By 1969, the United States was on the edge of anarchy. Political debate, military conflict, and social upheaval combined to form a powder keg of American problems. Even though the people found a voice through only the most radical bands at first, by this crucial period, many more musicians were joining the anti-war movement. The Chicago Transit Authority, more commonly known as Chicago, released an album at the climax of American turmoil called Chicago II, which encapsulated the ideas of rebellion and revolt that were widespread at the time.
Chicago’s album spoke the message of the masses. The band made the album with the intentions of directly criticizing American policy in Vietnam, speaking the words of the typical citizen through their Rock and Roll. Robert Lamm, the founding member of the band, wanted to give a voice to the prevailing ideology of the time, to vocalize, as he once said, “the idea of the average person having a certain amount of power, and power…to stand up to the policies of the government and protest the war.” The album even had a special dedication: “With this album we dedicate ourselves, our futures and our energies to the people of the revolution...And the revolution in all its forms.” Chicago had become a politically conscious group, using their music to express the thoughts of the American public.
Two songs from the album particularly stand out as social commentary. “Where Do We Go From Here?” and “It Better End Soon” both have blatant political critiques of the callousness of government, and even the indifference of some of the American population. The first song begs the masses to stand together for peace and use their fervor to create lasting political change. Lamm writes, “Let's all get together soon, before it is too late/ Forget about the past and let your feelings fade away/ If you do I'm sure you'll see the end is not yet near.” He expresses fear and unease at the current state of the world, but he still retains hope for the future. The second song more clearly states Lamm’s stand against the war. He bluntly speaks of the cruelties of war: “The people dying/ Crying for help for so many years/ But nobody hears.” Lamm then directly attacks the government for its immorality, claiming that “The big heads of state/ Won't let us be free/ They made the rules once/ But it didn't work out/ Now we must try again.” Grounding his faith in the people, Lamm sings on about making a change in the world and improving the lives of posterity.
The band Chicago and their second self-titled album is yet another brilliant example of American freedom of expression. Through song, Chicago was able to give a voice to the many disgruntled citizens who wished for change. Their actions and lyrics epitomized the resilience of the human spirit when faced with a crisis, and the morality of those who wish to bring about peace in the world.
Friday, November 13, 2009
Tuesday, October 20, 2009
Sixties and Seventies Anti-War Songs
Feel free to comment with the names of any good songs from this period that you know. There are a lot them out there, and it's very likely I missed some of the best songs of the era, so if you have any ideas, let me know. Thanks
Barry Maguire's "Eve of Destruction"
America has long valued its system of personal rights and civil liberties. Arguably the most cherished, and at times, the most hotly controversial form of expression is freedom of speech. While the federal government has, at times, effectively hindered the common citizen’s right to an opinion, history has proven that the voice of the masses will find some outlet, and the complaints of the nation will be vocalized. In his song “Eve of Destruction,” Barry Maguire speaks from the perspective of the average American, using poetic devices to develop his criticism of the world at large.
Maguire begins the song with several contemporary allusions to set the time period and topic. He states, “The eastern world, it is exploding,” referring to the Vietnam War raging overseas. Directly disapproving of the federal voting policy, Maguire sings, “You’re old enough to kill, but not for votin’,” with a heavy tone of sarcasm. He mocks the hypocrisy of the nation with a paradox: “You don’t believe in war, but what’s that gun you’re totin’.” He also uses basic alliteration as a means of expressing his frustrations and worries, asking, “Can’t you feel the fears that I’m feeling today?” Alluding to the destructiveness of war, as well as nuclear proliferation, Maguire states that “If the button is pushed, then there’s no running away/ There’ll be no one to save, with the world in a grave.” This quote is also a prime example of assonance, which makes the didactic verse rhythmic and catchy.
Maguire continues with a series of critical allusions to the country’s moral shortcomings. In one stanza, he attacks the government, filled with “senators [who] don’t pass legislation,” and the prevailing racism of the time (“marches alone can’t bring integration/ When human respect is disintegratin’”). Maguire compares “all the hate there is in Red China” with the violence incurred by the civil rights marches of Selma, Alabama. He is censuring the prejudice of intolerant Americans as a whole with this one historical reference. Identifying once more the hypocritical stance of many citizens, he says, “Hate your…neighbor, but don’t forget to say grace,” which ironically, yet tragically, points out a widespread failure to practice the morality of one’s faith.
Maguire’s words still resonate with modern day issues in a very profound and applicable way. The world, it seems, is perpetually perched on the “eve of destruction,” swaying precariously between chaos and order. Thankfully, there are voices like that of Barry Maguire to tilt the globe onto the side of reason and sanity.
