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I think you have a lot to work  with here, Abbey. Your body paragraphs introduce important points that I hope you explore in your essay with cited research.

In terms of what you need to address with this padlet:

1. Each body paragraph needs to include cited evidence which you take from your research.
Besides just the names of the songs, what are the lyrics you will include in the paragraphs.  It seems that you have some of your arguments in another box but I do not see any connection/arrow over to your body paragraph boxes.

2. Check my note on your conclusion.

3. Counter argument cited evidence needed

4. Connection arrows between research and body parag. boxes

Thesis: 3/3
Intro: 3.5/4
Body Parag.:12/15
Counter-arg: 3/4
Concl.: 3/4

24.5/30

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in conclusion music holds a very influential power, to reinforce ideas, or bring out new ones. Looking back on different wars, or hardships americans have had to face around the 20th centery, music is something that reveals all of what america ws going through. Even today music is used to talk about political or social issues that come up. Music is something that heals, and acts as a reassurance to peoples problems, and also something that can influence people to gain different opinions.

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Throughout time music has always been an outlet for people to voice there opinions, and share common feelings. The Vietnam war was a very hard time for the people of america, because many were being drafted and many lives were being lost. Music and the start of rock and roll was a way for society to deal with hardships that come with war. Songs also reflected the different emotions that the people of america were going through like chaotic rock and roll, or the lack of understanding for the purpose of the war. Music was also used as a distraction and a way to escape from the brutal war that soldiers were facing. Music from the time around the Vietnam war impacted the citizens by reflecting how the society was being physically and emotionally effected by the war.

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Yes, and how many years can a mountain exist (the mountai nmight be our nation and this war is the sea that is destorying it)
Before it is washed to the sea?
Yes, and how many years can some people exist
Before they're allowed to be free?
Yes, and how many times can a man turn his head
And pretend that he just doesn't see? (How can peopel live iwth themsleves after killing other. When are epople going to relize that war is not he answer)
The answer, my friend, is blowing in the wind
The answer is blowing in the wind (the flag of the us, and also i think he is referring to americas vales and how being american is not killing eachother, in war, in marchs, etc)

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Sarge, I'm only eighteen, I got a ruptured spleen
And I always carry a purse
I got eyes like a bat, and my feet are flat, and my asthma's getting worse
Yes, think of my career, my sweetheart dear, and my poor old invalid aunt
Besides, I ain't no fool, I'm a-goin' to school
And I'm working in a DEE-fense plant (this whole chorus and the whole song is bascially making fun of the steriotypical guy who is nationalistic and wants to go to war)
Oh, I'm just a typical American boy from a typical American town
I believe in God and Senator Dodd and a-keepin' old Castro down (talking baout the stereotypical american guy who loves america and wants to defend it)
And when it came my time to serve I knew "better dead than red" (that is talking about its better being dead form the war then a communist)
But when I got to my old draft board, buddy, this is what I said:

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I see a line of cars and they're all painted black
With flowers and my love, both never to come back
I see people turn their heads and quickly look away (this is talking about the people who aren't standing up to teh injustices in the vietnam war, and how many lives were being thrown away)
Like a newborn baby, it just happens everyday ( i think he is talking about how death had become so normalized since so many people new so many people in the war)
I look inside myself and see my heart is black
I see my red door and must have it painted black
Maybe then I'll fade away and not have to face the facts (facing the facts of war)
It's not easy facing up when your whole world is black( its hard to stand up to something that is as powerful as the government, also something that might feel unstoppable, getting drafted, the fight for peace)

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my counterargument wold be about the "silent majority". And how even though this music was impacting people, the music did not represent all of what america was feeling. It was just becasue the minority of people against the war were very loud and made themselves heard on the front lines of newspapers. But the silent majority didnt haev as much of a say or in the public eye, but they all could vote. And that is how nixon won by calling the silent majority.

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President Richard Nixon goes on television and radio to call for national solidarity on the Vietnam War effort and to gather support for his policies; his call for support is an attempt to blunt the renewed strength of the antiwar movement.

Pledging that the United States was "going to keep our commitment in Vietnam," he said U.S. forces would continue fighting until the communists agreed to a fair and honorable peace, or until the South Vietnamese were able to defend themselves on their own. He said that he had already withdrawn 60,000 U.S. troops and would make additional reductions as the situation permitted. He also reported progress in the "Vietnamization" effort to increase the combat capability of South Vietnam's armed forces so that they could assume more responsibility for the war. Having provided this perspective on the situation, he then appealed to the American people, calling on the "great silent majority" for their support as he worked for "peace with honor" in Vietnam.

A Gallup Poll survey carried out in the wake of the president's speech indicated that 77 percent were in support of Nixon's policy in Vietnam. Congressional reaction to the president's speech was also overwhelmingly favorable. Although Senator J. William Fulbright (D- Arkansas) and other congressmen and senators who opposed the war questioned the president's sincerity, more than 300 congressmen and 40 senators cosponsored resolutions supporting the president's efforts to make peace and bring the war to an honorable end.

