Tag Archives: propaganda

Beyoncé, “Freedom”, and the Pursuit of Kamala Harris

Posted on by
Reply

Kamala Harris and Beyoncé Knowles Carter sharing an embrace ahead of the ‘Harris for Reproductive Rights’ rally in Houston Texas (10/25/24)

If you have any interest in keeping up with the news once the leaves start changing colors, the chances are high of running into political advertisements, reports, and overall name-calling and bashing across the aisle. This is at least true of this year’s race to the presidential office, featuring special guests Kamala Harris/Tim Walz, and Donald Trump/JD Vance. Those who identify as “Generation Z” (ie people between the ages of 12-27), likely encounter political propaganda through unconventional platforms, such as social media, specifically TikTok and Instagram. While scrolling through TikTok, I frequently come across political videos paired with music, drawing attention to the role of sound in political messaging (example here). In light of our discussions on protest music and social change, one song has entered the public consciousness as an “unspoken anthem” for the Harris/Walz campaign: “Freedom” by Beyoncé Knowles Carter. 

In a CBS news article posted in late October, Beyoncé was reported to have endorsed (declaring one’s public approval of) Harris for President of the United States of America at a Harris rally for reproductive rights in Houston, Texas this October, giving Harris a warm welcome to her [Beyoncé’s] home-town crowd: 

Beyoncé speaking at Harris Reproductive Rally, October 2024

“It’s time for America to sing a new song. Our voices sing a chorus of unity. They sing a song of dignity and opportunity. Are y’all ready to add your voice to the new American song?” she said. “Ladies and gentlemen, please give a big, loud, Texas welcome to the next president of the United States, Vice President Kamala Harris” (CBS).

This profound musically-themed statement speaks to the tradition of protest songs within politics, which have historically served as powerful anthems for social change and collective resilience. 

Campaign songs are used when candidates wish to constitute their identity in sound, “to sonically construct themselves in a way that appeals to the public as well as offers insight into their character and their beliefs” (Morrison). In Harris’ current campaign, she includes various black artists – Aretha Franklin, Megan Thee Stallion, Whitney Houston, Beyoncé, and more to cultivate a rich soundtrack for her presidential narrative. 

“Lemonade”, recorded in 2016 by Beyoncé, features artists Kendrick Lamar, The Weeknd, and more.

One standout track is Beyoncé’s “Freedom”, recorded on her 2016 album Lemonade (Spotify). The song “samples two John and Alan Lomax field recordings, which document Jim Crow-era folk spirituals of Southern Black churches and the work songs of Black prisoners from 1959 and 1948, respectively” (Morrison). Compared to her previous campaign song, Mary J. Blige’s “Work That,” “Freedom” adopts a more urgent tone, enhanced by gospel signifiers and its textual reference to the African American spiritual “Wade in the Water” (Burleigh). 

Harris/Walz campaign propaganda poster with the words, “FREEDOM”

By choosing “Freedom,” Harris aligns her campaign message with the empowering narrative embodied in Beyoncé’s music, which symbolizes feminine vitality and perseverance. As we await the election results, it’s important to consider the underlying messages these songs convey and their impact on our collective consciousness.

WORKS CITED

Beyoncé, featuring Kendrick Lamar. “Freedom.” Spotify, https://open.spotify.com/track/7aBxcRw77817BrkdPChAGY?si=80661cef05c54052.

Burleigh, Harry T. “Wade in de Water.” Digital Library, York University, https://digital.library.yorku.ca/node/1099291.

CBS News. “Beyoncé, Willie Nelson Join Houston Rally with Kamala Harris to Support Reproductive Rights.” CBS News, 26 Oct. 2024, www.cbsnews.com/news/beyonce-willie-nelson-houston-rally-kamala-harris-reproductive-rights/.

Morrison, Lila. “Beyoncé’s ‘Freedom’ Is the Perfect Campaign Song for Kamala Harris.” Vox, 19 Aug. 2020, www.vox.com/culture/367709/beyonce-freedom-kamala-harris-campaign-songs.

I Saw Three Ships Come Sailing In! They Carried Toys and Propaganda!

Posted on by
Reply

In 1914, during World War I, an appeal was published in the Chicago Herald, asking American children to donate toys, sweets, and money to suffering children in Europe whose Christmases that year surely would not be as joyful. These donations traveled to Europe on the U.S.S. Jason, a Navy fuel/cargo ship, branded for this special journey as “The Christmas Ship,” or, “The Santa Claus Ship.” This appeal soon became a national movement, gathering involvement from the Red Cross and other organizations, and meriting a song to be widely performed (often by the children themselves!) to persuade children to donate gifts. This song was called “Hurrah! Hurrah for the Christmas Ship!”1 and it was written by Henry S. Sawyer, who was a composer of popular piano and vocal music at the time (see on IMSLP, his incredibly problematic “Os-Ka-Loo-Sa-Loo,” among others). The song features a cheerful melody and inspiring words. It appeals to a child’s sense of wonder at the wideness of the world and the magic of Christmas, but the lyrics also raise some issues in terms of perpetuating propaganda. 

The front cover to Hurrah! Hurrah for the Christmas Ship. Notice the whimsical sailboat with Santa himself at its helm.
Henry S. Sawyer, Hurrah! Hurrah for the Christmas Ship. (Chicago, Illinois: McKinley Music Company, 1914).

