Allende", "La Violence et l'Ennui" ["Words ... Words ... Words ... "]), sexual hypocrisy and freedom ("Le Chien" ["The Dog"], "Le Mal" ["Evil"], "Ton style" ["Your style"], "La Damnation" ["Damnation"] ...).
Brel's work is another ode to freedom ("Ces gens-là" ["These people"], "Les Bourgeois" ["The Bourgeois"], "Jaurès", "Les Bigotes" ["The bigots"], "Le Colonel" ["The colonel"], "Le Caporal Casse-Pompon" ["Corporal Break-Nots"]).
Ton Steine Scherben, one of the first and most influential German language rock bands of the 1970s and early 1980s, were well known for the highly political lyrics of vocalist Rio Reiser. The band became a musical mouthpiece of new left movements, such as the squatting movement, during that time in Germany and their hometown of West Berlin in particular. Their lyrics were, at the beginning, anti-capitalist and anarchist, and the band had connections to members of the German Red Army Faction movement before they became illegal. Later songs were about more complex issues such as unemployment ("Mole Hill Rockers") or homosexuality ("Mama war so"). They also contributed to two full-length concept album about homosexuality, which were issued under the name Brühwarm (literally: boiling warm) in cooperation with a gay-revue group.
A dissatisfied German youth in the late 1970s and early 1980s resulted in a strand of highly politicized German-language Punkrock ("Deutschpunk"), which mostly concerned itself with politically radical left-wing lyrics, mostly influenced by the Cold War. Probably the most important German-language punk band was Slime from Hamburg, who were the first band whose LP was banned because of political topics. Their songs "Deutschland" ("Germany"), "Bullenschweine", "Polizei SA/SS", and the anti-imperialist "Yankees raus" ("Yankees out") were banned, some of them are still banned today, because they propagated the use of violence against the police or compared the police to the SA and SS of Nazi Germany.
The Cologne-based rock group BAP is known for their committed and intelligently written lyrics, dealing with discrimination and the power games of Germany's political elites in many of their songs. The song "Kristallnaach" (1982) is a point in case. It analyses the corruptibility of the present-day masses for new forms of fascism, while referring to the "Night of Broken Glass" that took place in 1938.
India provided many examples of protest songs throughout its struggle for freedom from Britain.
Israel's protest music has often become associated with different political factions.
During the 1967 war, Naomi Shemer added a third verse to her song "Jerusalem of Gold", sung by Shuli Natan, about the recapturing of Jerusalem after 2,000 years. Later on that year, a different point of view of the song was introduced by the folk singer Meir Ariel, who recorded an anti-war version and named it "Jerusalem of Iron".
Gush Emunim supporters have taken a repertoire of old religious songs and invested them with political meaning. An example is the song "Utsu Etsu VeTufar" (They gave counsel but their counsel was violated). The song signifies the ultimate rightness of those steadfast in their beliefs, suggesting the rightness of Gush Emunim's struggle against anti-settlement policy by the government.
Minutes before Prime Minister Yitzhak Rabin was murdered at a political rally in November 1995, Israeli folk singer Miri Aloni sang the Israeli pop song "Shir Lashalom" ("Song for Peace"). This song, originally written in 1969 and performed extensively at the time by an Israeli military performing group, has become one of the anthems of the Israeli peace camp.
During the Arab uprising known as the First Intifada, Israeli singer Si Heyman sang "Yorim VeBokhim" ("Shoot and Weep") to protest Israeli policy in the territories. Pink Floyd's "Another Brick in the Wall" is used as a protest song by some opponents of Israel's barrier in the West Bank. The lyrics were adapted to: "We don't need no occupation. We don't need no racist wall."
Since the onset of the Oslo Process and, more recently, Israel's unilateral disengagement plan, protest songs became a major avenue for opposition activists to express sentiments. Songs protesting these policies were written and performed by Israeli musicians such as Ariel Zilber, Aharon Razel, and others.
Hadag Nahash's "Zman Lehitorer (Time To Wake Up).