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Nixon calls on the "silent majority" - Nov 03, 1969 - HISTORY.com

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President Richard Nixon goes on television and radio to call for national solidarity on the Vietnam War effort and to gather support for his policies; his call for support is an attempt to blunt the renewed strength of the antiwar movement.

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The Continental Army had Yankee Doodle. Johnny Reb had Dixie and the Yankees retaliated with Marching Through Georgia. When the doughboys headed overseas to bail out the beleaguered Allies in World War I, they vowed that they wouldn't come back "til it's over Over There."

World War II had big bands and the Andrews Sisters singing Boogie Boogie Bugle Boy of Company B.

Korea might be the forgotten war, and the soundtrack of Inchon might not immediately come to mind, but God, Please Protect America by Jimmie Osborne made it to number nine on the Billboard charts.

As he found out when he and co-author Craig Werner interviewed Vietnam veterans for their book, We Gotta Get Out of This Place, the young soldiers fighting in the jungles had one thing in common with the protesters back home: music was the way to cope with life. The book, which was named Rolling Stone magazine's Best Music Book of 2015, is the product of ten years of interviews with hundreds of vets who might not have been comfortable talking about their military experience, but were willing to open up about the music they listened to. By the time they were finished interviewing the front-line fans who spoke to them about the music they listened to, the authors realized that there were too many songs for the book to cover everything. But some favorites did emerge and that made it possible for the authors to make a list of the top ten songs that the veterans mentioned most often. "Realizing," Bradley reminds his readers, "that every soldier had their own special song that helped bring them home."

10. Green, Green Grass of Home

The song that evokes the heartrending pain of being far from loved ones, meant something personal to the soldiers. Interestingly, while the Tom Jones version was popular, so was the version that country singer Porter Wagoner had done before. Many veterans preferred Wagoner's rendition, which, while sadder, was also more real.

9. Chain of Fools

Aretha Franklin's song meant different things to different people. To Americans on the home front, she was speaking about the civil divides creating dissension between blacks and white, men and women. But one soldier cynically felt that Queen of Soul's chain was reminiscent of the military chain of command. For the African-American soldier hearing the news that civil rights leader Martin Luther King, Jr. had been assassinated, Chain of Fools was his story and he knew that the chain, as Aretha promised, was going to break.

8. The Letter

For soldiers awaiting letters from home, the Box Tops' song was a reminder of just how central mail call was in a soldier's life. The ties between the soldiers and the girls they left behind were part of the sustaining bonds that reminded the G.I.s that eventually, they too, like the singer in the song, would be getting on an airplane to return home to their baby, who wrote them a letter.

Maybe it was the irony of Otis Redding dying in a plane crash before he ever knew that his song made it to number one on the charts. Why the singer left his home in Georgia, and why he had nothing to live for are part of the song's anthem-like resonance, and the loneliness of the words struck an answering chord in the soldiers. It was another touch of irony that Redding died before he was able to follow through on his plans to go to Vietnam to entertain the troops.

6. Fortunate Son

Creedence Clearwater Revival's music had the ability to reach soldiers of all races. The driving cynicism of Fortunate Son expresses what many soldiers felt about a war that rich men's sons, who had inherited spar-spangled eyes, could avoid.

5. Purple Haze

Jimi Hendrix, before he was a guitar legend, was a guitar-playing soldier in the 101 st Airborne Division, but his music got him an early discharge because for Hendrix, his guitar was his weapon. For a lot of soldiers, the song reminded them of the Vietnam War scenes, the purple smoke grenades and the machine guns. Hendrix bridged the gap between white soldier's rock and roll and black soldier's soul music, bringing symmetry to the races with his songs.

4. Detroit City

For a soldier, a song about going home was personal. The authors discovered that Bobby Bare's song remained popular in Vietnam for a long time after it was initially released in 1963. Country music might not always have gotten the airplay that other genres enjoyed, but for the soldiers who agreed when Bare sang "Oh, how I wanna go home," they couldn't hear the song often enough.

Folk music trio Peter, Paul and Mary were part of the foundation of songs that conjured up loneliness, regret, and pain, and these were emotions just as familiar to the soldiers away from home as they were to the wives and girlfriends who had to say good-bye.

2. I Feel Like I'm Fixing to Die Rag

Joe McDonald of Country Joe and the Fish told the authors that he was a veteran first and a hippie second, but the song just popped into his head. He never expected it to come to have the meaning it did for the soldiers in Vietnam. For McDonald, the song is inspired by the tradition of the soldier's sense of humor that finds a way to bitch in order to keep from going insane. One of the veterans who listed the song among his favorites appreciated its bitter sarcasm against the government whose decisions defied logic. Rag, he said, "became the battle standard for grunts in the bush."