Maguire begins the song with several contemporary allusions to set the time period and topic. He states, “The eastern world, it is exploding,” referring to the Vietnam War raging overseas. Directly disapproving of the federal voting policy, Maguire sings, “You’re old enough to kill, but not for votin’,” with a heavy tone of sarcasm. He mocks the hypocrisy of the nation with a paradox: “You don’t believe in war, but what’s that gun you’re totin’.” He also uses basic alliteration as a means of expressing his frustrations and worries, asking, “Can’t you feel the fears that I’m feeling today?” Alluding to the destructiveness of war, as well as nuclear proliferation, Maguire states that “If the button is pushed, then there’s no running away/ There’ll be no one to save, with the world in a grave.” This quote is also a prime example of assonance, which makes the didactic verse rhythmic and catchy.
Maguire continues with a series of critical allusions to the country’s moral shortcomings. In one stanza, he attacks the government, filled with “senators [who] don’t pass legislation,” and the prevailing racism of the time (“marches alone can’t bring integration/ When human respect is disintegratin’”). Maguire compares “all the hate there is in Red China” with the violence incurred by the civil rights marches of Selma, Alabama. He is censuring the prejudice of intolerant Americans as a whole with this one historical reference. Identifying once more the hypocritical stance of many citizens, he says, “Hate your…neighbor, but don’t forget to say grace,” which ironically, yet tragically, points out a widespread failure to practice the morality of one’s faith.
Maguire’s words still resonate with modern day issues in a very profound and applicable way. The world, it seems, is perpetually perched on the “eve of destruction,” swaying precariously between chaos and order. Thankfully, there are voices like that of Barry Maguire to tilt the globe onto the side of reason and sanity.
Monday, October 12, 2009
Relection of Culture in Pop Music
Consider the subject matter, content and point of view of today's top songs and identify lines which contain poetic merit. What do these songs, as a whole, say about our modern American culture? In particular, what do these songs say about your generation as the greatest consumers of music media? How are gender roles represented in popular music? How is success measured?
The majority of today’s most popular songs feature the same themes that have been so often used in the past. Love and passion are always relevant ideas, and they continue to serve as the subject matter for modern songs, but in a much different way than they once did. Also, some of the most popular songs are sung by young singers, such as Taylor Swift and Miley Cyrus. Lyrics that glorify the experience of young adulthood tend to create the most publicity, and many of Billboard’s Top 100 Music Hits concern partying and, in general, enjoying life. Swift’s “You Belong With Me,” The Black Eyed Pea’s “I Gotta Feeling,” and Drake’s “Forever” perfectly exemplify modern’s music attitude towards love, parties, and success, while still retaining varying degrees of poetic merit.
From a literary standpoint, much of today’s music is lacking the lyricism and eloquence of the songs from previous generations. For example, the song “I Gotta Feeling” accomplishes little in the field of poetic devices aside from basic alliteration, as in “tonight’s gonna be a good good night.” Also, the song features an element of humor, but it is largely just another song to dance and sing along with. Taylor Swift’s “You Belong With Me,” on the other hand, uses a great deal of poetic devices. Her use of repetition effectively displays her emotions, as the subject matter is especially relatable and relevant to the high school demographic. Mixing alliteration (“typical Tuesday,” “short skirts,” “high heels”) with a masterfully sophisticated rhyme scheme, Swift catches the ear of the young listener with a poetic and realistic song. Drake’s song “Forever” portrays the stereotypical measure of success while using rhetoric. He brags about his wealth, metaphorically stating that he is “swimming in the money.” Also, he alludes to Malcolm X while referring to his skill and reputation as a rap artist: “Labels want my name beside the X like Malcolm/ Everybody got a deal, I did it without one.” Featuring Kanye West, Lil Wayne, and Eminem, the song contains a diverse style of rhyming. In one line, Lil Wayne combines a metaphor with assonance, saying, “My mind shines even when my thoughts seem dark.” The song “Forever” uses a wide range of poeticism to convey the theme of success.
Taking a step back, these songs illustrate that our society has turned away from slower paces to quicker beats and faster rhymes. It seems that a song’s ability to be danced to or song along with is the determining factor in its popularity, and, though many acclaimed albums are socially relevant and topical, the message of a song no longer appeals to the majority of Americans. Even if a song does have a traditional theme, as in Swift’s depiction of classic young love, there must be a minimum standard of modern musicality to it. Even if a song is about nothing in particular, it could still be a success if it can compete with the other up-tempo on the charts. Though music is now far more readily accessible than it was twenty, or even ten years ago, I believe that my generation consumes music media so much more than any other because music has become so ingrained in our cultural psyche. Hearing music on a daily basis is unavoidable, and since there is so very much music out there, at such handy and affordable outlets, that any given person would have absolutely no trouble finding something he/she likes.
