Music for the End of the World
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There, as elsewhere, a certain socio-political moment, marked by progressive politics and its expression in popular song and cinema, had effectively come and gone. Finally, while my focus in this article is outside the mainstream West, the decline of protest music in the latter music culture has been proverbial, and needs no detailed discussion here. However, like Fukuyama, his perspective was optimistic, as he sought to illustrate the sorts of positive roles that popular music can play in a postcolonial, globalized world where multi-directional, decentered flows of transnational capital have replaced Western imperialism and weakened the nation-state, and where new social movements have replaced Marxist metanarratives.
Lipsitz noted the challenges involved in creating meaningful popular music in a situation where counter-hegemonic subversion and critique can only be expected to occur in an immanent fashion, from within the existing structures of the social order itself, rather than representing transcendent critique from an imagined liberated zone. At the same time, he stressed that the new world order also presents unprecedented sorts of opportunities for world popular music.
Of particular interest to him were forms of eclectic world music that involved cross-cultural exchanges. Hence, Anglo-Indian dancehall vocalist Apache Indian artfully embodied the sort of hyphenated identities so typical of the postmodern world. From our present perspective of two decades after its printing, Dangerous Crossroads, like The End of History , may read more like a faded postcard from a charmed bygone moment than a chronicle of the future or even the present.
In retrospect we can see that many of the artists Lipsitz celebrated, like Apache Indian, turned out to be ephemeral flashes in the pan, never espoused political messages, and never gained mass followings. Meanwhile, the s, when Fukuyama and Lipsitz penned their insightful assessments, from our present vantage point appears as an even more sharply defined and distinctive historical moment, a halcyon post-Cold-War era when it really did seem as if history had ended, and fairly felicitously at that—until history came back with a vengeance on September 11, One would have to commence a retrospective assessment by noting that some of the positive, salutary developments noted by Fukuyama have continued.
Most of the democracies established since the Cold War have survived, in however flawed fashions, and are joined by a few newcomers, such as Tunisia. New social movements have thrived in recent decades, achieving progress in the struggle for the rights of women, gays, and ethnic minorities, for the environment, and myriad other causes. However, as is often noted, the proliferation of NSMs also represents the splintering of an inclusive progressive left that had experienced only defeat for generations.
Conversely, its inclusive moments, such as the Occupy Wall Street protests, have often been marked not only by ephemerality but also by an indiscriminate jumbling together of worthy and dubious causes. Meanwhile, however, the fragility and uneven nature of the triumph of global capitalism has been painfully illustrated by the ongoing global economic stagnation, and by the evident permanence of an impoverished underclass in the West, not to mention the hundreds of millions worldwide who are being marginalized rather than enriched by globalization.
With the fall of the Soviet Bloc and the capitalist turn in China in the years around , the left-right polarity effectively evaporated and was emptied of meaning, engendering an ideological vacuum that was filled by the old standbys of religion and ethnicity. Hence the thirst for absolutes and for community, for violence and for hierarchy, for scapegoats in a bewildered and overpopulated world, generating new forms of fascism based on resentment, fear, hatred, and hysteria.
Hence the rise of cynical strongmen like Vladimir Putin and Donald Trump—the latter in an electoral campaign driven by hate-mongering, bigotry, scapegoating of minorities and foreigners, a barrage of lies and false news stories, and a conspicuous absence of appeals to notions of justice and human rights. Hence the resurgence of militant tribalisms and reductive religious fundamentalisms, whether Muslim, Jewish, or Christian, reacting against the impersonality and spiritual alienation attending globalization, cultural relativism, the shallow uniformity of McDonalds, the implacable, bureaucratized, neoliberalist order represented by the Twin Towers, and the model of a bourgeois, milquetoast society disinclined to fight—or sing—for anything.
We have asked how one could sing protest songs against the intangible hegemony of globalization. Well, in fact, various movements worldwide have found ways to do so, however indirectly voiced in the form of neo-fascist, clannish, fundamentalist, or openly nihilistic ideologies. In the political scene of India, neoliberals would find much to celebrate, including the benefits, however unevenly distributed, of economic liberalization, and the gradual dismantling of an idiosyncratic socialism explicitly designed to prevent economic productivity. Less felicitously, in the years around the end of the prolonged rule of the Congress Party, with its imperfectly realized goals of religious tolerance and egalitarianism, led to a socio-political vacuum being filled by a handful of regional and caste-based coalitions and, most conspicuously, a Hindu chauvinist movement that promoted a set of savage riots and massacres of Muslims.
