Running head: PROTEST SONGS LINER NOTES

Compilation of Protest Songs and Original Liner Notes

Elizabeth A. Hutchinson
DePaul University

YouTube Playlist Link:

https://www.youtube.com/playlist?list=PLBqZkIqDrSYcAXuoKnoq_fVaxrTdT_Lev

PROTEST SONGS LINER NOTES

Throughout history, music and art play a special role in capturing the sentiments
of people in regards to political and social action. Music acts as an intersection of artistic
and political thoughts. Whether veiled in metaphor or featuring literal calls to action,
music has the power to bring people together in support of a common cause. In an article
profiling the music that shaped the Egyptian Revolution of 2011, Valassopoulos and
Mostafa (2014) stated: Music is a continuously evolving space where singers and poets
articulate, critique, and voice their perceptions, artistically and creatively, of the changes
taking place in a transforming society (p. 639). The natural fluidity and spontaneity of
musical performance lends itself to carrying messages in a constantly changing world.
There are examples of this phenomenon throughout the history of the humanity. It is
impossible to catalogue all of them, as records of history cannot possibly hold all musical
experiences. In this project, I outline several protest songs and the cultures they come
from. There are many commonalities between them, and yet their individual
characteristics are distinctly unique. I hope that by sharing this project, we can gain
insight into the artistic qualities that we all share and the way we can use them to promote
freedom and equality around the globe.

Fin ghadi biya, Nass El-Ghiwane

Fin ghadi biya is an example of North African Ra. Ra is a form of protest

music from Northern African countries such as Morocco and Algeria. Based on Bedouin
poetry, this music typically features a singer or poet, hand drum (bendir), and reed flute
(gasba) (Aadnani, 2006). Ra music typically features a theme of sheikhat, or earthly

PROTEST SONGS LINER NOTES

theme, or Meddahat, or religious theme. Because of its geographical and cultural origins,
Ra is a reflection of African, Muslim, and European influences. Its messages resounded
not only in North African countries, but also expanded to nations such as France due to
emigration. As time passed in the late twentieth century, Ra continued to transform,
incorporating Western electronic music, traditional Arabic melodies, and improvisation
with influences from around the world.
Ra grew to contain messages of subversive ideas. Women took a principal role
in this music making, using it to confront sexual ideas and gender discrimination.
Aadnani (2006) states, sometimes a songs subversiveness lies in the mere fact that a
woman sings about intimate relationships and carnal love to a male or mixed audience
(p. 3). These ideas made the music extremely popular among young people in North
African nations. Ra musicians and its young followers adopted the term Cheb or
Chebba, meaning beautiful, cool young man or woman. These designations stood at
direct odds against the titles Sheikh or Sheikha, meaning respected elder man or
woman (Aadnani, 2006).
Within all of these elements that affected the formation of Ra, perhaps the most
important is that these themes were colored by European imperialism and totalitarian
governments in North Africa. Citizens in Morocco, Algeria, Egypt, and other nations
were subject to much governmental instability and fierce censorship. The musical group
Nass El-Ghiwane formed in opposition to working class conditions in Morocco. They
served as the voice of many Moroccan citizens with common concerns. Fin ghadi biya
means Where are you taking me? and describes the thoughts of a person in exile
imposed by the government. It illustrates the emotions of uncertainty and loss as those

PROTEST SONGS LINER NOTES

who are killed or exiled are mourned. Despite the sorrow of the text, there is a hopeful
note that God can provide peace and justice someday.
By God, just take me, just take me
For you I would give up my soul
Just take me
My friend is gone [killed]
Show me the way to God
I am bereft over those who went
I am bereft
Shackles in the hands of a blacksmith
I am bereft. (Aadnani, 2006, p. 6)

Zengedie Sagie Ma Shahin Najafi

The political turmoil and upheaval in the Middle East undoubtedly continues to
affect the musical culture of the people in the region. One such example of the
connection between politics and government and music is the work of Iranian composer
and performer Shahin Najafi. The Iranian government intensely censors demonstrations
and blocks access to social networking sites in order to crack down on opposition.
Musicians responded by generating works to comfort and inspire the opposition (Fathi,
2010). Despite intimidation tactics, young Iranians share music through black markets,
Bluetooth, and even distribution of CDs and MP3s in street markets.

