Today we continue Pete Mason’s look at protest music in the United States. Be sure to read part one, if you haven’t done so yet.When David Crosby and Graham Nash played Zuccotti Park on November 8th, their 20 minute set ( “Long Time Gone,” “Military Madness,” “What are Their Names,” “They Want It All,” “Teach Your Children” ) touched on common themes in support of protest and free speech, ending war and supporting peace, against the corporations and those that run them. The set then ended on an upbeat note, emphasizing the need to set a moral example, both to your children and to your parents as well.

The major focus of most popular protest music in the 1960s and 1970s is the Vietnam War . Lee Andresen’s book Battle Notes: Music of the Vietnam War cites 178 songs with such a subject matter. One of the first is Dylan’s “Masters of War,” which adapts its music from the English Folk song “Nottaman Town.” “Masters of War” calls for pacifism in relation to President Eisenhower’s description of the ‘military-industrial complex.’

Phil Ochs, a ‘topical singer’ as he put described himself, studied journalism in college and found more radical topics to write on than his college paper would allow. He began an underground paper, The Word and penned articles on politics and music. He later moved to New York City to become a “singing journalist.” In time, Ochs played at numerous events, including Anti-Vietnam War rallies, college events, labor gatherings and civil rights rallies, as well as a headlining performance at Carnegie Hall. Ochs was influenced by the first wave of protest singers such as Pete Seeger and Woody Guthrie but also by rock stars like Buddy Holly and Elvis Presley as well as other notable figures, including John Wayne and President John F. Kennedy. His song titles alone hold a hint at what Ochs stood for: “I Ain’t Marching Anymore,” “Draft Dodger Rag,” “The War is Over,” “Love Me, I’m a Liberal” and “Changes.” In describing his own songs, Ochs offered two quotes that apply to protest music in general:

“One good song with a message can bring a point more deeply to more people than a thousand rallies.”
“A protest song is a song that’s so specific that you cannot mistake it for bullshit”

Arlo Guthrie’s 18 minute long “Alice’s Restaurant,” is a bluesy satire of the Vietnam draft, citing his personal experience that anyone convicted of a crime could not go to war (and presumably commit war atrocities). Taking the trash out (semi-illegally, at the town dump while it was closed) led to an arrest. Later when Guthrie went to his local draft board, his littering charge was enough to deem him not morally suitable for war. The irony of this story is explained in great detail, with the intro and refrain citing “You can get anything you want, at Alice’s Restaurant,” even getting out of going to Vietnam. The song is notable for its direct message encouraging listeners to resist the draft and end the war.

Country Joe McDonald was a veteran of the Navy, a fact that adds some zest to his notable Vietnam protest song, “Fixin to Die Rag.” Recorded by Country Joe and the Fish, it blames the leaders in Washington as well as the military industry for U.S. involvement in the conflict. The song’s catchy lyrics are part of its popularity.

And it’s one, two, three,
What are we fighting for?
Don’t ask me, I don’t give a damn,
Next stop is Vietnam;
And it’s five, six, seven,
Open up the pearly gates,
Well there ain’t no time to wonder why,
Whoopee! we’re all gonna die.

“Fixin to Die Rag” gained renown when the group sang it at Woodstock in August of 1969.

Crosby, Stills, Nash and Young, who performed their second-ever gig at Woodstock recorded one of the greatest songs of the anti-Vietnam war era with “Ohio.” Released only a month after the shootings at Kent State that left four students dead, the immediacy of the release demonstrates the anger many felt over the unprovoked violence, leaving many wondering why the students died (and nine were injured) during a peaceful protest regarding the war’s extension into Cambodia. The B side to the single, “Find the Cost of Freedom,” a Stephen Stills penned number borders on spoken-word, with its poetic, four short lines:

Find the Cost of Freedom
Buried in the Ground
Mother Earth will Swallow You
Lay Your Body Down

John Lennon’s legacy in the post-Beatles era revolves around his peace activism, something he came to be passionate about in his life and his music. “Imagine,” “Give Peace a Chance,” “Working Class Hero,” “Gimme Some Truth,” “Power to the People” – all these songs with The Plastic Ono Band sang to the popular spirit of fans, bringing protest music into the mainstream. Who could ignore a Beatle singing songs of love and peace, especially one as lasting and memorable as “Imagine?”

Meanwhile, Black Sabbath’s “War Pigs” expresses overt tones of anger and frustration. The song often was played in concert with projections of World War II images, despite the fact that it debuted at the peak of the Vietnam War. All told, the metal tune is a blunt force with powerful lyrics that do not shy away from the horrors of war.

Combining the ongoing racial disparity in America with the war in Vietnam, Marvin Gaye’s “What’s Going On?” was written in 1971 after Gaye’s brother returned from Southeast Asia. This anti-war song was a change from the soulful love songs Gaye was known for, and harkens back to Bob Dylan’s questions in “Blowin’ in the Wind.” Released on a concept album of the same name with themes of war, corruption and drug abuse, “What’s Going On?” was a popular hit and eventually was later chosen as #4 in Rolling Stone’s 500 Greatest Songs of All time. Reacting to the state of the social fabric that he believed was being torn apart through riots, protests, and police brutality, Gaye struggled to understand how the struggle for freedom and equality were pushed aside in the pursuit of continued warfare.

In Battle Notes Lee Andresen observes that the phrase “What’s Goin’ On?” drawn from the African-American lexicon, expressed disillusionment and captured the broad impact of the Vietnam War both abroad and at home. The personal struggles of Gaye’s brother that led to the line “For only love can conquer hate” are not owned solely by this Vietnam era, but reflect every struggle endured in the subsequent years. Many new versions were recorded over the years and a variety of artists interpreted the song for Artists Against AIDS Worldwide, (released shortly after the events of 9/11, a portion of the proceeds from the sale went to the American Red Cross).

Poet Gil Scott Heron recorded “The Revolution Will Not Be Televised” in 1970 as a spoken word track on the album Small Talk. The powerful three minute piece is anti-government and anti-media at its core, citing references to politicians, actors, movies, television shows, singers and songwriters and advertising jingles. Heron’s powerful voice, the deep beats and pre-rap vibe to the song make the song a lasting effect of a bygone era, one where thinking the revolution would not be televised made sense. In certain respects this is analogous to the Occupy Movement of today. The difference is that while the Occupy Movement will not be televised – it will be streamed, tweeted, posted and shared faster than the late Heron could have ever envisioned.

To be continued…