The authors found that the quote from Armed Forces Radio disc jockey Bobby Keith said it best: " We Gotta Get Out of This Placeis regarded by most Vietnam vets as our We Shall Overcome." The songwriters didn't expect it, Eric Burdon and the Animals who recorded it didn't expect it, but the song achieved anthem status among veterans, which was why, when Bradley and Werner were looking for a title for their book, the decision was an easy one.

The Vietnam War is generally viewed as a divisive one, and it certainly was that. But the list of songs that were most popular with veterans reveals that the soldiers and the protesters and the folks back home were often singing along to the same lyrics.

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Vietnam's Playlist: Songs of Survival for the Soldiers - Argunners

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The Continental Army had Yankee Doodle. Johnny Reb had Dixie and the Yankees retaliated with Marching Through Georgia. When the doughboys headed overseas to bail out the beleaguered Allies in World War I, they vowed that they wouldn't come back "til it's over Over There."

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-  later in the war songs came out like (imagine by lennon) and (agaurious let the sunshine in) about coming to peace with wht has happend and tyring ot move forward and stay positive "that is wehn the hippi emovement started taking place
topic sentence: at the end of the war, the ideas of peace was starting to show through in the music

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- the loss the grief peopel write songs about: this not only helps the songwriters grieve, but it also helps the people of america grive losses they haev experienced
topic sentence: teh songs that are written about loss and grieving not only help the songwriter cope, but help the people listeing to the muisc cope with there own losses.

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- humerous songs abtout he war, to distract fromt eh stradgedy that it was (country joe and the fish, phil ochs
topic sentece: humar and sarcasm are apparent in many songs, and one of ht reasons for that is the lack of better words, humar is an easy way to talk about hard times. (i could also talk abot how it loosens things up and doesnt keep it all depressing and scary) (fear can also be shown through humar and)

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- the insident in ohio and the song (ohio) and waht the greater impact of that was (i can talk about police brutality, and other protests) (also the song "we gotta get out of this place" was not meant to be an anit war song but the people took it as taht
topic sentence: songs talked about specific incidents, which creates a great impact and meaning to a certain event.  (this could also go into about how music was a way to protest without putting much at risk, comparing to a protest or a march)

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- soldiers in the war and waht music they listened to, music was a distraction from war (green, green grass of home) (the letter) (leavin on a jet plane)
topic sentence: muisc was not only used as a representaion of how society was feeling, bit it was also a way to cope with the hardships of war.

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- tha anger you here in songs like (fortunate son)
topic sentence: anger in the music is another way of representing how the people were feeling

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- the chaos that is reflected in the music (gimme shelter): and the fact that he didtn even (start spangled banner by jimi hendrix) write the song about the war, but the society took it as that says something
topic sentence: In the music of the 60s and 70s the chaotic and lound sounds of the songs were a relfection of the way people were dealing with the war.

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- artists always were against the war, and for peace
- they are intense talk about death and guns and burning
- they talk about the urgency of what is happening
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By Anne Meisenzahl and Roger Peace

In the early 1960s, before the antiwar movement gained a measure of popularity, folk singers Peter, Paul, and Mary (Peter Yarrow, Paul Stookey, and Mary Travers), Joan Baez, Judy Collins, Pete Seeger, Phil Ochs, Tom Paxton, and others spread the antiwar message through their music. "Some of the first organized activities against the Vietnam War centered on the singing of songs at concerts, in clubs, and on campuses," notes the historian H. Bruce Franklin.

Phil Ochs, born in 1940, became the most successful male singer-songwriter in the 1964-65 period. His songs included "Talking Vietnam" (1964), a lampoon of official rationales for the war, "I Ain't Marchin' Anymore" (1965), and "Draft Dodger Rag" (1966), a humorous satire on avoiding the draft. Pete Seeger toured the country, performing antiwar ballads at myriad concerts and festivals. His songs included "Waist Deep in the Big Muddy" (1962), "If You Love Your Uncle Sam, Bring 'Em Home" (1966), and "Ballad of the Fort Hood Three" (1966), a homage to three war resisters in the military. Ochs, Seeger, and other folk singers essentially provided teach-ins on the war.

