The “Golden Era” of Rock and its Social Reformation
In the 1960s and 1970s rock was in its “golden era.” This era consisted of rock bands from all over the world that produced not only earworms but songs that could make a difference in people’s lives and what they believed in. During the “golden era” of rock, artists used their music as a vehicle for rebellion and social reform, while now rock lacks in those categories with fewer artists using their platforms for societal reformation and change.
The 60s and 70s were filled with major global issues. Occurrences that are still seen today but were more prominent in this period. Some of these issues include civil rights, gender equality, and anti-war movements. With these issues, music would rise to the occasion, influence the audience, and give a broadened and new perspective. Some artists known for their activism in this time include, but aren’t limited to, Pete Townsend of “The Who” and Sting from “The Police.” In an article on the Human Rights’ Careers website called “15 Artists Using Music to Promote Human Rights”, it is said that Pete Townsend “was the first musician to perform for Amnesty International’s Human Rights Concerts and inspired other renowned rock musicians to support the human rights cause.” Sting is said to have “written songs inspired by his concern for world hunger and oppressive political regimes.” These artists fought through their music to bring their beliefs forward to their major audiences.
A better example of an artist during the “golden age” using their platform to contribute to social change is Pete Seeger and his song “Waist Deep in the Big Muddy.” In the book, “Pete Seeger, Musical Revolutionary,” by Brett Clark and Scott Borchert, it is said that “a 1968 audience would have clearly understood that this song is also about Vietnam.” In 1967, Seeger, an already blacklisted artist, performed his song on the Smothers Brothers comedy hour and was censored by CBS. In the same book is his response to being censored which is, “I’m very grateful to C.B.S. for letting me return to commercial broadcasting,” he was quoted in the New York Times, “but I think what they did was wrong and I’m really concerned about it. I think the public should know that their airwaves are censored for ideas as well as for sex.” Seeger didn’t agree with the censorship put on his performance. With his power of music, he added to an ongoing anti-war rebellion and sparked the interest of even more people across the United States. But by 1968 these censors relented, and Seeger returned to the show. He ended up playing the same song, and this time it was broadcast to the homes of millions of people.
From this “golden era” came the gradual shift to modern music and rock. Within this shift, there were changes in style, theme, and demographics. The style changes became more colorful and sparkly, the themes changed to the use of many swear words and sexually suggestive lyrics, and the demographics geared more towards the satisfaction of young teens. With these changes, the result was getting rid of overly political themes in modern music.
Modern music has the industry’s influence glooming over its shoulders. The music industry now takes artists, constructs, and shapes what is produced and how. Many record labels in modern times decide what is considered an acceptable genre and song. Along with this is also the industry’s marketing control. They decide what to put out, who to collaborate with, and who to direct the content to. Making it easier for the artists to succeed with no need or want to speak out against the conflicts around the globe. Marketability also causes artists to want to appeal to mainstream media. The fear of speaking out could be influenced by the stability that the artists receive as well as the opportunities given to them if they “behave” according to the record labels’ standards.
The industry was around in the 60s and 70s, but they weren’t as controlling over artists as they are now. During that time, musicians had creative control over what they wanted to release and with that creative control, the issues that they felt needed to be addressed could be. Without the industry towering over them, they had the freedom to do what they thought was right.
Realistically, there have been musicians in modern times who used their platform and music to speak out against the world’s injustices. Nowadays the issue is that when artists do speak out, the message isn’t always received, and speaking out can affect them in many ways. Some of these ways are with business and personal issues. One of the artists that have recently used their platform is Annie Lennox. In the article on MEAWW’s website called, “Internet furious after Annie Lennox’s live Grammys performance ‘cut off’ over singer’s plea for ceasefire in Gaza,” it is said that “CBS cut the political activist’s mic.” While on stage and being broadcast to the world, Lennox spoke out about the war but was censored overall.
These days when artists speak out censorship and blacklisting are ultimately the scariest part. The backlash of fans all over the world plays a significant role as well. Cancel culture has become some frequent that overall, most musicians with major platforms don’t feel the need to speak out.