Gender roles are one negative aspect of modern music. In many popular rap and hip-hop songs, women, especially young women, are made out to be subservient to men. Depicted frequently as prostitutes or the like, women are exploited for their sexuality, while men are glorified for these sexual conquests. This concept leads directly into the idea of being “successful” as shown in modern music. Many songs hint at, or even frankly state, that to have more women is to be a more accomplished person. Also, one must be affluent and well-known to have achieved anything in life. These inclinations are completely untrue and should not be perpetuated by the music industries. Although popular music has very much to offer the world, it should be cautious when exercising its powerful influence, especially in regard to the youth of the world.
The majority of today’s most popular songs feature the same themes that have been so often used in the past. Love and passion are always relevant ideas, and they continue to serve as the subject matter for modern songs, but in a much different way than they once did. Also, some of the most popular songs are sung by young singers, such as Taylor Swift and Miley Cyrus. Lyrics that glorify the experience of young adulthood tend to create the most publicity, and many of Billboard’s Top 100 Music Hits concern partying and, in general, enjoying life. Swift’s “You Belong With Me,” The Black Eyed Pea’s “I Gotta Feeling,” and Drake’s “Forever” perfectly exemplify modern’s music attitude towards love, parties, and success, while still retaining varying degrees of poetic merit.
From a literary standpoint, much of today’s music is lacking the lyricism and eloquence of the songs from previous generations. For example, the song “I Gotta Feeling” accomplishes little in the field of poetic devices aside from basic alliteration, as in “tonight’s gonna be a good good night.” Also, the song features an element of humor, but it is largely just another song to dance and sing along with. Taylor Swift’s “You Belong With Me,” on the other hand, uses a great deal of poetic devices. Her use of repetition effectively displays her emotions, as the subject matter is especially relatable and relevant to the high school demographic. Mixing alliteration (“typical Tuesday,” “short skirts,” “high heels”) with a masterfully sophisticated rhyme scheme, Swift catches the ear of the young listener with a poetic and realistic song. Drake’s song “Forever” portrays the stereotypical measure of success while using rhetoric. He brags about his wealth, metaphorically stating that he is “swimming in the money.” Also, he alludes to Malcolm X while referring to his skill and reputation as a rap artist: “Labels want my name beside the X like Malcolm/ Everybody got a deal, I did it without one.” Featuring Kanye West, Lil Wayne, and Eminem, the song contains a diverse style of rhyming. In one line, Lil Wayne combines a metaphor with assonance, saying, “My mind shines even when my thoughts seem dark.” The song “Forever” uses a wide range of poeticism to convey the theme of success.
Taking a step back, these songs illustrate that our society has turned away from slower paces to quicker beats and faster rhymes. It seems that a song’s ability to be danced to or song along with is the determining factor in its popularity, and, though many acclaimed albums are socially relevant and topical, the message of a song no longer appeals to the majority of Americans. Even if a song does have a traditional theme, as in Swift’s depiction of classic young love, there must be a minimum standard of modern musicality to it. Even if a song is about nothing in particular, it could still be a success if it can compete with the other up-tempo on the charts. Though music is now far more readily accessible than it was twenty, or even ten years ago, I believe that my generation consumes music media so much more than any other because music has become so ingrained in our cultural psyche. Hearing music on a daily basis is unavoidable, and since there is so very much music out there, at such handy and affordable outlets, that any given person would have absolutely no trouble finding something he/she likes.
Gender roles are one negative aspect of modern music. In many popular rap and hip-hop songs, women, especially young women, are made out to be subservient to men. Depicted frequently as prostitutes or the like, women are exploited for their sexuality, while men are glorified for these sexual conquests. This concept leads directly into the idea of being “successful” as shown in modern music. Many songs hint at, or even frankly state, that to have more women is to be a more accomplished person. Also, one must be affluent and well-known to have achieved anything in life. These inclinations are completely untrue and should not be perpetuated by the music industries. Although popular music has very much to offer the world, it should be cautious when exercising its powerful influence, especially in regard to the youth of the world.
Thursday, October 1, 2009
Phil Och's "I Ain't Marching Anymore"
America has a long and complicated military history, wrought with emotional trauma, human indecency, and morally questionable exploits. A nation forged by gunpowder and the flowing blood of patriots, the United States has been involved in just about every armed conflict in recent history. Naturally, for a country to have such sweeping influence on the course of human events, the casualty count is massive. Millions of citizens have fought and died in America’s many wars, and, often, the public objects to the carnage of battle. In Phil Ochs’ Vietnam War protest song, “I Ain’t Marching Anymore,” he uses a great deal of historical allusions, as well as a unique and effective point of view, to defend his argument.