At the first major antiwar rally in Washington in April 1965, Judy Collins sang Bob Dylan's "The Times They are A-Changin,'" and Joan Baez led "We Shall Overcome," the anthem of the civil rights movement. That year, Malvina Reynolds wrote and sang "Napalm" (1965), which contributed to the anti-napalm campaign. It began, "Lucy Baines [Johnson], did you ever see that napalm? Did you ever see a baby hit with napalm?" Tom Paxton highlighted President Johnson's deceptions with his popular, catchy, sing-along, "Lyndon Johnson Told the Nation" (1965):
I got a letter from LBJ. It said, "This is your lucky day. It's time to put your khaki trousers on. Though it may seem very queer, we've got no jobs to give you here So we are sending you to Vietnam." Lyndon Johnson told the nation, "Have no fear of escalation, I am trying everyone to please." Though it isn't really war, we're sending fifty thousand more To help save Vietnam from the Vietnamese.
One of the first large antiwar concerts took place at Carnegie Hall, New York City, on September 24, 1965. Billed as a "Sing-In for-Peace," sixty performers entertained and led songs for an audience of 4,600. The performers included folksinger Pete Seeger and an avant garde rock group called The Fugs who played a raunchy satire, "Kill for Peace." Barbara Dane coordinated the event, and Irwin Silber, editor of Sing Out! magazine, later published The Vietnam Songbook (1969), a historic collection of antiwar lyrics. Dane also toured GI coffee houses near army bases across the U.S., leading to her 1970 album, FTA! [Free the Army] Songs of the GI Resistance Sung by Barbara Dane with Active-Duty GIs, which was recorded with GI choruses at Fort Hood, Fort Benning, and Fort Bragg.[2]

Ochs continued to perform at anti-war rallies and concerts throughout the country, including a sold-out concert at Carnegie Hall in 1966. Inspired by the poet Allen Ginsberg's idea that our way of thinking contributed to the continuation of war, Ochs organized a concert called "War is Over" in Los Angeles on June 23, 1967. In publicizing the event, Ochs wrote in the Los Angeles Free Press: "Is everybody sick of this stinking war? In that case, friends, do what I and thousands of other Americans have done - declare the war over."[3] His song, "The War Is Over," was the centerpiece of the rally. Ochs performed the song again before 150,000 demonstrators at the Lincoln Memorial in Washington, D.C., on October 21, 1967, and at another rally in New York on November 26. He organized a final "War Is Over" rally in New York's Central Park on May 11, 1975.

As the hippie counterculture seeped into the mainstream - and military - culture, Tom Paxton imagined a GI company sitting down with an "enemy" company and getting stoned together in "Talking Vietnam Potluck Blues" (1968). Another sardonic song, "The I-Feel-Like-I'm-Fixin'-to-Die Rag," recorded by Country Joe McDonald in 1966, became an anthem of sorts for the antiwar movement and was sung at the Woodstock Festival in August 1969.
And it's one, two, three, what are we fighting for? Don't ask me, I don't give a damn, And it's five, six, seven, open up the pearly gates, Well there ain't no time to wonder why, Whoopee! we're all gonna die.
Some songs expressed grief over the death of soldiers, such as Willie Nelson's "Jimmy's Road" (1965); and beyond grief, the futility of war, such as Tom Paxton's "Jimmy Newman" (1969). The Animals' hit song, "We Gotta Get Out of This Place" (1965), was not intended as an antiwar song but nonetheless became a theme song for U.S. soldiers in Vietnam longing to go home. Other songs expressed the heartache of those at home, with a subtext of protest, such as Freda Payne's melodious "Bring the Boys Home" (1971) and Martha and the Vandellas's "I Should Be Proud" (1970):
And they say that I should be proud; he was keepin' me free. They say that I should be proud, those too blind to see. But he wasn't fightin' for me My Johnny didn't have to die for me. He was fightin' for the evils of society.
Heavy metal protest songs gave vent to emotion, the lyrics barely decipherable amidst the throbbing instrumental beat, but still carried the movement's antiwar orientation into the mainstream culture. Jimmy Hendrix's distorted, screaming guitar rendition of "The Star Spangled Banner" (1968) was played, not as a patriotic anthem, but as a reflection of the violence done in the name of the flag. Commercial radio stations were generally averse to playing music with controversial lyrics, but the popularity of the antiwar movement in the late 1960s and early 1970s allowed for the airing of general antiwar themes. Among the hit songs were Edwin Starr's "War!" (1969) and Crosby, Stills and Nash's "Ohio" (1970), which captured the nation's grief over the killing of students at Kent State, and Marvin Gaye's "What's Going On" (1971).

Protests against the war furthermore paved the way for imagining a better world, one in which people cared for each another and lived in peace. The musical and movie "Hair" contrasted the death culture of the Vietnam War with an idealized hippie culture of peace. The song "Aquarius/Let the Sunshine In" peaked at number one on the pop charts for six weeks in the spring of 1969. In "Woodstock," (1970), Joni Mitchell celebrated the coming together of young people creating a new order: "And we've got to get ourselves back to the garden." John Lennon's "Imagine" (1971) envisioned a world in which hunger and division have ended.

Imagine there's no countries. It isn't hard to do. Nothing to kill or die for. And no religion, too. Imagine all the people living life in peace. You may say I'm a dreamer, but I'm not the only one. I hope someday you'll join us. And the world will be as one. Imagine no possessions. I wonder if you can. No need for greed or hunger, a brotherhood of man. Imagine all the people, sharing all the world....

