Amos and Hosea Essay

Amos was a Judean who accepted he was appointed by Yahweh to deliver his words to Israel, However Hosea was a local Israelite. With these two men was the custom of recording prophets which seem to have started, for if the expressions of their prophetic antecedents were protected in a composed structure, at that point they would have since a long time ago been lost to all of us. Inside a couple of years, prophets having comparable worries with Amos and Hosea started to be dynamic in Judah and their words as well, were protected. II Kings 15 and Amos 1-9 Amos remained in judgment of good and moral malice be that as it may, in contrast to them, he didn't restrict himself to single issues or to singular circumstances, however managed the decay of Yahwism and human conduct in all degrees of society. Urban areas he makes reference to), examples of circumstances and logical results (3:3 ff.), and Israelite faction rehearses. His distinctive symbolism, drawn from nature, proposes a smart spectator equipped for relating his bits of knowledge and encounters in incredible phrasing. Maybe the very effortlessness of his life made him be stunned at the luxuries of the rich and the horrible destitution and defenselessness of the individuals who were the prey of the incredible. The advantage of summer and winter castles rather than the huts of poor people, the avaricious interest of the rich diverged from the weep for equity and value of the oppressed drove him to brutal declarations against amazing, self-satisfied, content people, ministers and lord. The push of Amos’ judgment is against the division of life into compartments. He contends for solidarity. What a man does in the commercial center, in the Court of law or, in his dealings with others can't be walled off from adore. Yahweh is a God surprisingly; hence the dealings of man with man are legitimately identified with the dealings of God with man. His is a weep for the acknowledgment of man’s moral obligation before God. â€Å"But let equity move down like waters also, exemplary nature like an Overflowing stream.† Amos 5:24 AMOS’ RELIGIOUS CONCEPTS Amos’ convictions concerning Yahweh and awesome human connections were comparative. Yahweh the maker, the â€Å"God of hosts† Amos never talks about Yahweh as â€Å"God of Israel†), or had control over nature and countries. In spite of the unreasonable accentuation, Yahweh’s specific concern was Israel, the picked orâ elected individuals, Amos stressed Yahweh’s activity in history in carrying the Hebrews to nationhood and significance, and brought up that the duration of intensity and security rested in Yahweh.

Leon Garfields Novel Smith Essay -- Leon Garfield Novel Smith

How Does Leon Garfield structure the novel ‘Smith’ to keep the peruser intrigued? Leon Garfield utilizes cliffhangers and different procedures to draw the peruser into the world that Smith lives in. I will clarify how the creator utilizes an assortment of feelings and mind-sets. Just as that, I am going to talk about how the creator joins social history with the plot. At that point, I will explain how well the completion settle the readers’ questions. At long last, I am going to uncover how the creator utilizes components of style to further his potential benefit. The principal point I will discuss is the means by which the creator utilizes an assortment of feelings and dispositions, for example, silliness and awfulness. â€Å"Quick,† murmured Miss Bridgit, attractive in her Tuesday best, â€Å"under my skirt, child.† This is comical as Smith was getting away from gaol around then and you would never fantasy about getting away under someone’s skirt. This is likewise ghastliness as the skirt will have been removed a dead lady, and to consider wearing a dead woman’s garments is horrendous and unbelievable. Likewise we are frightened as Miss Bridgit could be gotten and be rebuffed seriously for ...