PROTEST SONGS LINER NOTES

Shahin Najafi is not the first protest musician in Irans tumultuous history, but he
is certainly one that represents the concerns of the youth of the country. By age twentyfive, Najafi was forced to leave Iran because his music ridiculed Muslim clerics (Fathi,
2010). Najafi now lives and works in Germany, outlawed from his homeland but still
producing music protesting its injustices. Najafi says, I still belong to my country and
feel their pain. Distance has no meaning with the Internet. We are a generation that was
always suppressed and humiliated, which makes you sad and angry (Fathi, 2010, p. 1).
In 2012, two influential Muslim leaders issued fatwas, or religious orders
calling for the death of Shahin Najafi. The clerics say that his music is blasphemous and
therefore his murder would be justified (Fassihi, 2012). Najafi now lives in Germany,
but fears he is unsafe after another conservative Iranian website offered a $100,000
reward for his execution. Despite these condemnations, Najafi continues to release music
that is widely circulated on the internet.
Zengedie Sagie Ma, or Our Doggie Life describes the feeling of helplessness
and isolation that comes with the repression of living with religious totalitarianism. The
lyrics of this song come from a young persons point of view, frustrated with inequality
and violence. Several comments in the lyrics also point to gender inequality in the
Muslim world:
A 16-year-old's heart that fears the officers
Even if the officers don't see the family hits you
A virginity whose meaning has become strange
And the honour of a dad and brother who are now strangers
(Najafi, 2008)

PROTEST SONGS LINER NOTES

Other lyrics long for a world where individuals are free to pursue romantic and
sexual relationships without fear of religious retribution:
The wish to kiss your lips in the streets
The dream of an embrace without fear of prison
Following in empty streets and alleys
A wilted flower with a letter or a ten-minute talk (Najafi, 2008)

The song ends with an exclamation of despair and doubts that conditions will ever
change:
Dumb yourself, leave yourself, create a cadence
Shut your mouth and accept the situation
This is the Prophet's tradition, accept!
Man or woman makes no difference, die! (Najafi, 2008)

Buy Africa, Fela Anikulapo Kuti

Fela Anikulapo Kuti, more widely known as Fela Kuti, was a Nigerian musician
trained in Europe in the 1960s. His ancestors were Nigerian slaves, but his parents were
well-known teachers in Nigeria (Howe, 1997). The loaded history of Africa, including
European imperialism and unstable governments were built into Kutis psyche as well as
his music. He worked briefly at the Nigerian Broadcasting Company, which played
mostly jazz and highlife music, which originated in Ghana. These styles were heavily

PROTEST SONGS LINER NOTES

influenced by Europe and the United States and Kuti longed to play music that was
genuinely African.
During travels to the United States, Kuti encountered the Black Panther
movement, furthering his pride in his heritage and motivating him to pursue a new,
unique African performance style (Howe, 1997). Once back in Nigeria, he experimented
with what he began calling Afrobeat. Afrobeat was jazz-influenced, containing
Western instrumentation like guitars and keyboard. This music was performed in
nightclubs around Nigeria and often involved dancers, staging, and lighting effects.
Howe (1997) describes the overarching messages of Kutis music: The consisten themes
attack injustice in various forms: racism on world and local levels, gross inequalities and
income and opportunity, corruption, the threat of real force that subtends government in
general and military government in particular (p. 129).
Buy Africa depicts the struggle between embracing African heritage and
the desire to improve economic conditions in Africa. The central question is: can one be
authentically African while seeing other developed countries as economic role models?
Because unless we buy our own tin
Unless we do our own tin
We no go make money
To be like the other countries outside Africa
That is why we have to do own things
Naturalize our own things
So we can be rich like the other countries outside Africa (Kuti, 1971)

PROTEST SONGS LINER NOTES

Biladi, Biladi, Moharam Fourad (Egyptian National Anthem)