Antiwar Songs

(listed alphabetically by performer)

Chicago, "It Better End Soon" (1970). "They're killing everybody.... They're ruining this world for you and me."

Country Joe McDonald (Country Joe and the Fish), "The I-Feel-Like-I'm-Fixin'-to-Die Rag" (1967). "And it's one, two, three, what are we fighting for? Don't ask me, I don't give a damn. Next stop is Vietnam. And it's five, six, seven, open up the pearly gates. Well there ain't no time to wonder why. Whoopee! we're all gonna die. "

Crosby, Stills & Nash, "Wooden Ships" (1969). "I can see by your coat, my friend, you're from the other side. There's just one thing I got to know. Can you tell me please, who won?"

Richie Havens, "Handsome Johnny" (1967). "Hey, look yonder, tell me what's that you see, marching to the fields of Concord?"

* * * * * * * * *

[1] H. Bruce Franklin, Vietnam War in American Stories, Songs, and Poems (Boston: Bedford Books, 1996), p. 204.

[2] Ibid., and James E. Perone, Music of the Counterculture Era (Westport, CT: Greenwood Press, 2004), pp. 39-41. See also, Ronald D. Cohen, "Peace Songs of the 1950s," Smithsonian Folkways Magazine," Spring/Summer 2013, http://www.folkways.si.edu/magazine-spring-summer-2013-peace-songs-1960s/struggle-and-protest-american-history-folk/music/article/smithsonian.

[3] Phil Ochs, "Have Faith, The War Is Over," Los Angeles Free Press, June 16-22, 1967.

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Protest Music of the Vietnam War - Peace History

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At the outset of the war, folk singers such as Joan Baez, Pete Seeger, Phil Ochs, and Peter, Paul, and Mary took center stage in protest music. As the war progressed, antiwar music became more popular. Among the hit songs were Edwin Starr's "War!" Crosby, Stills and Nash's "Ohio," and Marvin Gaye's "What's Going On."

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"Anybody know who Phil Ochs is?" Lady Gaga called out to her audience at a free concert last summer during the Democratic National Convention. Her setlist that day was eclectic: from the Beatles to Edith Piaf to her own gay rights anthem, "Born This Way." But her decision to perform Ochs's " The War Is Over," a 1967 folk song about Vietnam, was particularly surprising.

It isn't often that Ochs, who died four decades ago and is mostly unknown to those born since the 1970s, gets even a brief moment of mainstream recognition. Yet as we enter the Trump era, and as a new mass protest movement begins to take shape, his music would be worthy of a revival. Taken together, his songs offer an exceptionally compelling tour of the deepest questions currently confronting liberals - questions about democracy, dissent and human decency in a grim political age.

The song Lady Gaga performed is a good example. "The War Is Over" was composed in the middle of the Vietnam War but insists that the conflict had already ended. "One-legged veterans will greet the dawn," Ochs sang. "And they're whistling marches as they mow the lawn. And the gargoyles only sit and grieve. The gypsy fortune teller told me that we'd been deceived. You only are what you believe. I believe the war is over. It's over, it's over."

Here's how Ochs explained what he was trying to do: "Some of us have been protesting against the war in Vietnam to a point where it became sort of a mindless habit, and we seemed to be losing our effectiveness, because the administration and those in power always have longevity on their side. And at a certain point you keep saying, 'Indecent, indecent,' and the words lose their meaning - it's just the sound of syllables, it's not a word anymore. So last June some of us in America declared the war over from the bottom up and celebrated the end of the war, and we've been celebrating ever since."

"The War Is Over" suggests how political resistance in any age can be enlivened, refreshed and perhaps even galvanized by jarring notes of artistic creativity. Yet it isn't close to being Ochs's most philosophical work. Take, for instance, " There but for Fortune," the most beautiful song ever written about the natural lottery. To a series of tragic circumstances - "show me a prison man whose face is growing pale," "show me the country where the bombs had to fall" - Ochs attaches a simple refrain: "There but for fortune may go you or I." It's a succinct reminder of the ethical basis of modern liberalism: that in a world with no level playing field, we have sizable obligations to those who are less lucky. And it's an overarching message that Democrats, after a campaign in which their nominee tended to favor discrete policy proposals over sweeping moral vision, would be wise to rediscover.

Ochs himself was clearly a hard-left progressive. His sister, Sonny, recently told me she thinks he would have been a Bernie Sanders supporter. One of his most famous creations - the sarcastic " Love Me, I'm a Liberal " - is a harsh depiction of the cautious center-left.

And in " Outside of a Small Circle of Friends," he offers an acerbic challenge to liberals who decline to protest: "Smoking marijuana is more fun than drinking beer. But a friend of ours was captured, and they gave him 30 years. Maybe we should raise our voices, ask somebody why. But demonstrations are a drag, besides we're much too high. And I'm sure it wouldn't interest anybody outside of a small circle of friends."