Why Mary Ainsworth Is Important in Child Psychology

Why Mary Ainsworth Is Important in Child Psychology History and Biographies Print Mary Ainsworth and Child Psychology By Kendra Cherry facebook twitter Kendra Cherry, MS, is an author, educational consultant, and speaker focused on helping students learn about psychology. Learn about our editorial policy Kendra Cherry Updated on October 17, 2019 JHU Sheridan Libraries/Gado Archive Photos/Getty Images More in Psychology History and Biographies Psychotherapy Basics Student Resources Theories Phobias Emotions Sleep and Dreaming Mary Ainsworth (December 1, 1913 â€" March 21, 1999) was a developmental psychologist perhaps best known for her Strange Situation assessment and contributions to the area of attachment theory. Ainsworth elaborated on Bowlbys research on attachment and developed an approach to observing a childs attachment to a caregiver. Based on her research, she identified three major styles of attachment that children have to their parents or caregivers. In a 2002 review ranking the most eminent psychologists of the twentieth century, Ainsworth was listed as the 97th most frequently cited psychologist. Mary Ainsworth Was Best Known For Research on attachment theoryDevelopment of the Strange Situation assessment How Her Early Life Inspired Her Interest in Psychology Mary Ainsworth was born in Glendale Ohio. When she was 15, she read William McDougalls book Character and the Conduct of Life, which inspired her lifelong interest in psychology. She went on to attend the University of Toronto in the honors psychology program. After earning her BA in 1935, her MA in 1936 and her Ph.D. in 1939, she spent several years teaching at the University of Toronto before joining the Canadian Womens Army Corp in 1942. In 1950, she married Leonard Ainsworth and moved to London. After returning to the U.S., Ainsworth took a position at John Hopkins University. She divorced in 1960 and underwent therapy that contributed to her interest in psychoanalytic theory. She began teaching at the University of Virginia and remained at the school for the remainder of her career. Her Career and Research on Attachment During her time in England, Ainsworth worked at the Tavistock Clinic with psychologist John Bowlby, where she researched maternal-infant attachments. After leaving this position, she spent time conducting research on mother-child interactions in Uganda. After returning to the U.S. to teach at John Hopkins, she began working on creating an assessment to measure attachments between mothers and children. It was here that she developed her famous Strange Situation assessment, in which a researcher observes a childs reactions when a mother briefly leaves her child alone in an unfamiliar room. The way the child behaves during the separation and upon the mothers return can reveal important information about attachment. Based on her observations and research, Ainsworth concluded that there were three main styles of attachment: secure, anxious-avoidant, and anxious-resistant. Since these initial finding, her work has spawned countless studies into the nature of attachment and the different attachment styles that exist between children and caregivers.?? Major Contributions to Psychology Mary Ainsworths work research on attachment has played an important role in our understanding of child development. While her work is not without its own controversies, such the extent to which early attachment styles contribute to later behavior, her observations have inspired an enormous body of research on early childhood attachment.

Analysis Of The Movie Amistad - 1380 Words

Amistad Historical Movie Review Graham Jackson LSTD-1153-101 Amistad Historical Movie Review Amistad is a film that provides a learning and historical experience about the horrific experiences of slaves in transport from Cuba. The movie fictionally provides a portrayal of events in 1839 that surround the successful revolt by a group of captured Africans headed to the Americas for slavery aboard a ship. The abducted Mende tribesmen stage a bloody revolt and take over control the ship (Osagie, 2003). This happens off the coast of Cuba. However, the Africans are tricked by the crew members into believing that they are sailing back to Africa, all the while moving along the U.S Eastern Seaboard. Two months into the journey, with little water and food, they get captured near Connecticut by a U.S Navy ship. Then an international legal battle begins that is final resolved in 1841 by the United States Supreme Court. The 154 minutes English movie was released on December 10, 1997, after a production budget cost of $36million by HBO Films. Its producers include Debbie Allen, Colin Wilson, and Steven Spielberg. Janusz Kaminski handled the cinematography while the music is by John Williams. The movie’s screenplay by David Franzoni is based on Mutiny on the Amistad: The Saga of a Slave Revolt and Its Impact on American Abolition, Law, and Diplomacy, a 1987 book by historian Howard Jones. Steven Spielberg directs theShow MoreRelatedAnalysis Of The Movie Amistad 960 Words   |  4 Pagesâ€Å"Amistad† was released in 1997 on the territory of the United States of America.The historical period, portrayed in the film, is the year of 1839. It was the year when a terrible rebellion took place on board the Spanish ship La Amistad, which transported slaves. It was the time when the slavery was abolished in the North and the South of the United States of America was discontented for they severely needed slaves to work for them. American courts still decide whether the black person is free accordingRead MoreAnalysis Of The Book