The song is sung from the perspective of a single soldier, one who claims to have participated in every single military venture in the history of America. He states, “I marched to the battle of New Orleans, at the end of the early British war,” which is an allusion to the famous skirmish between British and American forces during the War of 1812. He claims that “The young land started growing,” a reference to the inexperienced and budding American nation. The narrator also says that he has killed his “share of Indians In a thousand different fights…at Little Big Horn.” This is a direct connection to the slaughter and near annihilation of the Native American Indian, as well as a possible allusion to the earliest American conflict, the French and Indian War. The speaker has fought “in the bloody Civil War” and “stole California from the Mexican land”: both of these statements refer to more military campaigns. The American Civil War, where men “killed [their] brothers,” is the former reference, and the latter alludes to the Mexican War, at the end of which America claimed California. The “battles of the German trench” is code for World War 1, also known as “the war to end all wars,” and the “mighty mushroom roar” in “the Japanese sky” references the dropping of the atomic bomb on Hiroshima and Nagasaki to end the Second World War. The final stanza alludes to the “Cuban shore” and the closing of “the missile plants,” which translates into the Cuban Missile Crisis, where the world was almost brought to nuclear war.
The soldier who claims to have fought in all of these wars is an unrealistic, yet effective, narrator. The conflicts date back as early as the 1700s and continue until the 1960s, making the speaker almost 300 years old. Ignoring the biological impossibility of the soldier’s age, his perspective produces an invaluable effect on the song as a whole. By personifying all of the country’s service men and women in this one, all-encompassing voice, Ochs is criticizing America’s inclination to use warfare as a resolution. This ‘eternal soldier’ is a perfect literary tool: it provides the listener with a historical background, a living lesson of our country’s past. This frame of reference is an ideal platform for the song’s antiwar agenda: by illustrating all of the nation’s major conflicts in such an uncompromising and negative light, Ochs is putting his fans in the right state of mind. By vilifying other military campaigns, he is indirectly criticizing the then-current war overseas. Without even saying the word Vietnam, Ochs manages to oppose the fighting with unmatched efficacy.
Phil Ochs is known as one of the Vietnam era’s greatest protest songwriters, and with good reason. With a simple characterization and a knowledge of American history, he is able to voice the frustration and pain of an entire generation. Ochs is able to make such a relevant connection between history and modern life, because the more things change, the more they stay the same.
Phil Ochs
I Ain't Marching Anymore
Oh I marched to the battle of New Orleans
At the end of the early British war
The young land started growing
The young blood started flowing
But I ain't marchin' anymore
For I've killed my share of Indians
In a thousand different fights
I was there at the Little Big Horn
I heard many men lying
I saw many more dying
But I ain't marchin' anymore
chorus)
It's always the old to lead us to the war
It's always the young to fall
Now look at all we've won with the saber and the gun
Tell me is it worth it all
For I stole California from the Mexican land
Fought in the bloody Civil War
Yes I even killed my brothers
And so many others
But I ain't marchin' anymore
For I marched to the battles of the German trench
In a war that was bound to end all wars
Oh I must have killed a million men
And now they want me back again
But I ain't marchin' anymore
(chorus)
For I flew the final mission in the Japanese sky
Set off the mighty mushroom roar
When I saw the cities burning I knew that I was learning
That I ain't marchin' anymore
Now the labor leader's screamin' when they close the missile plants,
United Fruit screams at the Cuban shore,
Call it "Peace" or call it "Treason,"
Call it "Love" or call it "Reason,"
But I ain't marchin' any more,
No I ain't marchin' any more
The song is sung from the perspective of a single soldier, one who claims to have participated in every single military venture in the history of America. He states, “I marched to the battle of New Orleans, at the end of the early British war,” which is an allusion to the famous skirmish between British and American forces during the War of 1812. He claims that “The young land started growing,” a reference to the inexperienced and budding American nation. The narrator also says that he has killed his “share of Indians In a thousand different fights…at Little Big Horn.” This is a direct connection to the slaughter and near annihilation of the Native American Indian, as well as a possible allusion to the earliest American conflict, the French and Indian War. The speaker has fought “in the bloody Civil War” and “stole California from the Mexican land”: both of these statements refer to more military campaigns. The American Civil War, where men “killed [their] brothers,” is the former reference, and the latter alludes to the Mexican War, at the end of which America claimed California. The “battles of the German trench” is code for World War 1, also known as “the war to end all wars,” and the “mighty mushroom roar” in “the Japanese sky” references the dropping of the atomic bomb on Hiroshima and Nagasaki to end the Second World War. The final stanza alludes to the “Cuban shore” and the closing of “the missile plants,” which translates into the Cuban Missile Crisis, where the world was almost brought to nuclear war.