But Ochs's music also puts forward ideas that transcend the politics of left and right. "Outside of a Small Circle of Friends" begins with the story of Kitty Genovese - who was murdered in New York in 1964 while numerous bystanders failed to intervene - and becomes an eloquent argument for action in the face of injustice. In theory, it should hold as much appeal for idealistic neoconservatives, who want the United States to intervene abroad to stop genocide or promote democracy, as it does for progressives. And buried in his gorgeous ballad " Flower Lady " is the following verse: "Soldiers, disillusioned, come home from the war. Sarcastic students tell them not to fight no more. And they argue through the night. Black is black and white is white. Walk away both knowing they are right." It was as if Ochs anticipated how the self-certainty of Fox News, MSNBC and Facebook news feeds would someday damage our democracy.

Moreover, although he made his name in the New York folk scene, Ochs was not a stereotypically insular coastal progressive. One of his angriest songs is " Here's to the State of Mississippi," a denunciation of Jim Crow. While the chorus - "Here's to the land you've torn out the heart of; Mississippi, find yourself another country to be part of" - expresses sentiments that sound like they could have been tweeted from Brooklyn, it's worth noting, as Michael Schumacher points out in his excellent biography of Ochs, that the singer arrived at these lyrics by getting out of the liberal bubble and traveling, with other folk singers, to Mississippi. "He met with the locals and asked them endless questions about their day-to-day lives," Schumacher writes. "The more he saw and heard, the more alarmed he became."

It also seems likely that - his justifiably pointed words for Jim-Crow-era Mississippi notwithstanding - Ochs would have been appalled by the failure of today's liberal elites to connect with the working-class voters of red America. He traveled with other singers to Kentucky in solidarity with striking coal miners, and he wrote a song (" No Christmas in Kentucky ") based on the trip. Later, in the wake of the 1968 election, Ochs, Schumacher writes, concluded that left-wing "demonstrators and the Democratic Party had lost touch with America's working class - the very people they were supposed to be representing."

But perhaps the biggest lesson Ochs bequeathed for the coming Trump era is only tangentially related to politics. One of his most famous quotes is from the liner notes of an album: "In such an ugly time the true protest is beauty." At moments of national crisis, no matter which side you are on, it's tempting to view art as a worthless distraction from the task of political repair. Ochs's insistence that "the true protest is beauty" could be the mantra for every liberal artist during the next four years - a time when the creation of thoughtful art of all kinds can serve as a counterweight to the thoughtlessness, even cruelty, emanating from our politics.

Ochs's music exemplified this credo. Some of his melodies are merely catchy and fun, but others are piercingly beautiful. When I asked Zachary Stevenson - a 36-year-old Canadian singer-songwriter and Ochs devotee, who is working on a play about him - what he thought distinguished Ochs from other political singers of the '60s, he said it was the artistry. "There are a lot of folk songs that are very simple. In many ways, that's the standard way to go about folk songs. It's not necessarily about inventing things too complex," Stevenson explained. Ochs, by contrast, "was an artist through and through. . . . I think he had a real sensitivity to melody and song and chord structure. And so he was always pushing himself to write better and more moving songs emotionally."

Ochs wrote perhaps his two most haunting melodies for " Changes," a song that isn't about politics but rather about love, and " When I'm Gone," which is glancingly about politics but really about living well alongside the ever-present prospect of death: "Won't see the golden of the sun when I'm gone. And the evenings and the mornings will be one when I'm gone. Can't be singing louder than the guns when I'm gone. So I guess I'll have to do it while I'm here. All my days won't be dances of delight when I'm gone. And the sands will be shifting from my sight when I'm gone. Can't add my name into the fight while I'm gone. So I guess I'll have to do it while I'm here." (Ochs singing it himself is great, but the weighty, husky-voiced version by folk singer Eric Andersen is even better.)

For Ochs, death came at the tragically young age of 35. He struggled with mental illness, and, in 1976, he committed suicide. Forty years later, it isn't difficult to imagine what he would have thought of Donald Trump. "I know he would have despised him," Sonny told me, "and I'm sure his pen would have been running nonstop." But it's tougher to know what he might have made of the overall arc of American history since the 1970s: our leaps forward and backward; our national moments of idealism side by side with our bouts of incompetence and avarice. In some ways, as Sonny points out, the enduring importance of her brother's songs is a sign of our collective failure. "The thing that's sad to me is how many of the songs are still relevant," she says. "There are so many that . . . still hold water. And they shouldn't after this many years."

No single artist or activist, of course, can remedy this depressing state of affairs. But Ochs's music could at least help Americans who care about the future of liberal democracy to grapple with the difficult work that lies ahead. As he once wrote: "One good song with a message can bring a point more deeply to more people than a thousand rallies."