Amistad By Steven Spielberg And Howard Jones Book, Mutiny On The Amistad Essay1972 Words   |  8 Pagesâ€Å"Amistad† movie is d irected by Steven Spielberg and Howard Jones’ book â€Å"Mutiny on the Amistad: The Saga of a Slave Revolt and its Impact on American Abolition, Law and Diplomacy† are historical accounts of the slave mutiny that occurred in the year 1839. The incident happened when the slaves at sea, aboard on La Amistad. Spielberg’s movie depicts the incident in visual word, whereas Jones’ has written the book and depicted the entire incident by using words. Both mediums capture the case that hadRead MoreHistorical Analysis Of The Amistad1907 Words   |  8 PagesHall Mr. Cowart HIST 2213 15 October 2017 Historical Analysis of The Amistad Rain batters on the glistening shoulders of an unidentified man struggling to excavate an unknown object with his bare, bloody fingertips. He finally reaches his goal, pulling out a nail; his face has a brief flash of relief and then turns to determination as he uses the nail to undo his shackles, beginning a journey of unbelievable and saddening proportions. The Amistad, directed by Steven Spielberg, is a dramatic story

Irac Essay Samples for Many Issues Tips & Guide

Irac Essay Samples for Many Issues Tips & Guide Irac Essay Samples for Many Issues Features Skilled legal writers take every chance to satisfy their objective. At com, we've got proficient experts that are adept to execute on any particular topic by your university. A clever professor will often offer you a set of facts that could go either way as a way to observe how well you analyze an arduous issue. The subject enables you to be in diverse sort of profession and opportunities that could possibly be pursued. Conclusions ought to be short and put regarding a probability. Although they might not act accordingly at times they're still children. Recent cases reveal that certainty is too high of a standard, even in the instance of adults. A judge may not use all the language of IRAC, may use unique versions of IRAC, and might talk about the elements of IRAC in a different purchase. You will likely not be knowledgeable about the law but it is going to provide you with a notion of the way in which an answer prepared employing the IRAC method might look. It's simpler to explain the IRAC method by employing some real examples it's also much simpler to understand this manner. If you believe that your answer will look a little stupid, just put everything in the 1 paragraph, but be sure you adhere to the IRAC structure. Furthermore, enforcing legal punish for consensual conduct would be quite challenging. Therefore, the person A doesn't have the right in compliance with the law. Our professional authors include Ph.D. credentials from renowned universities around the world. The law has developed over the last few years and assume to be a desired profession in the international perspective. If all points are found, than a case can be submitted. Law students spend plenty of time worrying about what's on an exam, but it's simpler than you think to determine what questions you're going to be asked. During the exam the professor isn't likely to state the matter. Most professors would like you to have a position and support it so as to observe how well you analyze. Thus, as part of the analysis, you might suggest an action plan that the business in question could utilize to realize its targets. To analyze a case study, thus, you must examine closely the difficulties with which the provider is confronted. It only states that it has to be possible to finish the contract in a year. A contract has to be in writing if it isn't possible to execute the contract within one year. Slander is the kind of defamation that you hear. The exact same words may have different meanings in various laws. The law of defamation is to safeguard the standing of the folks. Calculate the length of time you must compose an answer, and be certain you have the capacity to use your script within that timeframe. The ideal way to come across questions is to receive your hands on every available practice exam and write answers to every question. So me questions could include issues in more than 1 area of law. In the end, consider writing an answer. It's not clear from the question whether both of these conditions are pleased. There are five principal measures. This example is intended to illustrate a normal question and suggest an approach regarding how you might outline the relevant issues and facts. This material illustrates the procedure for outlining and test taking. To put it differently, the text has to be friendly to the reader. It has to not exceed 2000 words (such as footnotes). See the examples to observe how it's completed. Below you will discover a few distinctive examples. The Irac Essay Samples for Many Issues Stories Likewise, different individuals may use rule, program, or conclusion to mean various things. So now you've got a succinct idea for what law means and how it is able to assist you in carving a career for you. There might be an additional rule by which the party ought to be judged. It's an economic system where the government controls production.D. Since Patricia appealed the case to the maximum court, a last judgment is deemed to have been produced on the issue. It permits you to form your own opinion about the validity of the courts generalization. Courts differ widely on a particular set of facts, and there's usually flexibility for unique interpretations. If a court thought it was important to incorporate that info in its opinion, perhaps it's just as important to include it into a brief of the situation.