Chilean and Latin American protest musicEdit
While the protest song was enjoying its Golden Age in America in the 1960s, it also saw many detractors overseas who saw it as having been commercialized. Chilean singer-songwriter Víctor Jara, who played a pivotal role in the folkloric renaissance that led to the Nueva Canción Chilena (New Chilean Song) movement, which created a revolution in the popular music of his country, criticized the "commercialized" American protest song phenomenon that had been imported into Chile. He criticized it thus:
The cultural invasion is like a leafy tree which prevents us from seeing our own sun, sky and stars. Therefore in order to be able to see the sky above our heads, our task is to cut this tree off at the roots. US imperialism understands very well the magic of communication through music and persists in filling our young people with all sorts of commercial tripe. With professional expertise they have taken certain measures: first, the commercialization of the so-called 'protest music'; second, the creation of 'idols' of protest music who obey the same rules and suffer from the same constraints as the other idols of the consumer music industry – they last a little while and then disappear. Meanwhile, they are useful in neutralizing the innate spirit of rebellion of young people. The term 'protest song' is no longer valid because it is ambiguous and has been misused. I prefer the term 'revolutionary song'.
Nueva canción (literally "new song" in Spanish) was a type of protest/social song in Latin American music which took root in South America, especially Chile and other Andean countries, and gained extreme popularity throughout Latin America. It combined traditional Latin American folk music idioms (played on the quena, zampoña, charango or cajón with guitar accompaniment) with some popular (esp. British) rock music, and was characterized by its progressive and often politicized lyrics. It is sometimes considered a precursor to rock en español. The lyrics are typically in Spanish, with some indigenous or local words mixed in.
Cuban and Puerto Rican protest musicEdit
A type of Cuban and Puerto Rican protest music started in the mid-1960s when a movement in Cuban music emerged that combined traditional folk music idioms with progressive and often politicized lyrics. This movement of protest music came to be known as "Nueva trova", and was somewhat similar to that of Nueva canción, however with the advantage of support from the Cuban government, as it promoted the Cuban Revolution – and thus part of revolutionary song. Though originally and still largely Cuban, nueva trova has become popular across Latin America, especially in Puerto Rico and Venezuela. The movements biggest stars included Cubans Silvio Rodríguez, Noel Nicola and Pablo Milanés, as well as Puerto Ricans such as Roy Brown, Andrés Jiménez, Antonio Cabán Vale and the group Haciendo Punto en Otro Son.
In 1966 Boudewijn de Groot released "Welterusten meneer de president", a song about the Vietnam War. The song spent 12 weeks in the Dutch Top 40 and to this day it remains an important song in nederpop and among Dutch protest songs. Following "Welterusten meneer de president", Boudewijn de Groot and Lennaert Nijgh, a Dutch lyricist, made more protest songs. The couple inspired other Dutch musicians, namely Armand and Robert Long.
During the bitterly divisive 1981 Springbok Tour, Blam Blam Blam's There Is No Depression in New Zealand became a favourite among anti-tour protesters. Reggae band Herbs wrote and performed songs criticising French nuclear testing in the Pacific Ocean.
Palestinian music (Arabic: موسيقى فلسطينية) deals with the conflict with Israel, the longing for peace, and the love of the Palestinians' land. A typical example of such a song is "Biladi, Biladi" (My Country, My Country), which has become the unofficial Palestinian national anthem. Palestinian music rarely focuses on internal divides (unlike most Israeli peace songs), and instead deals almost solely with Israel. Additionally, there are very few Palestinian peace songs that do not indict Israel, and outwardly militaristic. Certain commentators have compared this with the general unwillingness of Palestinians to speak about internal problems, as they tend to be taboo in Palestinian society, and dissent is outlawed in Gaza, under Hamas control.
Another example is the song "Al-Quds (Jerusalem) our Land", with words by Sharif Sabri. The song, sung by Amr Diab from Port Said, Egypt, won first prize in 2003 in a contest in Egypt for video clips produced in the West Bank and Gaza. DAM is an Arabic hip-hop group, rapping in Arabic and Hebrew about the problems faced by Palestinians under occupation and calling for change. Kamilya Joubran's song "Ghareeba", a setting of a poem by Khalil Gibran, deals with a sense of isolation and loneliness felt by the Palestinian woman.
