Expression Essay, Research Paper

Music is the most powerful vehicle of human look. As the incarnation of love, disapproval, felicity, experience life, music speaks to us, because it comes from us. Each people, in each paradine of the human experience instinctively and consistently change the music of the yesteryear to stand for the worlds of the present. In this century, black music, more specifically Soul music, has been that music that has brought to kick position that which evidences our humanity hope, injury, joy and passion in such a manner that the universe has no other pick than to experience its power and wonder in its glare. When one discusses the relationship between Soul music and the civil rights motion, it becomes a dialouge really kindred to that of the poulet and the egg. The period of Authoritative Soul is that period chiefly, but non entirely referenced as the 1950 s, 60 s and 70 s ( Stephenson 186 ) . This is the clip frame of the American Civil Rights Movement, and the impact of the monolithic alterations traveling on, are reflected in the music and the civilization. So one would be right in both presuming that the Civil Rights Movement gave rise to Soul music, as much Soul music contributed to the success of the run for civil rights. Soul music during its flower, did more than merely entertain. For a race of people it served as a beginning of motive, strength and instruction, for a people immersed in convulsion and calamity. The establishment of segregation had efficaciously inhibited the general public s consciousness of the great accomplishments and parts made by African-americans throughout the history of the United States ( Franklin 429 ) . Inasmuch, Soul music sought to convey that undersight to light. Soul vocals like Donny Hathaway s To Be Young, Gifted and Black, was radical, in that they sought to transfuse pride of one s history, but at the same clip actuate a new coevals to make new highs. As Hathaway says, We must get down to state our immature, Don T you know that there is a whole universe waiting for you? , he is naming for the instruction of black pride to the young person, which was a broad spread tendency in black communities of the sixties and 70s ( Hathaway ) . James Brown s Say It Loud, I m Black and I m Proud, became an anthem for the motion ( Brown ) . The vocal s wordss like, .Don T quit traveling, until we get what we deserve we d instead dice on our pess, than maintain life on our articulatio genuss, were words of inspiration for those involved in the battle for equality. Whereas the prevailing subject of beat and blues was love and other sort of human relationships, psyche vocalists voiced concern about the societal unfairness, racial pride, black combativeness, and signifiers of protest ( Southern 517 ) . Eileen Southern s statement on Soul music greatly describes the type of plants produced by Hathaway and Brown at the clip, yet was definetly non sole to these two creative persons. The period wherein Soul intertwined with the Civil Rights Movement, produced music greatly influenced by the environment in which its Godheads lived. Donny Hathaway s, Ghetto, and Marvin Gaye s Inner City Blues ( Makes Me Wan na Holler ) , speak of the abrasiveness of life in the Inner City ( Hathaway/Gaye ) . Social ailments and political agitation were a major subject of Soul music, and Marvin Gaye s work, about more than any other creative person, was demonstrative of this fact. Gaye s album What s Goin On, was his commentary on the societal jobs of the period, and through its success enormously impacted the increasing societal consciousness. Despair within the black community was given voice in Gaye s Inner City Blues. Inflation, revenue enhancements, unemployment and constabularies ferociousness were numbered among the subjects addressed in the vocal. The sense of hopelesness of the piece can outdo be conveyed in the line stating, this life ain t worth the life.makes me wan na bellow, throw up both my custodies! ( Gaye ) . Salvage the Children goes on to inquire: Who is willing to seek and salvage a universe that is destined to decease? , yet goes on to state unrecorded life for the kids allow s salvage the kids ( Gaye ) . So, even in the thick of great desperation, Gaye, and other creative person of his genre, did believe in the possibility of alteration. & # 8220 ; Ball of Confusion, & # 8221 ; debuting in 1970, gave the Temptation & # 8217 ; s take on the social ailments blighting their times. It explored the white migration to the suburbs, urban public violences, politicians, etc. , as it expressed the sense of convulsion experienced during that clip which seemed to all come together in a & # 8220 ; Ball of Confusion. & # 8221 ; The wordss province that & # 8220 ; the lone individual speaking about love my brother is the sermonizer the lone individual interested in larning is the instructor & # 8221 ; ( Temptations ) . These lines express a subject of love and instruction as the remedy to society & # 8217 ; s jobs. In a deeper sense, it says that people should concentrate on solutions, non the jobs which create desperation. In the spirit of this soluti