Define the Risk Assessment Scope Risk Criteria Free Essays

2. 1. Define the risk assessment scope risk criteria 2. We will write a custom essay sample on Define the Risk Assessment Scope Risk Criteria or any similar topic only for you Order Now 1. 1. Objective The purpose of this step is to develop the context for the risk assessment and to define risk criteria that will be used for evaluation of well integrity risks. The deliverables from this step are: risk assessment scope; list of risk criteria. 2. 1. 2. Define risk assessment scope The context and scope of this specialist risk assessment should be defined by the more general risk assessment step in Section 2. 5 of [1]. The latter should assess risks to the capacity, injectivity and containment of candidate storage sites, where well integrity represents one type of risk to storage containment. This step should involve: defining the goals and objectives of the well integrity risk assessment; defining responsibilities for and within the risk assessment process; defining the specific inclusions and exclusions; defining the risk assessment in terms of time and location; defining the relationship between the risk assessment process and the overall development of the CO2 geological storage project; defining the risk assessment methodologies; dentifying and specifying the decisions that have to be made prior to milestone M2; 2. 1. 3. Defining risk criteria Risk criteria for evaluating the significance of well integrity risks need to be defined by the project developer. The risk criteria should reflect the objectives and context for the risk assessment. Adequate consideration should be given to the time and resources available, stakeholder views and risk perceptions, and the applicable legal and regulatory requirements. The risk criteria chosen should be continuously reviewed. Prior to specifying risk criteria, the categories for which risks will be evaluated shall be defined. These include: human health and safety; environmental protection; legal and regulatory compliance; cost; project schedule; reputation; well integrity (functional) performance. The following points should be considered when defining risk criteria for well integrity assessments: the categories of risk for the CO2 geological storage project established in the ‘screening basis’ step of [1]; the nature and type of causes and consequences that can occur and how they will be measured; how likelihood will be defined (for example qualitatively or as a quantitative probability); the timeframe of interest; ow the level of risk is to be determined; the level at which the risk becomes acceptable or tolerable; whether combinations of multiple risks should be taken into account and, if so, how and which combinations should be considered (for example leakage pathways composed of multiple failures). In order for the risk criteria to be adequate to support a storage site selection decisio n they should: be suitable for decisions regarding risk reducing measures to levels as low as reasonably practicable; be suitable for communication; e unambiguous in their formulation; not favour any particular concept solution explicitly nor implicitly through the way in which risk is expressed. In addition, risk criteria for CO2 leakage rates related to existing wells should be consistent with the overall storage site containment criteria established in Section 2. 1 (‘Screening basis’) of [1]. Note: Temporal, spatial, volumetric and rate limits for CO2 leakage should be finite and quantifiable to allow for effective risk management. How to cite Define the Risk Assessment Scope Risk Criteria, Papers

The Influence of Protest Music during the 1960’s And Beyond Essay example Example For Students

The Influence of Protest Music during the 1960’s And Beyond Essay example The 1960’s was one of the most controversial decades in American history because of not only the Vietnam War, but there was an outbreak of protests involving civil and social conditions all across college campuses. These protests have been taken to the extent where people either have died or have been seriously injured. However, during the 1960’s, America saw a popular form of art known as protest music, which responded to the social turmoil of that era, from the civil rights movement to the war in Vietnam. A veritable pantheon of musicians, such as Woody Guthrie, Pete Seeger, Phil Ochs, Joan Baez, and Bob Dylan sang their songs to encourage union organizers to protest the inequities of their time, creating a diverse variety of popular protest music, which has reached out to the youthful generations everywhere demanding for a revolutionary change. The protest music took the children of the 1960’s to a completely new different level. Musicians of this generation w ere not going to sit and do nothing while the government lied to the people about what was going on in Vietnam. Instead, they took their guitar-strumming troubadours from the coffee houses, plugged them in, and sent the music and the message into the college dorm rooms and the homes of the youth of America. However, as decades went by, protest music does not have much of an impact as it use to because of the way things have changed over the years. Through the analysis of the music during the 1960’s, there shall be an understanding on how the different genres of protest music has affected social protesters based on how musicians have become the collective conscience of that generation through their lyrics and music and the main factors that contributed to the lack of popular protest music in modern-day America. The fact that the United States was going to war in Vietnam and college students were being drafted as soldiers brought the birth of protest music. We will write a custom essay on The Influence of Protest Music during the 1960’s And Beyond example specifically for you for only $16.38 $13.9/page Order now The 1960’s in America was often referred to as an age of protest because of not only the social protests that have taken place, but also for the upbringing of protest music, which became very popular during that era. The roots of protest music were largely from folk music of American musicians during 1950’. Folk musicians, such as Joe Hill, composed labor union protest songs and distributed song booklets, hoping to â€Å"fan the flames of discontent.