From the revolutionary songs of the Katipunan to the songs being sung by the New Peoples Army, Filipino protest music deals with poverty, oppression as well as anti-imperialism and independence. A typical example was during the American era, as Jose Corazon de Jesus created a well-known protest song entitled "Bayan Ko", which calls for redeeming the nation against oppression, mainly colonialism, and also became popular as a song against the Marcos regime.
However, during the 1960s, Filipino protest music became aligned with the ideas of Communism as well as of revolution. The protest song "Ang Linyang Masa" came from Mao Zedong and his Mass Line and "Papuri sa Pag-aaral" was from Bertolt Brecht. These songs, although Filipinized, rose to become another part of Filipino protest music known as Revolutionary songs that became popular during protests and campaign struggles.
The protest songs in Portugal were mostly associated with the antifascist movement and developed chiefly among students and activists. The best known are songs by Paulo de Carvalho and Zeca Afonso, respectively "E Depois do Adeus" (And After the Goodbye) and "Grândola Vila Morena"(Grândola Swarthy Town). They were chosen as a code to start the Carnation Revolution that would successfully triumph against the dictatorial regime. The first was written out of letters that the author, then fighting to maintain the colonies (a war that the general public was against) sent to his wife. Hence the title that refers to his departure "goodbye" to the war. The other song was very explicit regarding his objective: "O Povo é quem mais ordena / dentro de ti oh cidade" (The people is the one who orders the most/ inside of you oh city). "E Depois do Adeus" was vague enough to elude the censorship and pass as a "end of love" song, which also accounts for the order of the broadcast.
Of the two, Zeca Afonso was more prolific and more identified with the movement, so much so that another of his songs was the first choice for the code "Venham mais 5" (Let 5 more come). Other artists also used some craft to hide their meanings in the song or went into exile. One example is Adriano Correia de Oliveira that masked the explicit lyrics with the vocal tone making it difficult to distinguish the critical verse, from the refrain or even other verses. In no other song is this more noted that the ballad "Trova do Vento que Passa" (Song/Poem of the Passing Wind), whose lyrics by the writer Manuel Alegre were a direct criticism of the state. The music was by António Portugal but Correia used a typical Fado rhythm to hide such provocative verses as "Mesmo na noite mais triste/em tempo de sevidão/há sempre alguém que resiste/há sempre alguém que diz não" (even in the saddest night/in time of servitude/there is always someone who stands up/there is always someone who says No).
Not only men but also women had an active participation, albeit in lesser numbers. Emerlinda Duarte, one of those women, wrote the song "Somos Livres", for a 1972 theatre play called Lisboa 72, masking a deep meaning with catchy children's music. Although the version of her singing the tune is the best known it was only recorded after the carnation revolution.
Many other songwriters and singers, in order to generate awareness, used their talents to act in all of Portugal, sometimes without pay or transport. Fausto Bordalo Dias once sang into a mike so poorly made it needed a plastic cup to work. Other singers included the priest Francisco Fanhais, the writer Jose Jorge Letria; Fernando Tordo; Luís Cília; Amélia Muge; Janita Salomé; Manuel Freire; José Barata-Moura; the poet José Carlos Ary dos Santos; Jose Mario Branco and Sergio Godinho.
Protest songs in Poland were mostly associated with anti-communist movement and developed in the 1970s and 1980s. One of the most important artists was Jacek Kaczmarski, author of such famous songs as "Mury" ("The Walls"), "Przedszkole" ("The Kindergarten") and "Zbroja" ("The Armor"), criticizing both the totalitarian communist government and the opposition. Another famous Polish folk singer, Jan Pietrzak, wrote one of the best-known Polish patriotic protest songs, "Żeby Polska była Polską" ("Make Poland Polish"), in which he reminded the most heroic moments of Polish history, including Kościuszko Uprising, and called people to fight the communists as they fought other enemies of Poland before. He also recorded a musical version of the Jonasz Kofta's poem "Pamiętajcie o ogrodach" ("Remember the Gardens"), protesting against the industrialism of life promoted by the communist propaganda. Other Polish artists well known for writing protest songs include Stanisław Staszewski and Przemysław Gintrowski.