The soldier who claims to have fought in all of these wars is an unrealistic, yet effective, narrator. The conflicts date back as early as the 1700s and continue until the 1960s, making the speaker almost 300 years old. Ignoring the biological impossibility of the soldier’s age, his perspective produces an invaluable effect on the song as a whole. By personifying all of the country’s service men and women in this one, all-encompassing voice, Ochs is criticizing America’s inclination to use warfare as a resolution. This ‘eternal soldier’ is a perfect literary tool: it provides the listener with a historical background, a living lesson of our country’s past. This frame of reference is an ideal platform for the song’s antiwar agenda: by illustrating all of the nation’s major conflicts in such an uncompromising and negative light, Ochs is putting his fans in the right state of mind. By vilifying other military campaigns, he is indirectly criticizing the then-current war overseas. Without even saying the word Vietnam, Ochs manages to oppose the fighting with unmatched efficacy.
Phil Ochs is known as one of the Vietnam era’s greatest protest songwriters, and with good reason. With a simple characterization and a knowledge of American history, he is able to voice the frustration and pain of an entire generation. Ochs is able to make such a relevant connection between history and modern life, because the more things change, the more they stay the same.
Phil Ochs
I Ain't Marching Anymore
Oh I marched to the battle of New Orleans
At the end of the early British war
The young land started growing
The young blood started flowing
But I ain't marchin' anymore
For I've killed my share of Indians
In a thousand different fights
I was there at the Little Big Horn
I heard many men lying
I saw many more dying
But I ain't marchin' anymore
chorus)
It's always the old to lead us to the war
It's always the young to fall
Now look at all we've won with the saber and the gun
Tell me is it worth it all
For I stole California from the Mexican land
Fought in the bloody Civil War
Yes I even killed my brothers
And so many others
But I ain't marchin' anymore
For I marched to the battles of the German trench
In a war that was bound to end all wars
Oh I must have killed a million men
And now they want me back again
But I ain't marchin' anymore
(chorus)
For I flew the final mission in the Japanese sky
Set off the mighty mushroom roar
When I saw the cities burning I knew that I was learning
That I ain't marchin' anymore
Now the labor leader's screamin' when they close the missile plants,
United Fruit screams at the Cuban shore,
Call it "Peace" or call it "Treason,"
Call it "Love" or call it "Reason,"
But I ain't marchin' any more,
No I ain't marchin' any more
Monday, September 28, 2009
Tupac Shakur: An Analysis of His Contributions on Song Writing
Song writing, especially the hip-hop genre, would be decades behind if it had not been for Tupac Shakur. Still a source of inspiration, Tupac’s words transcend time barriers and the walls of locality; he is still an immensely popular figure in the rap world, and for good reason. Shakur wrote about some of the most prevalent and severe issues of his age, problems that have largely remained unchanged over years. Thusly, many, if not all, of Tupac’s rhymes are still applicable to society, and have the same affect on the listener as the very first day they were written. In fact, his insight into “thug life” and “growing up in ghetto” has been rewritten a thousand times over by modern artists. He directly accused the police of racial profiling, and the problem of drugs is a constant theme in a lot of his songs. Also, he often addressed street violence and underage pregnancies.
One of the most prolific rappers ever to write a verse, Tupac is ranked by critics and contemporaries as the greatest hip-hop artists in the genre’s history. His albums have sold over 67 million copies worldwide, making him the highest selling rapper ever. Most notably, his album All Eyes on Me went quintuple platinum, making the second largest number of opening week sales in the history of the music industry (behind The Beatles Anthology). Tupac brought a boldness to the art of hip-hop, an audacity and bravado against which all subsequent rappers measure themselves. He spoke candid truths about the world around him, and after making his bail from a New York prison, he promised a reformed and ethical lifestyle. This archetype of the rehabilitated rapper has been mirrored over and over again in recent years. Tupac set the bar for success as a hip-hop artist, and he set it high.
One of the most prolific rappers ever to write a verse, Tupac is ranked by critics and contemporaries as the greatest hip-hop artists in the genre’s history. His albums have sold over 67 million copies worldwide, making him the highest selling rapper ever. Most notably, his album All Eyes on Me went quintuple platinum, making the second largest number of opening week sales in the history of the music industry (behind The Beatles Anthology). Tupac brought a boldness to the art of hip-hop, an audacity and bravado against which all subsequent rappers measure themselves. He spoke candid truths about the world around him, and after making his bail from a New York prison, he promised a reformed and ethical lifestyle. This archetype of the rehabilitated rapper has been mirrored over and over again in recent years. Tupac set the bar for success as a hip-hop artist, and he set it high.