† (Rodnitzky pg. 6) Symbolically, this meant that the songs, the fan, would reduce the uncontrollable social protests that the United States government caused with the misleading information that they did not keep their word on, or the flames of discontent. Other folk musicians, such as Woody Guthrie and Pete Seeger, traveled around the United States spreading their â€Å"message music† and becoming involved in political movements. Guthrie and Seeger were the pioneers of protest music, bringing their folk music to New York City and merging it with urban music. Woody’s songs were about the masses, often identifying problems and offering solutions. While Seeger was cautious about referring to his music as folk music, preferring the term â€Å"people’s music,† meaning that not everyone may had the same thoughts, but they all expressed it in their own unique musical sense. For both Woody and Seeger, folk music was a necessity in these protests, when the needs and goals of the people were sung together by the people, a force was created with the capability of defeating alienation. However, if commercial music of 1960’s would have been subdued, then the people’s music could be heard by others and affect change. (Boucher pg. 60-61) During the late 1950’s, folk music would be taken by storm across all college campuses, as students were becoming more distant from the genres of jazz and rock music of that era. (Rodnitzky pg. 13) Folk music was a simple and meaningful, which would intensify as the decade went by, with the response to the civil rights movement, Vietnam War, and other social concerns. The protest music, which flourished throughout the 1960’s, was not only a new beginning, but also a new way of speaking out towards others. However, protest music grew out of its folk traditions and began to develop into other genres of music. During the early 1960’s, an interesting event occurred within the music era, which would augment the popularity of the protest music movement. Three generally distinct areas of music began to merge, folk music, topical music, and Tin Pan Alley music all began to meld together. (Rodnitzky pg. 4) It was a possibility that both record companies and musicians were attempting to capitalize on the social event, which has taken into effect towards the younger generation. Confronted with serious social turmoil, a burgeoning sub-culture, and a sense of generational revolution, youths have viewed politicians, businessmen, and athletes less as role models and have turned to folk singers as models of integrity. As social movements began to improve the struggle for civil rights and protests of the Vietnam War, popular music and the protesters were inseparable because it was a new culture for young people. Everyone from musicians to businessmen to preachers recognized the effect protest mus ic had influenced over the younger generation. Similar to religious messages, protest music often appealed to the guilt of the listener, invoking action. Support from radio stations, rallies, concerts, festivals, and music magazines gave this powerful form of music a popular venue, which helped youths became more serious and political at the same time. Other musicians during that era had other ways of expressing different genres of protest music. As the 1960’s progressed, protest music progressed in many diverse ways from its original folk roots because of artistic decisions, record company involvement, and a growing disillusionment among young people. Bob Dylan arguably started the shift away from topical, folk-inspired protest music, by amplifying his guitar, employing a back-up band, and rejecting the topical form, which was a genre known as â€Å"folk-rock,† which describes the mistakes of that person or organization has made. In helping to create the â€Å"folk-rock† genre that Dylan pioneered, record companies were able to merge the high school and college markets, producing profitable music that was reliant more on the mood of youths, than messages (Rodnitzky pg. 22). The new styles of music, reliant on instrumentation over lyrical messages, spoke to youths growing increasingly disillusioned with race riots and the seemingly endless Vietnam War. Confronted with alienation and absurdity, youths were attracted to music, which depicted the absurdity around them. Whereas protest music in the folk tradition had worked to build solidarity and point out specific social issues, new forms of protest music called for diversity among audience members, protesting societal norms and the notion of ideology, itself (Rodnitzky pg. 31). The popular music of the later 1960’s would be more subtle and effective, however, whatever its effects, the diverse catalogue of protest music made popular in the 1960’s undeniably became an integral part of the social movements and culture of a turbulent decade. Among the rising popularity of protest music, there was also the rise in popularity among the musicians that helped pioneer that genre of music. Artists such as Phil Ochs, Joan Baez, and Bob Dylan all became famous for their individual brands of protest music. Phil Ochs, growing up as a middle-class kid, became a radical in college and subsequently dropped out when he picked up a guitar and became involved in activism (Rodnitzky pg. 70). Addressing many and diverse issues of injustice throughout his songs, Ochs marched with various groups and closely associating himself with Students for a Democratic Society. Originally optimistic about the power of music, Ochs became disillusioned like so many of his peers at the end of the decade. He emulated the lengthy, prose of Dylan’s new songs without much success, as he rejected liberalism, dogging the feet of new leftists like Jerry Rubin (Rodnitzky pg. 78). Ultimately, he rejected American political society, before it eventually rejected him culturally. Though