The European children are referred to as “poor,” and “suffering,” implying not only their financial hardship but also poverty of spirit. The lyrics reference the “terrors” these children endure, including “fire, gun, and sword,” and homelessness. A written message on the back cover also contributes to harmful and sexist gender norms, asking girls to sew things then sell them, and asking boys to do chores and run errands for money. 

The actual “Christmas Ship,” A.K.A. The U.S.S. Jason, in November 1914. Not very whimsical, and presumably no Santa to be found.
Green, Mike. USS Jason (Fuel Ship #12) underway. Photograph. Nov 14, 1914. Library of Congress, LC-B2- 3291-3. http://www.navsource.org/archives/09/02/09021220.jpg (Accessed October 19, 2022).

However sweet the gesture and movement is, these descriptions contribute to the propaganda of wartime morale songs. While the lyrics do not directly insult enemies, the propaganda comes in the form of asking for money and instilling nationalism. If nothing else, this song trains American children that giving money during wartime is an important thing you must do for your country. Especially considering that 30 years later, many of these children will grow up to be adults during World War II, where money-pandering was a huge part of American propaganda. By asking American children to effectively be Santa Clause, this song could contribute to a superiority or savior complex that could result in nationalist ideals.  

People packing boxes of gifts for the Christmas Ship ahead of its departure.
Bain News Service, Publisher. Packing for Christmas Ship. 1914. Photograph. https://www.loc.gov/item/2014697999/.

Despite the propaganda, this effort was received very well by Europe. In an article published in November 1914 in the New York Times2
, the author reports that “the citizens of Greater Plymouth [England] manifested in every possible manner the heartfelt appreciation of the 6,000,000 Christmas gifts sent by the people of the United States to the unfortunate children in the war zone.” The receiving countries hosted banquets in honor of the ship’s arrival, and telegrams were exchanged on both sides. The ship’s arrival was met with excitement and gratitude, so clearly the propaganda worked. While this movement was a sweet idea, the execution perpetuates the nationalist propaganda that runs rampant during the wartime era, indoctrinating children into the compulsion to give money and ultimately fund the war effort.

Why “American” Music?

Posted on by
Reply

A poster from War time used as propaganda to rally spirits

What is the purpose of defining American Music? At least in our class setting, we have treated the desire to define American music as the intellectual endeavor to become an independent nation and establish a sense of musical nationalism separate from Europe. For example, jazz history is often narrated as a quest for an independent, truly American sound. Folklore has also been a source of inspiration; so many composers and musicians have drawn on folk music to establish an unprecedented sound.

Other than for pure enjoyment or education, music also plays an important role in politics and society in most, if not all cultures. Why is having a “national” sound so important? Was it to simply have pride in having a uniquely American sound? Or was it to become an independent nation not only politically, but also culturally? Because music is so prevalent in everyday life, it can be a positive or negative force.

In the newsreel series March of Time, one of the episodes, “Upbeat in Music,” shows just how powerful music can be on a large scale.

March of Time Series: Upbeat in Music episode 5

 In “Upbeat in Music,” music is being used as a rallying force to encourage people to go to war. It uses the “American” sound to evoke feelings of pride in the US and also excites people with a delusional image of war and what it means to serve your country. The narrator mentions many composers such as Gershwin and Copeland that represented the American spirit. In The Songs That Fought the War: Popular Music and the Home Front, 1939-1945, by John Bush Jones, he states that every song does its part in fighting the war.

Entertainment is always a national asset. Invaluable in time of peace it is indispensable in wartime . . . All those who are working in the entertainment industry . . . are building and maintaining national morale both on the battlefront and on the home front’’ ~Franklin D. Roosevelt

Since music had such an influential role on society, and also in a sense worked in favor for the government, it had political power. How crazy is that? Because music had political power, there were people who desired to maintain that power. One way music was used as a political tool was through censorship. In Marie Korpe’s article Shoot the Singer! Music Censorship Today, she claimed that music had an important position in organizing political opposition or enforcement. For example, if a certain song relayed messages of rebellion, the government would ban it. Music had the power to evoke excitement, nostalgia, homesickness and many other feelings that could contribute to the productivity of the war.

The idea that music can be used for political or social advancement is not a novel concept. In the time of slavery, instruments were banned from slaves because they could be used as communication and songs to resist masters. The music itself was used to keep spirits up, and also regulate the speed at which they worked. Because this music aided slaves with their work, its use was encouraged because it proved to be useful to the slave masters. This is one example in which musical censorship was employed to control a group of people on a larger scale.

Music saturates society and everyday life much more than we realize. With the power that music can hold, it is necessary to be responsible in educating ourselves how it may affect people both positively and negatively.

Work Cited

Jones, John Bush. The Songs That Fought the War: Popular Music and the Home Front, 1939-1945. Waltham: Brandeis University Press, 2006. 31.

Street, John. Popular Music 24, no. 1 (2005): 153-54. http://www.jstor.org/stable/3877600.

Korpe, Marie. Shoot the Singer! Music Censorship Today. Cambridge: Cambridge University Press. 2005.

Upbeat in Music. Performed by March of Time . New York, NY: Home Box Office, 1943. Film. 2011. http://search.alexanderstreet.com/view/work/bibliographic_entity%7Cvideo_work%7C1792615.