Tupac Shakur: An Analysis of "Changes"
Tupac Shakur is one of the world’s foremost figures in the history of hip-hop. His widely recognized acclaim resonates from his many talents as a rapper and actor, but he is most well-known for his astounding lyricism and poetic talents. Tupac wrote many songs and rhymes during his tragically brief lifetime, and, unlike many modern artists in his field, his words spoke volumes about actual issues that many people confronted daily. For Shakur, the lyrics of a song were more than just filler for a synthesized, catchy beat; they were a means of relevant expression and social commentary. Some of Tupac’s best work is seen in the song “Changes,” in which he exhibits his rhetorical and poetic skill.
One of the most impressive details about the song is Tupac’ ability to maintain a complex and sophisticated rhyme scheme while still integrating such pertinent social satire. Many of the allusions in the song refer to personal events in Tupac’s life: for example, the line “Instead of war on poverty they got a war on drugs so the police can bother me” may allude to the incident in 1993 when Tupac was arrested for drug use. Also, the phrase “tell the cops they can’t touch this” possibly suggests a shout-out to his many run-ins with the law. The words “I always got to worry ‘bout the pay backs, some buck I roughed up way back” could refer to the encounter that Tupac and his half-brother had with some enemies they made while in Marine City, California. There is another quick allusion, this time to the Middle East conflict, which brings the fighting of the street in a direct comparison with a fully escalated war. While allusion is a powerful tool, Tupac also manages to use a variety of other poetic devices in his lyrics.
The very first lines of the song contain a frank characterization to illustrate the feelings of futility and exhaustion caused by the conflicts in his life: “I see no changes, wake up in the morning and I ask myself, ‘Is life worth living? Should I blast myself?’” There is also a great deal of irony, with which Tupac effectively displays how the world deals with the problems of the streets. He says, “Give the crack to the kids, who the hell cares? One less hungry mouth on the welfare.” Drugs and bloodshed are also reoccurring motifs in the song, topics which pervade many of Shakur’s works. The phrase “Devil take a brother” is at once both a religious allusion and a metaphor for death: these devices work together to create a chilling picture of interracial violence. Assonance plays a big role in the whole song, but there is one section in particular that displays Tupac’s lyrical abilities well: “All I see is racist faces, misplaced hate makes disgrace to races. We under I wonder what it takes to make this one better place, let’s erase the wasted.” Tupac concludes the song with a simple statement of reality, “that’s the way it is,” which simultaneously displays his feelings of hopelessness and his optimism for a better future.
Tupac Shakur remains to be an influence on modern day rappers. With an unmatched style and an unparalleled eloquence, Tupac will forever be seen as a legendary hip-hop artist. His unblinking portrayal of the human experience continues to set a standard for all artists, as well as influence the beliefs of all who listen to his music.
One of the most impressive details about the song is Tupac’ ability to maintain a complex and sophisticated rhyme scheme while still integrating such pertinent social satire. Many of the allusions in the song refer to personal events in Tupac’s life: for example, the line “Instead of war on poverty they got a war on drugs so the police can bother me” may allude to the incident in 1993 when Tupac was arrested for drug use. Also, the phrase “tell the cops they can’t touch this” possibly suggests a shout-out to his many run-ins with the law. The words “I always got to worry ‘bout the pay backs, some buck I roughed up way back” could refer to the encounter that Tupac and his half-brother had with some enemies they made while in Marine City, California. There is another quick allusion, this time to the Middle East conflict, which brings the fighting of the street in a direct comparison with a fully escalated war. While allusion is a powerful tool, Tupac also manages to use a variety of other poetic devices in his lyrics.
The very first lines of the song contain a frank characterization to illustrate the feelings of futility and exhaustion caused by the conflicts in his life: “I see no changes, wake up in the morning and I ask myself, ‘Is life worth living? Should I blast myself?’” There is also a great deal of irony, with which Tupac effectively displays how the world deals with the problems of the streets. He says, “Give the crack to the kids, who the hell cares? One less hungry mouth on the welfare.” Drugs and bloodshed are also reoccurring motifs in the song, topics which pervade many of Shakur’s works. The phrase “Devil take a brother” is at once both a religious allusion and a metaphor for death: these devices work together to create a chilling picture of interracial violence. Assonance plays a big role in the whole song, but there is one section in particular that displays Tupac’s lyrical abilities well: “All I see is racist faces, misplaced hate makes disgrace to races. We under I wonder what it takes to make this one better place, let’s erase the wasted.” Tupac concludes the song with a simple statement of reality, “that’s the way it is,” which simultaneously displays his feelings of hopelessness and his optimism for a better future.