his career ended in unpopularity and relative obscurity, Ochs was a key figure of the 1960’s protest scene, ex hibiting the connection between social protest and people’s music. Another example of a musical hero spawned by the upbringing of protest musician the 1960’s is Joan Baez. Baez, another college dropout, was perhaps the premier American folksinger by 1960. Singing ancient ballads, her own protest songs, and covers of artists such as Dylan, Baez was also an articulate activist, escorting children to schools during de-segregation, often charged no more than two dollars to attend her concerts, and set up an institute for the study of nonviolence (Rodnitzky pg. 89). Baez had celebrity status and used it for specific purposes, rather than flaunting it. She sang protest songs and advocated the causes of peace, resulting in her becoming a popular icon of her time. However, the most important case study of a protest singer during the 1960’s is Bob Dylan. Robert Zimmerman dropped out of college, ran away from his home in Minnesota to Greenwich Village in New York City, an d adopted the name Bob Dylan. Dylan was known to write the best topical, protest ballads of the era, redefine what protest music said and sounded like, taking it to new levels, and his influence on future generations of musicians. By 1962, at the age of 21, Dylan was at the forefront of the folk-protest scene (Rodnitzky pg. 107). His first three albums were largely comprised of acoustic folk music, with his second and third albums, The Freewheelin Bob Dylan and The Times They Are A Changing, offering mostly protest ballads. Dylan’s well-written songs, such as â€Å"Blowing in the Wind,† became hugely popular, unifying anthems. Because of his protest music, growing popularity, and early identification with social issues, such as the civil rights movement, Dylan was chosen to lead the movement for social change. He was hailed as â€Å"the voice of his generation,† among other, heavy-weighted titles. By 1965, Dylan had made his final break with what many would refe r to as protest music, as his electric set at the Newport Folk Festival during that year was met with a frenetic dissatisfaction. Understandably, those involved with the social movements of the day were disappointed and even angered by Dylan’s changing music. Many accused him of abandoning the movement and disregarding his social responsibility as a popular icon. Being accused for fostering alienation, rather than togetherness, the folk community asserted that Dylan was a sellout (Rodnitzky pg. 118). Andrew Gamble argued that despite Dylan’s denial that he was a leader, had useful advice, or was even a protest singer. His songs did show how to live and survive in modern America, without preaching. As he sang on â€Å"Subterranean Homesick Blues,† â€Å"You don’t need a weatherman to tell which way the wind blows,† the wind was still blowing, but it was no longer offering the hope of a better world (Boucher pg. 28). This implies that in a political world that has gone awry, Dylan advised that when one evades authority, one should also watch out for societal trappings and ultimately stay true to oneself. Even if the world could not be reformed, it was still possible to survive through the protest of those willing to go against the societal grain and live at they wish. After elevating folk music to global awareness, Dylan took it to popular heights, using pop music as a medium for questioning social and political norms. His music was no longer the people’s music Seeger spoke of, but it wasn’t synonymous with mass culture. Rather than abandon traditional music, Dylan found a power in it greater than communal singing (Boucher pg. 74). Perhaps Dylan went deeper into tradition than anyone had before. Though he turned his back on the protest ballad form, Dylan never turned his back on protest itself. Dylan’s influence on protest music is particularly relevant because it was felt throughout the music of the second half of the 1960’s. In addition, today’s artists work within Dylan’s tradition, often echoing his artistic sentiments concerning protest. Although it can be debated whether anthems are a necessary part of protest music, contemporary artists seem to agree that there are other ways to protest through music. As the 1960’s end, protest music has made its mark to the younger generations of that era. However, in today’s society, protest music does have much on an impact in modern-day America. Factors such as a differing social response to social injustice, the changed nature of today’s music industry, and the changed nature of today’s pop culture have contributed to the lack of popular protest music in today’s modern society. The lack of popular protest music today has mirrored the lack of strong, unified social movements in America. Protest music has never been responsible for starting such movements, rather, it has served to unify, popularize, and sustain movements already in place. Todd Gitlin, professor of journalism and sociology at Columbia University elaborates,  Ã¢â‚¬Å"Forty years ago, there was a social movement, or a collection of social movements, and people gravitated to the music because they thought the music spoke for them†¦ So the music was an anthem for armies that were already on the march. Today, the armies are not so much on the march, if there are armies. So necessarily, the place of the music is going to be different. Its more often out ahead of what people are doing in their political lives.