Voice of Freedom, Cairokee
As seen throughout the Middle Eastern world, music played and continues to play
a large role in disseminating political ideas, particularly among young people. One such
example is the 2011 Egyptian Revolution. In 2011, events took place that were part of a
larger uprising throughout the Middle East. This became known as the Arab Spring.
Protestors in Egypt were advocating for better economic opportunities, increased societal
freedoms, and less governmental repression (Valassopoulos & Moustafa, 2014). This
revolution continues as Egypts government remains militarized and unstable.
In the early days of the 2011 revolution, the Egyptian National Anthem was
played frequently in the streets of the country. The National Anthem, Biladi, Biladi,
was composed around the 1919 revolution. Its title translates to Oh my nation, I grant
you all my love and my soul (Valassopoulos & Moustafa, 2014, p. 647). Valassopoulos
and Moustafa (2014) state: These songs found new vitality and meaning within this new
context and created a necessary link with past revolutionary activity (p. 647).
Voice of Freedom, performed by the band Cairokee, was also a staple song of
the early days of the 2011 revolution. The band members were also actively involved in
protests. The music blended into street art, with many protestors writing lyrics on posters
and clothing (Valassopoulos & Moustafa, 2014). The lines between the artists and the art
were blurred. This protest music allowed citizens to create new types of involvement
with music, while promoting their cause.

PROTEST SONGS LINER NOTES

I went down to the street

And said I was not going back
All forbidden things have been broken
Tomorrow is clear in front of us
In each street in my country
Freedom is calling on me. (Cairokee, 2011)

Free Island People, O-Shen

Redemption Song, Bob Marley
In the article describing the globalization of reggae music, Alvarez (2008)
proposes that reggae is popular among displaced indigenous people. In fact, the author
asserts that these displaced indigenous people are part of a diaspora, one based not on
any single race, ethnic, or place-based identity, but on their shared struggles for dignity in
the face of the dehumanizing effects of globalization (Alvarez, 2008, p. 575).
Globalization seems to package exotic cultures for consumer use. Indigenous people
must fight against the commodification of their culture.
Alvarez (2008) states that members of this diaspora view reggae music as a voice
of their concerns and struggles. Despite the fact that displaced indigenous people come
from different places all around the world, they can find commonalities in reggae music.
Part of reggaes appeal in indigenous communities thus stems from its rhetorical use of
sweeping and general critiques of exploitation evident in multiple genres of protest
music (p. 579). The people use reggae music as a vehicle to protest the economic and

PROTEST SONGS LINER NOTES

10

political forces that propel globalization and the marginalization of indigenous culture.
In turn, the sharing of music across cultural lines intensifies social ties. Groups become
stronger by sharing the messages of reggae. In regards to the musical characteristics of
reggae, King and Jensen (1995) state: The effectiveness of reggae music is centered in
the incongruitywhile lyrical themes may elicit themes of social rage, the musical
qualities invoke a hypnotic sensation of tranquility (p. 16).
Bob Marleys Redemption Song features religious and social metaphors
that argue for change in society (King and Jensen, 1995). These metaphors are clear in
the lyrics Old pirates, yes, they rob I/Sold I to the merchant ships (Bob Marley, 1980).
These lyrics feed the perception that reggae is universal and speaks to many in different
cultures.
An influential artist that epitomizes the effect of reggae is O-Shen. O-Shen is an
American that grew up in Papua New Guinea. The son of missionary parents, he was
immersed in the language and culture of Papua New Guinea from birth. He is credited
with creating his own brand of Pacific Island reggae that incorporates the Pidgin
language of Papua New Guinea (Alvarez, 2008). Although the lyrics of Free Island
People contain references to struggles of Pacific Islanders, the messages are easily
relatable to Native American, Maori, and Aboriginal populations.
We dont want European government
We dont need American government
Dont like to see too much foreign power here
Cause Western influence has been killing us for years. (O-Shen, 2008)

PROTEST SONGS LINER NOTES

11

Waist Deep in the Big Muddy, Pete Seeger

This is My Country, Curtis Mayfield and the Impressions
The 1960s were a tumultuous time for the United States. Major strides occurred
in the Civil Rights Movement. The Vietnam War caused American citizens to lose faith
in their countrys foreign policy. Great leaders like Martin Luther King, Jr. and John F.
Kennedy were assassinated. Throughout the decade, musical artists channeled national
turmoil into protest music. The nature of the music varied widely by artist and the time
in which it was written. It is possible that American protest music in the 1960s played a
large role in the way citizens interacted within political and social spheres.
Pete Seeger was an American musician who helped reinvigorate interest in folk
music. He is credited with popularizing We Shall Overcome as an iconic song of the
Civil Rights Movement (Barnes, 2014). He traveled throughout the United States in the
mid-twentieth century and collaborated with other artists such as Woody Guthrie. He
was called before House Un-American Activities Committee in 1955 and was called into
contempt for refusing to cooperate. Of his life and his music, Pete Seeger is quoted as
saying:
I call them all love songs. They tell of love of man and woman, and parents
and children, love of country, freedom, beauty, mankind, the world, love
of searching for truth and other unknowns. But, of course, love alone is
not enough. (Barnes, 2014, p. 1)