Tupac Shakur remains to be an influence on modern day rappers. With an unmatched style and an unparalleled eloquence, Tupac will forever be seen as a legendary hip-hop artist. His unblinking portrayal of the human experience continues to set a standard for all artists, as well as influence the beliefs of all who listen to his music.
Tupac Shakur: A Timeline
June 16, 1971 - Tupac Amaru Shakur is born in New York, NY, shortly after his mother is acquitted bombing charges for the Black Panther organization.
1975 to 1983 - Tupac and his family switch repeatedly between homes in the Bronx and Harlem, at times living in shelters.
1983 - Tupac recognizes "Legs," one of his mother's boyfriends, as his father.
September 1983 - Tupac enrolls in the 127th Street Ensemble, a theater group in Harlem, where he acts in teh play "A Raisin in the Sun."
June 1986 - The Shakur family moves to Baltimore, MD. Tupac writes his first rap.
September 1986 - Tupac begins attending the Baltimore School of the Arts.
June 1988 - Tupac's family moves to Marine City, CA, stating that leaving the School of the Arts was the point "where [he] got off track." He begins to sell drugs shortly after.
August 1988 - Tupac's stepfather, Mutulu Shakur, is sentenced to sixty years in prison for his involvement in the robbery of an armed car.
1990 - Tupac joins Digital Underground as a dancer and rapper.
January 3, 1991 - Tupac makes his recording debut with Digital Underground.
November 12, 1991 - Tupac releases his album "2Pacalypse Now."
January 17, 1992 - Tupac makes his first film appearance in Ernest Dickerson's "Juice," gaining him widespread acclaim for his acting.
August 22, 1992 - Tupac's half-brother, Maurice Harding, is arrested for accidentally shooting a six year old during an altercation, but is released.
September 22, 1992 - The Vice President Dan Quayle denounces Tupac's music, saying it has "no place in our society."
February 1, 1993 - "Strictly 4 My N.I.G.G.A.Z." is released and eventually goes platinum.
March 13, 1993: Tupac has a fight with a limo driver in Hollywood who accuses him of using drugs in the car. Tupac is arrested but the charges are dropped.
April 5, 1993: Tupac is arrested for attacking another rapper with a baseball bat during a concert. He's sentenced to 10 days in jail.
July 23, 1993 - Tupac stars in John Singleton's "Poetic Justice" with Janet Jackson.
March 23, 1994 - Tupac stars in another film, "Above the Rim," this time playing a drug dealer.
October 31, 1993 - Tupac is accused of shooting two off-duty Atlanta police officers who he claims were harassing a black motorist. Charges are eventually dropped.
November 18, 1993 - A 19 year old woman accuses Tupac of raping her with three of his friends.
November 30, 1994 - Tupac is shot five times and robbed of $40,000 worth of jewelry in the lobby of a Times Square recording studio. The case remains unsolved.
February 14, 1995 - Tupac is sentenced to up to four and a half years in a maximum security prison for sexual assault. During his incarceration, Tupac's album "Me Against the World" debuts at No. 1 on Billboard's Pop Chart and eventually goes double platinum.
April 1995 - In an interview from jail, Tupac renounces "Thug Life" and commits himself to positive works. He also states that Biggie Smalls, Puffy Combs, Andre Harrell, and his close friend Stretch, and others were involved in the recording studio ambush, which the rappers later deny.
October 1995 - Death Row Records CEO Suge Knight posts $1.4 million bond to release Tupac, who immediately flies to LA, signs with Death Row and begins recording All Eyez on Me, which goes quintuple platinum.
May 1996 - Tupac and Snoop Doggy Dogg release "2 of Amerikaz most Wanted." In the video, caricatures of Biggie and Puffy and punished for setting up Tupac.
September 7, 1996 - A few days after a scuffle at the MTV Music Awards, Tupac Shakur is shot four times in the chest by an assailant in a white Cadillac while leaving the Mike Tyson vs. Bruce Seldon fight. Shakur is rushed to University Medical Center, where he undergoes surgery, including the removal of his right lung. A series of gang-related murders soon breaks out.
September 13, 1996 - After six days in critical condition, Tupac Shakur is pronounced dead at 4:03 pm. His body is later cremated. He was only 25 years old.
Link To Music Videos
Click Here To See Tupac In Action
1975 to 1983 - Tupac and his family switch repeatedly between homes in the Bronx and Harlem, at times living in shelters.
1983 - Tupac recognizes "Legs," one of his mother's boyfriends, as his father.
September 1983 - Tupac enrolls in the 127th Street Ensemble, a theater group in Harlem, where he acts in teh play "A Raisin in the Sun."