† (Danton) As they filled campuses with protests and supported movements at the grass roots level, protest songs offered a rousing soundtrack for movements already up and running. By contrast, today’s musicians perform in a context of growing disapproval for the war, but little activism (Marino). .u408b295d982004dd54f78e48c82b11c0 , .u408b295d982004dd54f78e48c82b11c0 .postImageUrl , .u408b295d982004dd54f78e48c82b11c0 .centered-text-area { min-height: 80px; position: relative; } .u408b295d982004dd54f78e48c82b11c0 , .u408b295d982004dd54f78e48c82b11c0:hover , .u408b295d982004dd54f78e48c82b11c0:visited , .u408b295d982004dd54f78e48c82b11c0:active { border:0!important; } .u408b295d982004dd54f78e48c82b11c0 .clearfix:after { content: ""; display: table; clear: both; } .u408b295d982004dd54f78e48c82b11c0 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u408b295d982004dd54f78e48c82b11c0:active , .u408b295d982004dd54f78e48c82b11c0:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u408b295d982004dd54f78e48c82b11c0 .centered-text-area { width: 100%; position: relative ; } .u408b295d982004dd54f78e48c82b11c0 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u408b295d982004dd54f78e48c82b11c0 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u408b295d982004dd54f78e48c82b11c0 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u408b295d982004dd54f78e48c82b11c0:hover .ctaButton { background-color: #34495E!important; } .u408b295d982004dd54f78e48c82b11c0 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u408b295d982004dd54f78e48c82b11c0 .u408b295d982004dd54f78e48c82b11c0-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u408b295d982004dd54f78e48c82b11c0:after { content: ""; display: block; clear: both; } READ: Illegal music downloading is stealing EssaySocial movements have often been supported by throngs of young people, the civil rights movement and the movement to end the war in Vietnam owed a great deal to the efforts of young people, many who felt connected to a generational revolution. However, current issues of social justice, such as subverted racism, the Iraq War, and global warming, fail to penetrate youth consciousness with any viable force. This is largely due to the fact that such issues often exist outside the realm of youths’ direct experience. Because of the absence of a draft, the war in Iraq is not felt as viscerally by today’s student population, as it was during the 1960’s. The military draft, which was not only a defining issue for a generation, but an impetus for social action during the 1960’s, does not offer today’s youths a powerful reason to protest. Although protest music undoubtedly can exist without social movements, it is such movements that often popularize protest music, using it as a galvanizing force. Unlike a unified collection of songs fueling unified movements, today’s protest music is more akin to a collection of isolated songs, accompanied by low approval ratings. A second major reason for the lack of popular protest music today is the changed nature of the music industry. Since the 1960’s, there has been a widespread consolidation of record companies, record stores, and music broadcasters, such as radio and television. The concentration of global ownership in the record industry is such that five international companies, Sony, Universal-Vivendi, AOL Time Warner, EMI, a nd BMG controlled seventy to eighty percent of all global music sales (Brown pg. 290). Thus, the ease of pressing and promoting a single has greatly diminished for contemporary, independent labels. In addition to this plateau of the record industry, there has also been an uprising, as companies, which used to function separately as record companies, publishers, radio stations, and the like, have also merged. These changes have made the relationships between artists and record industry executives much more impersonal than they were in the 1960’s. Unfortunately, protest has not proved to be a shortcut for instant success among today’s artists, the way it often was among musician sin the 1960’s. However, if the record industry truly runs on the wheels of capitalism, they would be pragmatically obliged to supply popular protest music if the populous demanded it. Although protest music has intensified and become slightly more accepted as approval ratings for the curr ent war and presidency have plummeted, record companies are not offering an array of protest music to be heard on commercial radio or television. This comfort with the status quo and commitment to safely earned profits means that record company assets are focused on a few, global superstars, often leaving politically controversial musicians without a popular venue for expression. Finally, the third key reason for the relative nonexistence of popular protest music today concerns the changed nature of today’s pop culture. During the 1960’s, pop culture was something of a monolith but in today’s society, pop culture is very much a diverse and often disunited collection of seemingly infinite options for one’s own entertainment. While three or four television channels vied for the viewer’s attention during the 1960’s, today there are hundreds of channels competing for the viewer’s time (Marino). This situation is analogous to the current s tate of popular music. There is a seemingly endless supply of musical genres, either independent or sanctioned by record companies, available in a multitude of ways, through radio, music television, retail stores, and the internet. The transformation of pop culture into a niche culture has translated into the marginalization of protest music. Record companies today have created the illusion that protest music is not happening in a significant way. By consequence, the marginalization of today’s political music has made it difficult for protest singers to produce popular music that can be successful across multiple genres and demographics. It is not only the nature of the pop music marketplace that has changed, but also music and musicians have changed since the 1960’s. Today’s protest music is often â€Å"more aggressive, angry and unapologetic† (Proskocil). Given the current, divisive nature of American politics, even among younger people, protest songs s truggle to unify youths on social issues, especially when they are incendiary. Furthermore, the role of musicians in society has changed. Michael Budds, a music history teacher at the University Of Missouri School Of Music, comments At the time during the Vietnam war, people looked to musicians and actors as social leaders and wanted their point of view†¦. They had a leadership role that I dont think they have in our culture right now† (Draper). This meant that