Dawson, Ashley. “"Love Music, Hate Racism": The Cultural Politics of the Rock Against Racism Campaigns.” Postmodern Culture, The Johns Hopkins University Press, 12 Jan. 2006, muse.jhu.edu/article/192260. Accessed 17 Sept. 2017.
In this essay, Ashley Dawson strategically analyses the way music has been used in time (specifically, 1976-1981), as a form of anti-racist speech in support of Black British pop culture. In order to achieve this feat, Dawson recalls time and researches various anti-racist festivals as well as popular songs of the time such as “White Riot” by popular early Punk-Rock band, named the Clash. Dawson concludes her essay by stating that the influence of all these anti-racism pieces of music will help to ignite a renaissance …show more content…
In order to research why music hasn’t been a leading factor in the battle against racism, I first need to discover many positive uses in which, music, as an art, has leap bounds over political speech and protests. I can use this knowledge of both history and deeper inflections in the music to express why music will be a better healer of the wounds of racism as well as a defender and preserver of pop culture for minorities.
Malcolm, Douglas. “"Myriad Subtleties": Subverting Racism through Irony in the Music of Duke Ellington and Dizzy Gillespie.” Black Music Research Journal, University of Illinois Press, 1 June 2016, muse.jhu.edu/article/619211. Accessed 17 Sept. 2017.
In this journal, Douglas Malcolm discusses the diminishing use of irony in jazz as a form of retaliation on the idea of white supremacy, towards the middle portion of the twentieth century. Malcolm expresses that common knowledge knows that jazz is deep-rooted in time as an important factor in African American culture, and not only is it a ‘fundamental’ but also a way of undermining the ideology of a white supremacist. Famous Jazz musicians such as Dizzy Gillespie and Duke Ellington, on many, accounts, have used their music not only for anti-racism but also for satire on the racial oppression of African American culture in the United States at the …show more content…
I especially like a point that Back makes where he says, “the voices of that can also conceal the sound of hybridity”. Hybridity, in this sense, is the coexistence of blacks and whites. In European countries such as Germany, Sweden, Denmark, and even Norway, skinheads, a form of white power supremacy has slowly spread, this has been causing the spread of black music to come to a complete halt in Europe. So I believe, that, in order to allow Black music and culture to flourish, both black and white people have to come in line and accept each
In this essay, Ashley Dawson strategically analyses the way music has been used in time (specifically, 1976-1981), as a form of anti-racist speech in support of Black British pop culture. In order to achieve this feat, Dawson recalls time and researches various anti-racist festivals as well as popular songs of the time such as “White Riot” by popular early Punk-Rock band, named the Clash. Dawson concludes her essay by stating that the influence of all these anti-racism pieces of music will help to ignite a renaissance …show more content…
In order to research why music hasn’t been a leading factor in the battle against racism, I first need to discover many positive uses in which, music, as an art, has leap bounds over political speech and protests. I can use this knowledge of both history and deeper inflections in the music to express why music will be a better healer of the wounds of racism as well as a defender and preserver of pop culture for minorities.
Malcolm, Douglas. “"Myriad Subtleties": Subverting Racism through Irony in the Music of Duke Ellington and Dizzy Gillespie.” Black Music Research Journal, University of Illinois Press, 1 June 2016, muse.jhu.edu/article/619211. Accessed 17 Sept. 2017.
In this journal, Douglas Malcolm discusses the diminishing use of irony in jazz as a form of retaliation on the idea of white supremacy, towards the middle portion of the twentieth century. Malcolm expresses that common knowledge knows that jazz is deep-rooted in time as an important factor in African American culture, and not only is it a ‘fundamental’ but also a way of undermining the ideology of a white supremacist. Famous Jazz musicians such as Dizzy Gillespie and Duke Ellington, on many, accounts, have used their music not only for anti-racism but also for satire on the racial oppression of African American culture in the United States at the …show more content…
I especially like a point that Back makes where he says, “the voices of that can also conceal the sound of hybridity”. Hybridity, in this sense, is the coexistence of blacks and whites. In European countries such as Germany, Sweden, Denmark, and even Norway, skinheads, a form of white power supremacy has slowly spread, this has been causing the spread of black music to come to a complete halt in Europe. So I believe, that, in order to allow Black music and culture to flourish, both black and white people have to come in line and accept each