The most famous source of Russian protest music in the 20th century has been those known locally as bards. The term (бард in Russian) came to be used in the Soviet Union in the early 1960s, and continues to be used in Russia today, to refer to singer-songwriters who wrote songs outside the Soviet establishment. Many of the most famous bards wrote numerous songs about war, particularly The Great Patriotic War (World War II). Bards had various reasons for writing and singing songs about war. Bulat Okudzhava, who actually fought in the war, used his sad and emotional style to illustrate the futility of war in songs such as "The Paper Soldier" ("Бумажный Солдат").
Many political songs were written by bards under Soviet rule, and the genre varied from acutely political, "anti-Soviet" songs, to witty satire in the best traditions of Aesop. Some of Bulat Okudzhava's songs provide examples of political songs written on these themes. Vladimir Vysotsky was perceived as a political songwriter, but later he gradually made his way into more mainstream culture. It was not so with Alexander Galich, who was forced to emigrate—owning a tape with his songs could mean a prison term in the USSR. Before emigration, he suffered from KGB persecution, as did another bard, Yuliy Kim. Others, like Evgeny Kliachkin and Aleksander Dolsky, maintained a balance between outright anti-Soviet and plain romantic material. Protest rhetoric can also be traced in the works of such rock bands as Grazhdanskaya Oborona, Naive, Tarakany!, Pilot, Noize MC and Louna.
Anti-apartheid protest musicEdit
The majority of South African protest music of the 20th century concerned itself with apartheid, a system of legalized racial segregation in which blacks were stripped of their citizenship and rights from 1948 to 1994. As the apartheid regime forced Africans into townships and industrial centres, people sang about leaving their homes, the horror of the coal mines and the degradation of working as domestic servants. Examples of which include Benedict Wallet Vilakazi's "Meadowlands", the "Toyi-toyi" chant and "Bring Him Back Home" (1987) by Hugh Masekela, which became an anthem for the movement to free Nelson Mandela. The Special AKA wrote a song on Nelson Mandela called "Free Nelson Mandela". The track is upbeat and celebratory, drawing on musical influence from South Africa, was immensely popular in Africa. Masekela's song "Soweto Blues", sung by his former wife, Miriam Makeba, is a blues/jazz piece that mourns the carnage of the Soweto riots in 1976. Basil Coetzee and Abdullah Ibrahim's "Mannenberg" became an unofficial soundtrack to the anti-apartheid resistance.
In Afrikaans, the 1989 Voëlvry movement led by Johannes Kerkorrel, Koos Kombuis, and Bernoldus Niemand, provided a voice of opposition from within the white Afrikaner community. These musicians sought to redefine Afrikaner identity, and although met with opposition from the authorities, Voëlvry played to large crowds at Afrikaans university campuses and was quite popular among Afrikaner youth.
Following apartheid's demise, most Afrikaans writers and musicians followed public sentiments by embracing the new South Africa, but cracks soon emerged in the dream of the "rainbow nation" and criticism started to emerge, criticism that has grown in frequency and intensity in recent years. Violent crime put South Africa in the top category of most dangerous country in the world, along with poverty, government corruption, and the AIDS pandemic. For this reason, writers and musicians in which some of them veterans of anti-apartheid movements, are once again protesting against what they consider to be a government failing to uphold the promise of 'peace, democracy and freedom for all' that Nelson Mandela made upon his release from prison. By 2000, Johannes Kerkorrel claimed in the song "Die stad bloei vanaand" [The city bleeds tonight]: "the dream was promised, but just another lie has been sold."
Two Afrikaans compilation albums of predominantly protest music were released recently: Genoeg is genoeg [Enough is enough] (2007) and Vaderland [Fatherland] (2008), and Koos Kombuis also released a CD called Bloedrivier [Blood River] (2008), which is primarily a protest album. One track, "Waar is Mandela" [Where is Mandela] asks, "Where is Mandela when the shadows descend ... Where is the rainbow, where is the glory?" and another, "Die fokkol song" [The fuck all song], tells tourists who visit South Africa for the 2010 Football World Cup that there is nothing in South Africa; no jobs, no petrol, no electric power, not even jokes. However, these compilations only represent the tip of the iceberg, as many prominent musicians have included protest songs on recent albums, including Bok van Blerk, Fokofpolisiekar, and KOBUS!.