And that - the moral power of one good song - is why I have a pitch for Lady Gaga. On Feb. 5, she is slated to perform at the Super Bowl. To sing just one Phil Ochs song - to introduce millions of people to his ideas and poetry - would be both a glorious act of cultural transgression and an enduring gift to American democracy.

Which song should she choose? My suggestion would be " Power and the Glory." "Here is a land full of power and glory," goes the chorus. "Beauty that words cannot recall. Oh her power shall rest on the strength of her freedom. Her glory shall rest on us all." America, Ochs sings in one verse, is "only as rich as the poorest of the poor. Only as free as a padlocked prison door." This is nationalism as it should be deployed: aspirational, ennobling, altruistic.

"Power and the Glory" was brilliant enough as Ochs usually sang it during his lifetime. As it turns out, however, he wrote an additional verse, which is now frequently performed with the rest of the song. It's a statement of faith in the American people amid encroaching political darkness: "But our land is still troubled by men who have to hate. They twist away our freedom, and they twist away our fate. Fear is their weapon, and treason is their cry. We can stop them if we try."
To resist a Trump presidency, ask: "What would the abolitionists do?" A song goes viral after the Women's March on Washington Trump's inaugural concert: The weird, the patriotic and the weirdly patriotic

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Why Phil Ochs is the obscure '60s folk singer America needs in 2017

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"Anybody know who Phil Ochs is?" Lady Gaga called out to her audience at a free concert last summer during the Democratic National Convention. Her setlist that day was eclectic: from the Beatles to Edith Piaf to her own gay rights anthem, "Born This Way."

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- the chaos that is reflected in the music (gimme shelter): and the fact that he didtn even (start spangled banner by jimi hendrix) write the song about the war, but the society took it as that says something
topic sentence: In the music of the 60s and 70s the chaotic and lound sounds of the songs were a relfection of the way people were dealing with the war.
- tha anger you here in songs like (fortunate son) and (
- soldiers in the war and waht music they listened to, music was a distraction from war (green, green grass of home) (the letter) (leavin on a jet plane)
- the insident in ohio and the song (ohio) and waht the greater impact of that was (i can talk about police brutality, and other protests) (also the song "we gotta get out of this place" was not meant to be an anit war song but the people took it as taht
-  that can lead into how muisc was an act of protesting withoutt putting peopel at danger
- humerous songs abtout he war, to distract fromt eh stradgedy that it was (country joe and the fish, phil ochs
- the loss the grief peopel write songs about: this not only helps the songwriters grieve, but it also helps the people of america grive losses they haev experienced
-  later in the war songs came out like (imagine by lennon) and (agaurious let the sunshine in) about coming to peace with wht has happend and tyring ot move forward and stay positive "that is wehn the hippi emovement started taking place

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How does the music reflect and impact american society during the Vietnam war

Music from the time around the Vietnam war impacted the citizens by reflecting what society was going through at that time.

Music from the time around the Vietnam war impacted the citizens by reflecting how the society was being physically and emotionally effected by the war.

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in this song he is talking about na event hat happend in kent state ohio there was a protest and the national guard came and was shooting at the students. Four people died
"Tin soldiers and Nixon coming, (the armed forces, national guard)
We're finally on our own.
This summer I hear the drumming, (more riots are bound to happen, people are getting mad about the war)
Four dead in Ohio."  (this is talkign about the stuedetns dead)

"Gotta get down to it
Soldiers are cutting us down (soliders haevt he poewr)
Should have been done long ago. (the effect aht this incident had on teh public and making them make up to the fact that people are dyign fo runfair reasons, should not have happen long ago)
What if you knew her
And found her dead on the ground
How can you run when you know?" (he is talking about how do the soliders live with themselves knowing they haev done something wron)

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And it's one, two, three,

What are we fighting for ?

Don't ask me, I don't give a damn, (this is showing how some of the soldiers and regular peopel were feeling at the time. Fightin gin the war was ascoiated with not nationalism not emotion, they didnt know what they were even fighting for, they were forced to do so.)

Next stop is Vietnam;

And it's five, six, seven,

Open up the pearly gates, (the peraly gates are referring to heaven, sayign they are all gonna die. This song is kdin fo pbeing sarcastic like its not a big deal for someone to be dying in the war)

Well there ain't no time to wonder why, (its all happening so fast, they didnt have a say in what is happening)

Whoopee! we're all gonna die. (sarcasim)

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Country Joe And The Fish Lyrics