In short, the “golden era” of rock music in the 60s and 70s was built around the musicians who used their music and platforms to address the issues that pressed society at that time. Artists like Pete Townsend, Sting, and Pete Seeger are prime examples of using music to create conversations about civil rights, anti-war movements, and human rights. But with the way modern music evolved, the spark that once led musicians to speak out about these problems has had a noticeable shift. This influence comes from the new control and powers of the music industry and the influence of marketability. Although some modern musicians do use their platforms, many stop out of fear. This fear is from the censorship and backlash. Despite these challenges, the “golden era” of rock music serves as the sole reminder of how music can affect and inspire change with real-life issues and social constructs.
References
(PDF) Pete Seeger, musical revolutionary – researchgate. (n.d.). https://www.researchgate.net/publication/272437319_Pete_Seeger_Musical_Revolutionary
Bharti, A. (2024, February 5). “shame on you!” Grammys under fire for cutting off Annie Lennox’s mic as she pleads for ceasefire in Gaza. MEAWW. https://meaww.com/internet-furious-after-annie-lennoxs-live-grammys-performance-cut-off-over-singers-plea-for-ceasefire-in-gaza
Higa, K. (2022, July 19). 15 artists using music to promote human rights. Human Rights Careers. https://www.humanrightscareers.com/issues/artists-using-music-to-promote-human-rights/
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Counterintuitive Spring 2024 
Thanks for requesting Feedback, ILoveMyDog. I’m eager to get started.
But first, some business:
1. I made a style change to your Title. Please observe this change and incorporate it into future essays.
2. MAKE NO CHANGES TO THIS POST YOURSELF.
3. WHY?
4. BECAUSE YOU’LL NEED A CLEAN FIRST DRAFT FOR YOUR PORTFOLIO.
5. INSTEAD . . .
6. Copy and paste the complete contents of this post into a new post you will call Definition Rewrite—ILoveMyDog.
7. Make all your revisions to the NEW POST.
8. At the end of the semester, you’ll put BOTH the original draft AND the rewrite into your Portfolio to demonstrate that you revised your work in response to feedback.
9. I’ll leave the first round of feedback here.
10. But all the rest of our business will take place on the Rewrite.
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OK, LoveMyDog, let’s get down to business. I’m starting at 1:45pm Sunday.
—You and I know roughly what you mean in this paragraph, LoveMyDog.
—I can afford to be wrong in my assumptions, but you can’t.
—You use several very vague phrases: 1. “songs that could make a difference in people’s lives,” and 2. “songs that make a difference in what they believed in,” and 3. “a vehicle for rebellion and social reform,” and 4. “societal reformation and change.”
—Is there any chance that the artists you’re thinking of wanted fewer rights for women? less equality for non-white Americans? an increase in our combat commitment to Asia? more power for monopolistic corporations? using the Bible as the basis for public education? They would all qualify as “social reform and change” from somebody’s perspective. Right?
—It’s not too soon to get at least a LITTLE specific about your terms.
—This is, after all, a Definition/Categorical argument.
—Now you’ve named several of the “issues” I mentioned above, but AGAIN without indicating what HOW the musicians wanted to influence their audience.
—You find this difficult because you think nobody should have to be TOLD which “side” of these questions the artists would defend, but that’s just evidence that we’re so oblivious to the “water we swim in” that we don’t even notice what we haven’t said.
—Does “performing for” the concert qualify as using his music to promote the cause?
—And what, if I may be impolite enough to ask, is the cause?
—It’s hard to find the quote about Sting credible without a concrete example. Got one?
—Again, without a summary of the song, or some sample lyrics, it’s not persuasive to your readers to claim that a song is ALSO about Vietnam.
—And, if it is, what does it have to say about Vietnam?
—This is probably a very valuable example, but it’s still not credible without something tangible.
—OK. That does it. I’m going to find the lyrics.
It was back in nineteen forty-two, / I was a member of a good platoon.
We were on maneuvers in-a Louisiana, / One night by the light of the moon.
The captain told us to ford a river, / That’s how it all begun.
We were — knee deep in the Big Muddy, / But the big fool said to push on.
The Sergeant said, “Sir, are you sure, / This is the best way back to the base?”
“Sergeant, go on! I forded this river / ‘Bout a mile above this place.
It’ll be a little soggy but just keep slogging. / We’ll soon be on dry ground.”
We were, waist deep in the Big Muddy / And the big fool said to push on.
The Sergeant said, “Sir, with all this equipment / No man will be able to swim.”
“Sergeant, don’t be a Nervous Nellie, ” / The Captain said to him.