The reality of the New South Africa is decidedly violent and crime is a well-known theme in post-apartheid Afrikaans protest music. The punk group Fokofpolisiekar (which translates to "fuck off police car") sings in "Brand Suid-Afrika" [Burn South Africa]: "For you knives lie in wait, in the garden outside you house," and Radio Suid-Afrika sings in "Bid" [Pray]: "Pray that no-one will be waiting in the garden, pray for strength and for mercy in each dark day." Their's is a country of "murder and child rape" where the only respite is alcohol abuse. In "Blaas hom" [Blow him away] by the industrial band Battery9, the narrator sings how he gleefully unloads his gun on a burglar after being robbed for the third time, and in "Siek bliksems" [Sick bastards] Kristoe Strauss asks God to help against the "sick bastards" responsible for hijackings. The metal band KOBUS! pleads for a reinstatement of the death penalty in "Doodstraf", because they feel the promise of peace has not been realized. In "Reconciliation Day", Koos Kombuis sings: "Our streets run with blood, every day a funeral procession, they steal all our goods, on Reconciliation Day." Elsewhere he states, "we're in a state of war." The video of this song features a lawless microcosm of theft, rape and abuse – a lawlessness reflected in Valiant Swart's "Sodom en Gomorra": "two cities in the north, without laws, without order, too wonderful for words." Hanru Niemand rewrites the traditional Afrikaans song Sarie Marais, turning it into a murder ballad speculating on where Sarie's body will be found. The new protest musicians also parody Voëlvry's music: Johannes Kerkorrel's "Sit dit af" [Switch it off] – a satire on P. W. Botha of the apartheid regime – is turned into "Sit dit aan" [Switch it on] by Koos Kombuis, now a song protesting mismanagement resulting in chronic power failures.
Much of the protest by Afrikaans musicians concerns the legacy of apartheid: In "Blameer dit op apartheid" [Blame it on apartheid] Koos Kombuis sings how "the whole country is evil," yet the situation is blamed on apartheid. Klopjag, in "Ek sal nie langer" [I will no longer] sings that they will no longer apologize for apartheid, a theme echoed by many others, including Koos Kombuis in "Hoe lank moet ons nog sorry sê" [For how long do we still have to say sorry]. Piet Paraat sings in "Toema Jacob Zuma" [Never mind Jacob Zuma]: "My whole life I'm punished for the sins of my father." There is also a distinct feeling that the Afrikaner is being marginalized by the ANC government: Fokofpolisiekar sings in "Antibiotika" [Antibiotics], "I'm just a tourist in the country of my birth," Bok van Blerk sings in "Die kleur van my vel" [The colour of my skin] that the country does not want him despite his willingness to work, because he is white, and in "Bloekomboom" Rian Malan uses the metaphor of a blue gum tree (an alien species) to plead that Afrikaners should not be regarded as settlers, but as part of the nation. Steve Hofmeyr has expressed concern about the statistically high murders of Afrikaner farmers, and has also appealed in several speeches to remember Afrikaner heritage. His songs "Ons Sal Dit Oorleef" (We will survive this)and "My Kreed" (My Cry) also echoes many Afrikaners' fears of losing their culture and rights. The appeals by these musicians, and several others, to be included follows a sense of exclusion manifested in the political, linguistic and economic realms, an exclusion depicted particularly vividly by Bok van Blerk's "Kaplyn" [Cut line], a song that laments that fallen South African soldiers have been omitted in one of the country's show-case memorials, the Freedom Park Memorial, despite official claims of it being a memorial for all who had fought for the country.
Commonly, protest songs in South Korea are known as Minjung Gayo (Korean: 민중 가요, literally "People's song"), and the genre of protest songs is called "Norae Undong", translating to the literal meaning"Song movement". It was raised by people in the 1970s~1980s to be against the military governments of Presidents Park Jeong-hee and Jeon Doo-hwan.