on-based songwriting, a strong, no-holds-barred message to youth about the importance of getting an education was given voice in October of 1966. James Brown’s “Don’t Be a Drop Out” is a story of a drop out who compares himself to friends who continued their education. The song says, “they kept on pushing when the going got tough, and now they know that things don’t seem so rough”(Brown). James Brown knew the importance of this first hand having no formal education. He implemented a program which encouraged kids to stay in school and gave scholarships for those that wanted to go to college. Brown also worked to improve the quality of education in urban areas. He later releases two anti-drug songs, “King Heroin” and “Public Enemy No. 1.” He had realized the devastation that drugs brought to the black community and the songs were used as the tool to educate blacks about their danger. James had become a role model for black youth not only through his music but through his commitment to the black community, thus serving as a shining example of the lessons of his music. Brown’s message of change by improving currently existing systems was conservative in comparison to some more radical artists. These artists, like the Last Poets, belived that change would only come around through a revolution. The Last Poets who use a combination of spoken word and music in their song “Niggers Are Scared of Revolution” exemplify this. The song addresses apathy in the black community about black revolution and the lack of participation in the movement (Last Poets). Gil Scott Heron is an artist with a similar message. His work “The Revolution Will Not Be Televised” discuss the media’s purposeful ommitasnce of pertinent black issues, and the manner in which change will occur. The song “Power to the People” by the Chi-Lites was originally the slogan for the Black Panther Party. “Young, Gifted and Black” by Nina Simone, “People Get Ready” by the Impressions and Edwin Starr’s “War” are just a few of the many songs which drew the black community together to raise social consciousness. Black music, specifically Soul music, will never diasppear. Though the motivation for the music may change nominally, the spirit behind it will always stay the same. Passion, pain, despair, love and hope, will forever remain key elements of the human experience. This truth is the reason in which we have seen Soul music change to fit the times in which it exists. Some hip-hop artists such as De La Soul, Public Enemy and even Arrested Development carried a strong message of social change. Yet, their time too was limited as the black American climate slightly changed. Today artist such as the crowned king and queen of the newly dubbed category of “Neo-classic soul” bear the torch. D’Angelo and Erykah Badu talk about revolution and the state of the black community and relationships. Badu’s “On and On” expresses her thoughts of how she feels that we are born into the middle of a world in constant struggle as she says, ” .my life keeps going like a rollling stone ..I was born under water with three dollars and six dimes (a metaphor to 360 degrees in reference to her never-ending struggle)”(Baduizm). D’Angelo addresses the rampant use of marijuana in his “Brown Sugar” as he writes, “I want some more of your brown sugar .your love makes me high right to the sky .my eyes are blood burgundy.” His Devil’s Pie addresses drugs and money (Belly Soundtrack). Both Badu and D’Angelo give their takes on bad relationships in “Tyrone” and “Shit, Damn, Mother Fucker,” respectively. Badu’s “Other Side of the Game” even addresses the issue of being involved with a man who sells drugs. She writes, “Do I really want my baby ain’t honest, but it pays the bills.” The subject matter addressed by Badu and D’Angelo express many of the problems endured by today’s generation, some of which may not have been experienced in the same manner of generations past. Music is an expression of life. Hence, it can only be a reflection of life’s experiences. Soul music speaks directly to the human experience. It attacks the maladies of our existence. It empathizes with our pains, and rejoices in our happiness. Masterfully, has it changed so as that it remains sensitive to our needs today. Only the beat has changed. The Soul of soul, however, the message, will always remain. Works Cited Badu, Erikah. Baduizm. Kedar, 1997. Brown, James. James Brown’s 20 Greatest Hits. Polygram, 1991. D’Angelo. Brown Sugar. EMI, 1995. D’Angelo. Belly Soundtrack. Def Jam, 1998. Gaye, Marvin. Marvin Gaye Anthology. Motown, 1981. Hathaway, Donny. A Donny Hathaway Collection. 1996 Heron, Gil Scott. The Revolution Will Not Be Televised. Interscop, 1971. Last Poets. The Last Poets. Ultrasound, 1967. Southern, Eileen. The Music of Black Americans. New York; W. W. Norton and Company, 1997


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