Essay Sample on America's Movements and Its Music

Introduction

Music is commonly thought of as a source of entertainment. However, it is still possible to find the same music advocating for peace in times of negotiations as it influences one's thoughts, actions, and feelings. It was in the early 1960s that folk singers including Judy Collins and Pete Seeger came together to produce music with a common message, an antiwar message. In that connection, the Vietnam era in the US was the most influential time in America. It was through music that people's lives were flipped to upside down and the lifestyle of the normal citizens changed (Arnold 317). Music of the era was felt as revolutionary such that little could be heard of the antiwar protesters. Music could replace the concerns of these people and it reached a point such that some of the previously organized activities against the Vietnam War were grounded music performances at clubs, concerts, or even institutions. People always thought that the era was mainly focused on rock and roll yet it was the revival of folk music and peaceful protests and demonstrations.

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Most of the folk artists were connected to the civil rights movement, which was tasked with enhancing demonstration against the segregation of Southern Cities such as Selma (Scott 'What's That Sound'). Some music was made to emphasize on the losses in the civil rights struggle including 'The Lonesome Death of Hattie Carroll' by Dylan and 'Birmingham Sunday' by Baez (US foreign policy, 'Protest Music of the Vietnam War'). Most of these songs were controversial to what people thought of them. for instance, Dylan's music, even though the thought of as moving peace, could be more of general than specifically targeting Vietnam. A lot of people, especially the young could call for freedom to integrate the oppressed people around the globe. Some of the music could also point out the nature of the wrongs of Vietnam through the chronicling of tragedies of southern violence in their music.

Folk music in the Vietnam Era also focused on Escalation. The United States started an initiative of escalating its military presence in Vietnam. However, with folk music, most of the Protestants started shifting their focus. As a result, the protest movement started going national, especially on the educational institutions of America. It was steamed to extents of creating a March in Washington, to imitate the civil rights march in 1963. People could chant lyrics sourced from meetings or even say it in their own comprehension while matching (Arnold 324). Various folk music artists could be seen in anti-war rallies hence, the thought of them enhancing peace amongst the people. Some could enhance an understanding of the hypocrisy of the American values, shunning of commercialism as well as supporting anti-imperial movements worldwide. During escalation of the war, folk music also brought in a feeling for the young people who worked for Vietnam through the Selective service draft emphasizing that they pack off to Vietnam because of the war. Through the action, the American tradition of rebellion was represented in music as a medium for communication (Scott 'What's That Sound'). Many people could not understand what they were fighting for as many of the songs could express the feelings of anger and confusion at the same time with abstract lyrics. These songs of resistance also filled voids in the media landscape of the country. For instance, various programs on television would censor the artists who had the intention of performing protest music hence; enhancing peace amongst the people.

It reached a time when there was half a million military in Vietnam leading to unrest on campus. People could start fighting as the draft reached the student population, enhancing protests hence, the need for peace. Folk music, as well as various rock versions of songs, could act as the center of protest culture and at the same time cultural protests as well as political demonstrations. Music emphasized that US soldiers be withdrawn from the fights yet continue with the bombing. Peace negotiations were on the rise hence, seizing campus protests. The young could, therefore, embrace a swing of music for the 'democratic ethos' in the sense that various Americans from different races and ethnicities could enjoy every bit of music, leading to them neglecting the protests. The government could also employ musicians such as Ellington and Horne to make sure that the morale of the troops is boosted and that they appreciate the country's democratic values. Vietnam Era-musicians could be the only ones talking about the failure of the country to live up to its democratic principles hence, letting many young people embrace them as their own (US foreign policy, 'Protest Music of the Vietnam War').

Later, culture wars were on the rise when counter-culture began to move on to an era when there were no longer considerations of protest movements. The integration of culture with protest still left a legacy until today. Rock music, in this case, started the convergence but was phased out, leading to future uproars on American politics today. Music changed people and not everyone was a protester but resented the dominance of the convergence. However, it was not possible to find the one who would get to define the identity of the nation. In relation to politics, music was more multifaceted that is seldom remembered.

Works Cited

Arnold, Ben. "War Music and the American Composer during the Vietnam Era." The Musical Quarterly, vol. 75, no. 3, 1991, pp. 316-335.

Scott, Clara. "Stop! What's That Sound: How the Vietnam War Changed American Music." The Michigan Daily, 2018, www.michigandaily.com/section/arts/stop-what's-sound-how-Vietnam-war-changed-American-music.

US foreign policy. "Protest Music of the Vietnam War." Peace History, 2016, peacehistory-usfp.org/protest-music-vietnam-war/.