The Minjung-Gayo (Hangul: 민중가요; Hanja: 民衆歌謠) is one of Korean modern singing culture, which has been used as musical means of pro-democracy movement. It was mainly enjoyed by the people who are critical of mainstream song culture in the process of democratization movement. The term of Minjung-Gayo was naturally coined by people in the mid-1980s. Since this was the period when protest songs were grown rapidly and the singing movement began, It was needed to take care of protest songs, a new term that could be used to differentiate them from popular songs was necessary. In a broad sense, The Minjung-Gayo includes the anti-Japanese song on Japanese colonial era which is continued to the early 1970s. But Generally, the Minjung-Gayo means the culture which is matured in the late 1970s and lasted in 1990.
The Concept of Korean Protest Songs (Minjung-Gayo)Edit
Korean protest song called Minjung-Gayo reflects the will of crowd and voices of criticism of the day. Korean protest song has emerged on 1980s, especially before and after of the June Democracy Movement in 1987.
Korean Protest Songs Before 1980sEdit
The starting point of Korean protest songs was the music culture of Korean students movements around 1970. With criticizing about pop music or overcoming, it started that their own unique music culture having certain coriander layer and own existing method distinguished with pop culture. a few songs called as 'Demo-ga' (demonstration songs) and others from 1960s was chosen as 'Minjung-Gayo' (Korean protest songs). There're 'Haebang-ga(Hangul; 해방가)',' Tana-Tana', 'Barami-bunda'(Hangul; 바람이 분다), 'Stenka Razin' an so on. After 1975, another songs like 'Hula-song', 'Jungui-ga' was added in the list.
Through the era of an emergency measure, the atmosphere of Korean universities was getting stiffer. Students who participated in the students' movements had to be prepared to die and they were required to have much stronger faith and actions. Students who participated in students' movements became to be critic against old social systems and pop culture. Due to it being the result of old social system, they started to pursue progressive and political culture. Spreading the criticism against pop music, a series of certain music culture which had such unique criticism of university students was established and it is the base of Korean protest songs.
Korean Protest Songs in 1980sEdit
The short 'Spring of democracy' before May, 1980 coming after 10.26 situation in 1979 was such a big opportunity to show the protest songs hidden by a few students to many students in public demonstrations. the organizers of demonstrations was spreading papers that the lyrics and sheet music was written on in continued demonstrations and in this period, the most of demonstrations were started to make the atmosphere with learning the songs.
The main stream of Korean protest songs in 1980's could divided in 3 period. The first period is the establishment of the protest songs. It is the period that many songs composed as marching song with minor like 'The March For Her' (Hanguel : 임을 위한 행진곡) were being written and the number of the songs were increased massively from 1980 to 1984.
The second period started with young men fresh just out of college, who had engaged in music club. They perform a concert the story of song "Eggplant Flower(Hangul; 가지꽃)" in Aeogae little theater by lending the name of theater "Handurae(Hangul; 한두레)". In this period, music has taken a part of social movement.
The third period is after the Democratic uprising in June of 1987 and the first regular performing of 'People seeking music' held in Korean church 100th anniversary memorial in October that same year after the great labor conflict in July, August, September of 1987. In this period, they were trying to figure out how could they overcome limits that 'the music movement in universities' had and find new ways that they should be on. After successive the great labor conflict in July to September, protest song reflects the joys and sorrows of workers'. After going through this period, protest song embraces not only the intellectuals, but also the working-class population.
Korean Protest songs after 1990sEdit
From the middle of 1990s, since the social voices of the students' demonstrations and the labor demonstrations started getting decreased, Korean protest songs have lost their popularity in many other fields except the struggle scenes. It is the period that the music groups in universities and the professional cultural demonstration groups started trying to change the form of Korean protest songs and trying new things. It was not easy to change such generalized form of the music into the new wave.