in today’s society, there is not only a lack in protest music, but there is also a limit to potential influencing people in today’s modern-day culture. In many ways, today’s artists are Dylan’s children, his shift from overt protest songs to electric, more existential songs is echoed in much of modern music that protest songs of the early 1960’s often relied on based on folk-inspired melodies, which made them easy to learn and suitable for both an individual performance and a grou p singing. This is not always the case with today’s protest music, as it is broken down through many, diverse styles of music. However, modern-day protest music, today, is often inappropriate for group singing because it is considered as an artistic statement of protest, rather than a rallying call. Furthermore the bounds of what constitutes protest music today are somewhat vague than they were in the 1960’s. Rather than construct albums of protest songs or even individual protest songs, many modern artists, such as Juelz Santana, Chamillionaire, and the Flaming Lips, slip in political statements into their regularly non-political work. Although it is encouraging to see mainstream artists speaking out, this serves to keep such artists safe within their own genres, while other protest musicians remain marginalized. This leads into an interesting discussion of the role of music in the lives of young people. Music has always played multiple social roles, used to sway emot ions for entertainment and distraction, to condition or persuade people to buy things or take certain action, and to create solidarity, among a variety of uses. The notion of pop music as an affirmation of mass culture values was challenged in the 1960’s by the plethora of popular protest music. However, record companies have probably taken notice of the fact that even among the biggest selling protest songs of the 1960’s, the vast majority of teenage listeners were relatively unsure of what the lyrics were exactly about (Brown pg. 62). This suggests that in the relationship between pop music and youths, the lyrics and music may not be important. Rather, what is important is that certain music helps define the listener to themselves and to others as a certain kind of person. This phenomenon is truer today than ever, as the features of modernity have inevitably influenced the function of music: individualism, pluralism, secularism, consumerism, media proliferation, and reliance on technology. (Brown pg. 51) Although popular protest music does not exist today, in the way that it did during the 1960’s, musicians continue to write and perform songs of social justice, as they have throughout time. Musicians such as Woody Guthrie, Pete Seeger, Bob Dylan, Joan Baez, and Phil Ochs are the ones that contributed in establishing the birth of protest music. In order for a resurgence of popular protest music to occur again, a reconstitution of the music industry would be necessary. In many countries, government pressure forces media companies to conform to the will of the people, playing locally produced music and popularly demanded songs. However, a strong audience would also be required for such a resurgence, whether it be a unified social movement or politically conscious youths willing to trade ideas, rather than commercial capital. As protest music continues to evolve and address current issues of injustice, one cannot help but look back on the renaissance of protest music during the196 0’s and wonder if such an era could ever occur again. .uf0f965c640307f50e06f3336c59792a7 , .uf0f965c640307f50e06f3336c59792a7 .postImageUrl , .uf0f965c640307f50e06f3336c59792a7 .centered-text-area { min-height: 80px; position: relative; } .uf0f965c640307f50e06f3336c59792a7 , .uf0f965c640307f50e06f3336c59792a7:hover , .uf0f965c640307f50e06f3336c59792a7:visited , .uf0f965c640307f50e06f3336c59792a7:active { border:0!important; } .uf0f965c640307f50e06f3336c59792a7 .clearfix:after { content: ""; display: table; clear: both; } .uf0f965c640307f50e06f3336c59792a7 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .uf0f965c640307f50e06f3336c59792a7:active , .uf0f965c640307f50e06f3336c59792a7:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .uf0f965c640307f50e06f3336c59792a7 .centered-text-area { width: 100%; position: relative ; } .uf0f965c640307f50e06f3336c59792a7 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .uf0f965c640307f50e06f3336c59792a7 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .uf0f965c640307f50e06f3336c59792a7 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .uf0f965c640307f50e06f3336c59792a7:hover .ctaButton { background-color: #34495E!important; } .uf0f965c640307f50e06f3336c59792a7 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .uf0f965c640307f50e06f3336c59792a7 .uf0f965c640307f50e06f3336c59792a7-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .uf0f965c640307f50e06f3336c59792a7:after { content: ""; display: block; clear: both; } READ: The Impact of the Media on American Youth EssayWorks Cited Boucher, David. The Political Art of Bob Dylan. New York: Palgrave Macmillan: 2004. Brown, Steven. Music and Manipulation: On the Social Uses and Social Control of Music. New York: Berghahn Books: 2006. Danton, Eric R. â€Å"Flood of Protest Songs Reflects Growing Anger.† The Hartford Courant 29 May 2006: 13 pars. Online. LexisNexis Academic. Dec. 7, 2008. Draper, Bill. â€Å"Musicians Say Cultural Changes, Lack of Draft Put Damper on Protest Songs.† The Associated Press State Local Wire April 2005: 20 pars. Online. LexisNexis Academic. Dec. 7, 2008. Marino, Nick. â€Å"Renewed Sounds of Protest: Host of New Songs Question U.S. Military Policies in Iraq, But It’s Tough to Live Up to the Standards of the Vietnam Era.† The Atlanta Journal-Constitution 9 Sep. 2005: 17 pars. Online. LexisNexis Academic. Dec. 7, 2008. Proskocil, Niz. â€Å"New Wave of Protest Songs Rips War, Bush.† The Omaha World-Herald 21 May 2006: 32 pars. Online. LexisNexis Academic. Dec. 7, 2008. Rodnitzky, Jerome L. Minstrels of the Dawn: The Folk-Protest Singer as a Cultural Hero. Chicago: Nelson Hall, 1976.