June 1986 - The Shakur family moves to Baltimore, MD. Tupac writes his first rap.
September 1986 - Tupac begins attending the Baltimore School of the Arts.
June 1988 - Tupac's family moves to Marine City, CA, stating that leaving the School of the Arts was the point "where [he] got off track." He begins to sell drugs shortly after.
August 1988 - Tupac's stepfather, Mutulu Shakur, is sentenced to sixty years in prison for his involvement in the robbery of an armed car.
1990 - Tupac joins Digital Underground as a dancer and rapper.
January 3, 1991 - Tupac makes his recording debut with Digital Underground.
November 12, 1991 - Tupac releases his album "2Pacalypse Now."
January 17, 1992 - Tupac makes his first film appearance in Ernest Dickerson's "Juice," gaining him widespread acclaim for his acting.
August 22, 1992 - Tupac's half-brother, Maurice Harding, is arrested for accidentally shooting a six year old during an altercation, but is released.
September 22, 1992 - The Vice President Dan Quayle denounces Tupac's music, saying it has "no place in our society."
February 1, 1993 - "Strictly 4 My N.I.G.G.A.Z." is released and eventually goes platinum.
March 13, 1993: Tupac has a fight with a limo driver in Hollywood who accuses him of using drugs in the car. Tupac is arrested but the charges are dropped.
April 5, 1993: Tupac is arrested for attacking another rapper with a baseball bat during a concert. He's sentenced to 10 days in jail.
July 23, 1993 - Tupac stars in John Singleton's "Poetic Justice" with Janet Jackson.
March 23, 1994 - Tupac stars in another film, "Above the Rim," this time playing a drug dealer.
October 31, 1993 - Tupac is accused of shooting two off-duty Atlanta police officers who he claims were harassing a black motorist. Charges are eventually dropped.
November 18, 1993 - A 19 year old woman accuses Tupac of raping her with three of his friends.
November 30, 1994 - Tupac is shot five times and robbed of $40,000 worth of jewelry in the lobby of a Times Square recording studio. The case remains unsolved.
February 14, 1995 - Tupac is sentenced to up to four and a half years in a maximum security prison for sexual assault. During his incarceration, Tupac's album "Me Against the World" debuts at No. 1 on Billboard's Pop Chart and eventually goes double platinum.
April 1995 - In an interview from jail, Tupac renounces "Thug Life" and commits himself to positive works. He also states that Biggie Smalls, Puffy Combs, Andre Harrell, and his close friend Stretch, and others were involved in the recording studio ambush, which the rappers later deny.
October 1995 - Death Row Records CEO Suge Knight posts $1.4 million bond to release Tupac, who immediately flies to LA, signs with Death Row and begins recording All Eyez on Me, which goes quintuple platinum.
May 1996 - Tupac and Snoop Doggy Dogg release "2 of Amerikaz most Wanted." In the video, caricatures of Biggie and Puffy and punished for setting up Tupac.
September 7, 1996 - A few days after a scuffle at the MTV Music Awards, Tupac Shakur is shot four times in the chest by an assailant in a white Cadillac while leaving the Mike Tyson vs. Bruce Seldon fight. Shakur is rushed to University Medical Center, where he undergoes surgery, including the removal of his right lung. A series of gang-related murders soon breaks out.
September 13, 1996 - After six days in critical condition, Tupac Shakur is pronounced dead at 4:03 pm. His body is later cremated. He was only 25 years old.
Link To Music Videos
Click Here To See Tupac In Action
Saturday, September 26, 2009
Tupac Shakur: Ten Interesting Facts
Ten Interesting Facts:- Tupac's birth name was Lesane Parish Crooks.
- He changed his name to Tupac Amaru Shakur in honor of the Incan chief Tupac Amaru, whose name means "Shining Serpent."
- The last name Shakur means "Thankful to God" in Arabic.
- 4. Tupac's mother, Afeni Shakur (or Alice Fay Walker), was one of the defendant's at the infamous "Panther 21" trial.
- At the Baltimore School of the Arts, Tupac rapped under the name "MC New York."
- In his youth, Tupac studied ballet and other types of dance.
- The letters of Tupac's "THUG LIFE" tattoo stand for "The Hate U Give Little Infants F*cks Everybody."
- On Tupac's back, there is a massive tattoo of a cross with the words Exodus 18:11, which states "Now I know that the Lord is greater than all Gods because He delivered the people from the hands of the Egyptians when they dealt with them arrogantly."
- Tupac was scheduled to act in the movie "Cool Runnings, " about the Jamaican Olympic Bobsled Team.
- 10. Tupac's record "All Eyez on Me" went quintuple platinum.
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