“All we need is a little determination; / Men, follow me, I’ll lead on.”
We were, neck deep in the Big Muddy / And the big fool said to push on.
All at once, the moon clouded over, / We heard a gurgling cry.
A few seconds later, the captain’s helmet / Was all that floated by.
The Sergeant said, “Turn around men! / I’m in charge from now on.”
And we just made it out of the Big Muddy / With the captain dead and gone.
We stripped and dived and found his body / Stuck in the old quicksand.
I guess he didn’t know that the water was deeper / Than the place he’d once before been.
Another stream had joined the Big Muddy / ‘Bout a half mile from where we’d gone.
We were lucky to escape from the Big Muddy / When the big fool said to push on.
Well, I’m not going to point any moral, / I’ll leave that for yourself
Maybe you’re still walking, you’re still talking / You’d like to keep your health.
But every time I read the papers / That old feeling comes on;
We’re, waist deep in the Big Muddy / And the big fool says to push on.
Waist deep in the Big Muddy / And the big fool says to push on.
Waist deep in the Big Muddy / And the big fool says to push on.
Waist deep! Neck deep! Soon even a / Tall man’ll be over his head, we’re
Waist deep in the Big Muddy! / And the big fool says to push on!
You could certainly do a nifty Purposeful Summary of these lyrics to demonstrate the Analogy between this story and Seeger’s apparent position that the US should pull back and retreat from Vietnam to avoid losing any more lives by going ahead into ever deeper water.
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—You haven’t claimed yet that rock was BETTER MUSIC during its Golden Era.
—Or do you not mean that?
—Are you claiming that its COMMITMENT TO REBELLION AND SOCIAL CHANGE was the aspect of the genre that MADE IT GOLDEN?
—Could it have been bad music and accomplished the same thing?
—At this point, since you’ve given me time to think about pop music, I have to mention that Punk Rock was EVEN MORE rebellious than “oldies rock,” if I can call it that.
—It’s also true, I would maintain, that glam bands, David Bowie, Lou Reed, the New York Dolls, Queen, and others went a long way to deliberately smash through gender norms in a very different sort of rebellion.
—How will you distinguish pop that’s “golden age rock” from music of other eras that broke as many molds?
While I’m asking hard questions, you’re setting yourself up for a difficult Causal Argument if you don’t address some categorical details. Here’s why.
—You want to claim the Golden Age of Rock will not return.
—That’s a Causal conclusion.
—So, what were the conditions that gave rise to the GAOR?
—If those conditions arise again, won’t the music come back, or something very similar?
—In the “gradual shift to modern music” paragraph above, you say, . . .
. . . but you don’t say why, so it’s hard to know why you want to claim that non-musical forces couldn’t result in a return to social conditions like those that resulted in the GAOR in the first place.
—Apparently, you anticipated my questions! 🙂
—This is pretty good, LoveMyDog.
—It’s not a complete answer, but there’s good thinking going on here.
—You’ll have to explain why record companies can get behind Lil Nas performing graphically suggested sex acts with Satan in hell, which must surely offend massive parts of any audience, but not, I guess you’d say, something more “political.” ???
—Whatever your conclusion, I don’t think you could go wrong by being cynical. I imagine record companies would back any act that delivers big profits and DOESN’T land the studio executives in jail.
I might not get much farther than this today, LMD. I’ve spent about an hour with you here. You may have noticed I didn’t say much about your SENTENCES or your LANGUAGE USE. That’s strategic and deliberate. We want to concentrate on your CONTENT and ARGUMENT for the first round of feedback. There’s no point polishing paragraphs you’re going to cut in your second draft. 🙂
Provisionally graded at Canvas. It’s not the grade you want, but it’s the first step in the process. This is a rewriting course. Your grade is always in flux.
I hope this commentary was helpful and that you can apply the advice and modeling to the rest of your work. If I didn’t get to something specific you’d like me to consider, please ask. But . . .
. . . by the terms of our contract, you now owe me at least an hour of revisions to your essay to earn a Regrade and any additional feedback.
Don’t forget. MAKE NO CHANGES TO THIS POST. Copy and paste it into your Def/Cat Rewrite. Make your revisions there. You’ll need evidence of where you started so you can brag about how far you went to get to your final draft. We can do this. I will gladly Conference with you at any time.
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