In 2000s, the memorial candle demonstration for the middle school girls who were killed by U.S Army's tank to the demonstration against importing mad cow disease beef from U.S, such people participatory demonstration culture started being settled. In this period, the songs not having such solemn atmosphere like 'Fucking USA', 'The First Korean Constitution' was made, but the influence still could not spread wide and only stayed in the field
Born in Iksan-si, Jeonlabuk-do, he moved to Seoul before he was in primary school. He made a group named 'Dobidoo' when he was in Seoul University and started writing music. At that time, he met Heeuen Yang, who was his primary school friend and gave her song named 'Morning Dew'<아침 이슬>, it was released in 1970. In 1972, he was arrested for singing songs 'We Will Win'<우리 승리하리라>, 'Freedom Song'<해방가>, 'The Child Blowing Flowers' <꽃피우는 아이> and so on, and all of his song prevented from broadcasting. After he got out from Korean army, he wrote Heeuen Yang's song 'Like the Pine Needles in Wild Grassland' <거치른 들판의 푸르른 솔잎처럼> and also wrote the song named 'The Light in the Factory' <공장의 불빛>.
'People who're finding songs'Edit
'People who're finding songs'[노래를 찾는 사람들] is the music group writing Korean protest songs in 1980-90s (known as 'Nochatsa'[노찾사]). There're many demonstrations against the Korean military dictatorship around Korean universities in 1980s, and since then, lots of protest songs has been written by the students in those universities. Korean protest songs [hangul : 민중가요 Minjung-gayo] reflected the reality of the period different from typical love songs so they wouldn't expect commercial success from the songs. However, the group's albums were actually commercially successful and have left footprints in Korean pop music history. 'Meari' from Seoul univ, 'Norea-erl' from Korea univ, 'Hansori' from Ehwa women univ, 'Sori-sarang' from Sungkyunkwan univ and etc were participated in the group
"Island's Sunrise" (Chinese: 島嶼天光) is the theme song of 2014 Sunflower Student Movement in Taiwan. Also, the theme song of Lan Ling Wang TV drama series Into The Array Song (Chinese: 入陣曲), sung by Mayday, expressed all the social and political controversies during Taiwan under the president Ma Ying-jeou administration.
In Thailand, protest songs are known as Phleng phuea chiwit (Thai: เพลงเพื่อชีวิต, IPA: [pʰlēːŋ pʰɯ̂a tɕʰīː.wít]; lit. "songs for life"), a music genre that originated in the '70s, by famous artists such as Caravan, Carabao, Pongthep Kradonchamnan and Pongsit Kamphee.
Emel Mathlouthi composed songs since a young age which called for freedom and dignity in a Tunisia ruled by the dictator Zine El Abidine Ben Ali, earning her scrutiny from internal security forces and forcing her to retreat to Paris. Banned from the official airwaves, her protest songs found listeners on social media. In late 2010 and early 2011, Tunisian protesters referred to her song Kelmti Horra (my word is free) as an anthem of the Tunisian Revolution.
The roots of the rebellious/protest music in Anatolia goes back to the 16th century. Asiks who lived in that era, like Pir Sultan Abdal, Koroglu and Dadaloglu who lived in the 18th century are still the inspirations. The tradition of rebellion have gone for centuries and have given many song to this geography's culture. The message in Turkish protest music has been against inequality, lack of freedom, poverty, and the freedom of expression. Milder elements in this style are referred to as progressive, while some die-hard protest musicians have been prosecuted, and sometimes persecuted, in the 20th century Turkey. More than a few Turkish singers have been forced to exile, most notably Cem Karaca, who later returned to Turkey during freer conditions and atmosphere. Typically, Protest Music bands are leftist bands with a huge following, especially in high schools and universities. The music is a crossover between folk and rock and the lyrics are about freedom, repression and uprising, capitalism and the oppressed, and the revolution that never comes. It's customary to say anti-American slogans here and there. The male singers always have a what we call Davidian voice (meaning deep and husky a la Barry White) and the females usually sing nasally with a high pitch.
Lazar Brčić Kostić was a former Yugoslavian protest singer-songwriter.
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- Peter., Rühmkorf (1978). Strömungslehre (Erstausg ed.). Reinbek bei Hamburg: Rowohlt. ISBN 978-3499251078. OCLC 4779148.