Waist Deep in the Big Muddy tells the story of a soldier following orders.
Although the soldier feels that his order might be morally or strategically incorrect, he

PROTEST SONGS LINER NOTES

12

feels powerless to disobey. The soldier keeps pushing on, swallowing his doubts and
fears.
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. (Pete Seeger, 1967)

Curtis Mayfield was American musician who worked during the Motown era and
bought Black music forward into society. His music ranged from blues to soul and funk.
He collaborated with musicians like Aretha Franklin, Gladys Knight, and his own group,
The Impressions. He developed a reputation for confronting tough topics in his music,
but approaching them with peace and gentleness (Curtis Mayfield Estate, 2015). He also
ran a record label called Curtom Records. Throughout his life, he was involved in the
recording business supporting other musical artists. This is My Country was recorded
on Curtom Records in 1968 with Mayfield singing the lead vocal. Mayfields quietly
forceful lyrics are not a statement of ownership, but a recognition if the manifold
difficulties of the past, present and future of American society (Hill, 2013, p. 59).
Too many have died in protecting my pride
For me to go second class

PROTEST SONGS LINER NOTES

We've survived a hard blow and I want you to know
That you must face us at last
And I know you will give consideration
Shall we perish unjust or live equal as a nation
This is my country (Curtis Mayfield and the Impressions, 1968)

13

14

PROTEST SONGS LINER NOTES

References
Aadnani, R. (2006). Beyond Ra: North African protest music and poetry. World
Literature Today, 80(4), 21-26. Retrieved April 20, 2015, from JSTOR
Alvarez, L. (2008). Reggae rhythms in dignity's diaspora: Globalization, indigenous
identity, and the circulation of cultural struggle. Popular Music and Society,
31(5), 575-597. Retrieved April 22, 2015.

Barnes, B. (2014, January 28). Pete Seeger, legendary folk singer, dies at 94. Washington
Post. Retrieved June 10, 2015, from
http://www.washingtonpost.com/entertainment/pete-seeger-legendary-folk-singerdies-at-94/2014/01/28/36faeec0-c5dc-11df-94e1-c5afa35a9e59_story.html
Cairokee. (2011). Voice of freedom.
Curtis Mayfield :: Curtis Mayfield Full Biography. (n.d.). Retrieved June 10, 2015, from
http://www.curtismayfield.com/curtis-mayfield-biography.html
Darwish, S. (1923). Biladi, biladi, biladi [Recorded by Moharam Fouad]. (2011).
Fassihi, F. (2012, May 16). Iranian rapper fears for his life after fatwa. Wall Street
Journal. Retrieved June 3, 2015, from
http://www.wsj.com/articles/SB1000142405270230419270457740645274867058
4
Fathi, N. (2010, June 6). Protest music stirs fires of Iranian discontent. The New York
Times. Retrieved April 17, 2015, from http://www.nytimes.com
Nass El Ghiwane. Fine ghadi biya khouya.

PROTEST SONGS LINER NOTES

15

Howe, J. (1997). Fela Anikulapo Kuti: An honest man. New Left Review, (225), 127133. Retrieved June 1, 2015, from Academic Search Complete.
King, S., & Jensen, R. (1995). Bob Marley's "Redemption Song": The rhetoric of reggae
and Rastafari. The Journal of Popular Culture, 17-36. Retrieved April 19, 2015,
from International Index to Music Periodicals.
Kuti, F. (1989). Buy Africa. Barclay Records.
Marley, B. (1980). Redemption song. On Uprising. London: Island Records.
Mayfield, C. (1968). This is my country. On This is my country. Chicago: Curtom
Records.
OShen. (2000). Free island people. On Island Warriors. Sharpnote Records.
Seeger, P. (1967). Waist deep in the big muddy. On Waist deep in the big muddy and
other love songs. Columbia Records.
Valassopoulos, A., & Mostafa, D. (2014). Popular protest music and the 2011 Egyptian
revolution. Popular Music and Society, 37(5), 1-22. Retrieved April 21, 2015.