About

"Vietnam Song" by Country Joe and the Fish serves as a poignant critique of the Vietnam War, blending satire with a strong anti-war message. Through its catchy, sing-along melody and darkly humorous lyrics, the song captures the absurdity and tragedy of war. The opening lines mock the recruitment efforts during the Vietnam War, portraying enlistment as both a patriotic duty and an adventure. This juxtaposition of "fun" with warfare highlights the naivety and propaganda used to encourage young men to fight in a conflict many did not understand. The chorus, with its counting "one, two, three, what are we fighting for?" underscores the confusion and lack of purpose felt by many soldiers and citizens. The refrain "Don't ask me, I don't give a damn, next stop is Vietnam" reflects widespread apathy and disillusionment with the war's objectives. The mention of "Wall Street" and the "tools of its trade" critiques the military-industrial complex and the financial benefits reaped by corporations from the war, suggesting a profit motive behind the conflict. This is a stark commentary on how economic interests can drive warfare, often at the expense of human lives. The lines urging generals to "get those reds" and the assertion that "the only good commie is the one that's dead" satirize the anti-communist rhetoric that fueled much of the Cold War and the Vietnam conflict. It criticizes the dehumanization of the enemy and the simplistic notion that peace can be achieved through total annihilation. The song also addresses the human cost of war, particularly in its appeal to parents to "pack your boys off to Vietnam." The chilling prediction that they can be "the first ones in your block to have your boy come home in a box" highlights the ultimate sacrifice made by soldiers, often for unclear or unjust reasons. "Vietnam Song" is not just a protest song; it's a powerful social commentary on the Vietnam War era. It captures the disillusionment, the protest spirit, and the tragic loss of life, using irony and satire to question the motives behind the war and its execution. Through its enduring popularity, the song remains a significant part of the anti-war movement, echoing the sentiment that sometimes, the reasons given for war do not justify the tremendous costs.

Way down yonder in Vietnam

And it's one, two, three,

What are we fighting for ?

And it's five, six, seven,

Open up the pearly gates,

Whoopee! we're all gonna die.

And it's one, two, three,

What are we fighting for ?

Next stop is Vietnam.

And it's five, six, seven,

Open up the pearly gates,

Whoopee! we're all gonna die.

And it's one, two, three,

What are we fighting for ?

And it's five, six, seven,

Open up the pearly gates,

Whoopee! we're all gonna die.

What are we fighting for ?

Next stop is Vietnam.

And it's five, six, seven,

Open up the pearly gates,

Whoopee! we're all gonna die.

Popular Country Joe And The Fish Songs

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Country Joe And The Fish - Vietnam Song Lyrics (Video, Meaning, Description)

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Vietnam Song lyrics: Well, come on all of you, big strong men, Uncle Sam needs your help again. He's got himself in a terrible jam Way down yonder in Vietnam So put down your books and pick up a gun, We're gonna have a w

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- when soldiers were at war officers would encourage the use of radio to brithen up their  moods.
- rock and roll was hteir anthem

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Why the Vietnam War Produced Such Iconic Music

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The relationship between music and war was not an invention of the 1960s. So what made Vietnam's music special?

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- music was something to distract form hardships of war
-

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- "blowin in the wind" (bob dylan) *** --- (1963)
- "For what its worth" (buffolo spingstein) --- (1966)
- "Gimme Shelter" (Stones)***( more rock and caotic) --- (1969)
- "Vietnam song" (country joe and the fish) *** --- (1969)
- "aquarious let the sunshine in" (the 5th deminsion) --- (1969)
- star spangled banner (done by jimi hendrix) *** (this or gimme shelter, or both) ---(1969)
- "machine gun" (jimi hendrix ) --- (1970)
- "Imagine" (John Lennon) --- (1971)
-   "sunshine go away today" (jonathan edwards) *** ( a distraction from war) --- (1971)
- " ohio" (neil young) *** --- (1971)
- "Give me love" (George Harrison) --- (1973)
- "draft dodger rag" (phil ochs) --- (1965)
- "jimmy newman" (tom paxton) -- this is abotu grief --- (1988)

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How does the music reflect american society during the vietnam war

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NOTE TO ME; maybe watch part of the ken burns documentary 

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NOTE TO ME; maybe watch part of the ken burns documentary 

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more about how music effected troops fighting in war

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more about how music effected troops fighting in war

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The Vietnam War Divided The Country, But Music United The Troops

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A new book explores the way Americans who served in the Vietnam War turned to music to cope. The co-authors join us.

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- Bruce Springsteen
- Bob Dylan
- The Beatles
- Grateful Dead
- Led Zepplin
- Rolling Stones
- Buffolo Springsteen
-  The Who
- jimi hendrix
- csny
- neil young
- peter paul and mary
- phil ochs

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The Vietnam Conflict: The Rock 'n' Roll War

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Moratorium Day, October 15, 1969 - Washington D.C. (AP Photo) In the immortal words of the German Romantic writer Jean Paul Richter "Music is moonlight in the gloomy night of life". There could be no truer words for a soldier entwined within the chaos of a violent battle.

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1.  because this war started the hippie movement did it also have an impact on rock and roll
2. what were specific protests about people not wanting the war
3. what was the effect on the economy

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1. started the ideas of "hippies"
2. caused a divide between people
3. people were going against the governemtn