- "The Role of Poets in Freedom Struggle".
- Song sample, sung by Shuli Natan, taken from www.songs.co.il
- CBC Arts (June 22, 2006). "Roger Waters makes mark on Israel's wall". CBC.ca. Canadian Broadcasting Corporation. Archived from the original on July 4, 2006. Retrieved 1 January 2015.
- "Waters writes on West Bank wall". BBC Online. BBC. June 22, 2006. Retrieved 1 January 2015.
- Waters, Roger (March 11, 2011). "Tear down this Israeli wall". The Guardian. Guardian News and Media Limited. Retrieved January 1, 2015.
- "Zimrat Ha Aretz songs are NOT 'Haaretz' newspaper SHALOM songs". Jerusalem Song Club "Zimrat HaAretz".
- Babnik and Golani, eds. (2006). Musical View on the Conflict in the Middle East. Jerusalem: Minerva Instruction and Consultation Group. ISBN 978-965-7397-03-9.CS1 maint: Uses editors parameter (link)Lyrics by Ali Ismayel.
- Cheyney, Tom (1 March 1990). "Miriam Makeba Welela". Musician (137): 84.
- Voëlvry is discussed in detail by Hopkins (2006) in Voëlvry. The movement that rocked South Africa (Cape Town: Zebra Press), and Grundlingh (2004) in "'Rocking the Boat' in South Africa? Voëlvry music and Afrikaans anti-apartheid social protest in the 1980s", The International Journal of African Historical Studies, 37(3):483–514.
- Nidel, Richard (2005). World music: The basics. Routledge. p. 404. ISBN 978-0-415-96800-3.
- Kim, Byung-soon (2013). "한국 민중가요의 전개와 대중성 / Development and Popular Appeal of Korean Min-joong Ga-yo". Master Thesis in Busan Univ.
- Kang, Woong-sik. 민중가요의 역사적 의미에 대하여.
- Kim, Chang-nam. 민중가요의 대중음악사적 의의.
- "글로벌 세계 대백과사전/한국음악/한국음악/한국의 서양음악가/대중음악가 - 위키문헌, 우리 모두의 도서관". ko.wikisource.org (in Korean). Retrieved 2018-05-23.
- Kang, Min-suk (2005). 노래를 찾는 사람들, 지금 여기에서. ISBN 9788988526484.
- "..ปฐมบทเพลงเพื่อชีวิต ..." kreenjairadio (in Thai). 2007-12-27. Archived from the original on 2009-02-28. Retrieved 2016-11-09.
- "TC - Protest music after the Coup/ Songs that changed our lives". Retrieved 2 December 2016.
- "Turkish Protest Music". Archived from the original on 13 September 2007. Retrieved 2 December 2016.
- 28, seha July; 20:34, 2013 at (10 June 2013). "Protest Music from Gezi Park". Retrieved 2 December 2016.
- Fowke, Edith and Joe Glazer. Songs of Work and Protest. New York: Dover Publications, Inc., 1973.
- Denisoff, R. Serge. Sing a Song of Social Significance. Bowling Green: Bowling Green State University Popular Press, 1983.
- Ray Pratt. Rhythm and Resistance: Explorations in the Political Uses of Popular Music (Media and Society Series). Praeger, 1990.
- Ronald D. Cohen & Dave Samuelson. Liner notes for Songs for Political Action. Bear Family Records, BCD 15 720 JL, 1996.
- Ron Eyerman and Andrew Jamison. Music and Social Movements: Mobilizing Tradition in the Twentieth Century. Cambridge University Press, 1998.
- David Robb (ed.) "Protest Song in East and West Germany since the 1960s". Rochester, NY: Camden, 2007.
- Scaduto, Anthony (2001). Bob Dylan. Helter Skelter, 2001 reprint of 1972 original. ISBN 978-1-900924-23-8.
- "Strange Fruit" – history of protest music from PBS
- "Vietnam: The music of protest", Steve Schifferes, BBC News, Sunday, 1 May 2005
- Labor and Industrial Folksongs: A Select Bibliography from the Library of Congress
- Protest Songs & Lyrics an educational resource