In my book Cassette Culture, I documented how cassettes had unleashed a tremendous outburst of regional music creativity and vitality, while I also noted how they had provided the medium for massive dissemination of songs and speeches that explicitly called on Hindus to slaughter Muslims, as they did in several places in North India. The core, iconic demand of the Hindutva movement was to demolish an obscure and abandoned mosque built by Mughal ruler Babur in the s and construct in its place a temple to Ram, the deity invoked in the movement to make India a specifically Hindu nation, with the Muslims either killed, expelled, or definitively subjugated.
A song on the most widely circulated political cassette proclaimed:. To be sure, acrimony between Hindus and Muslims was hardly new, but it had never been part of mainstream political discourse until the breakup of the inclusive, socialist-oriented Congress party in the mids, and further, such songs and speeches had never had mass media dissemination until the advent of new micro-media, in particular, cassettes.
The sense of Muslim victimhood, legitimated by such events and the ongoing Palestinian crisis, has of course been of course a fundamental inspiration for reactive Islamic militancy in general. Most are in the form of what is called nasheed [pl. In —12 the Arab Spring movement generated renewed hope that pluralist and democratic values might offset the tide of militant Islamic fundamentalism.
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Observers of world music celebrated the outpouring of musical creativity accompanying the movement, from Egyptian rappers Arabian Knightz to Tunisian singer-songwriter Emel Mathlouthi. Sadly, as of the movement has foundered, with Libya, Syria, and Iraq laid waste by civil war, and a military dictatorship tenuously ruling Egypt, and it has become clear that in overthrowing secular dictatorships the movement unwittingly helped unleash the most savage, virulent, and globally menacing form of Islamic tribalism ever seen.
Hence the earnest rhymes of Libyan rappers like Ibn Thabit and others have been drowned out by bomb-blasts and Wahhabi sermons, and increasingly seem like quaint and forlorn mementos of an ephemeral idealistic moment. Far more numerous and popular on the internet today are the anthemic anasheed whose regressive utopianism—to be achieved by beheadings, destruction of antiquities, and enslavement of captive women—is defiantly antithetical to Enlightenment values.
On the international level, scholars and journalists have called attention to the various European rock and rap songs protesting economic austerity policies, the ongoing strains of Palestinian resistance songs McDonald , or Japanese anti-nuclear protest music Manabe , all of which, like most NSMs, focus on a particular issue. Most NSMs, from gender rights to environmental causes, however worthy they may be, have not lent themselves to expression in song, except in the most marginal, oblique, ephemeral, or contradictory forms.
Protest music is even less likely to emerge from developed-world sophisticates steeped in the ironic detachment of postmodern aesthetics. For Fukuyama, it was the very success of the neoliberal democratic project that served to undermine progressive art linked to heroic struggles for justice. In his hyperbolic but provocative assessment:.
Songs of the New Tribalisms
The end of history will be a very sad time. In the post-historical period there will be neither art nor philosophy, just the perpetual caretaking of the museum of human history. I can feel in myself, and see in others around me, a powerful nostalgia for the time when history existed. Whether or not history has ended, Fukuyama was astute in noting the broad tectonic shift that has taken place in global political and economic culture, with accompanying transformations in the arts.
What his thesis missed was the other half of the global scene, in which tribal militants of all stripes rage, rage, against the dying of the light of history. See, e. Lyrics translated from Urdu by the author. The song is worked into the fanciful plot, involving the romance between a woman and a man serving a prison sentence on her behalf.
See also Faiz for full translation of this and other poems. I thank Tahira Naqvi and Fawzia Khan for background information on the use of the song in this film. Regula Qureshi, New York: Routledge, , — Conversely, as Rosenthal and Flacks note in Playing for Change , in the ss, the much more permissive attitude toward rock of the Communist Party in Poland, compared to other Soviet Bloc countries, led to an ideological sterility of its music scene.
I thank ethnomusicologist Joshua Katz-Rosene for introducing me to this genre. In the s died the possibility of saying anything on a mass scale, of sending a collective message. The singer-songwriter songs, the meetings, the debates, all disappeared. Meanwhile, Catalonia has hosted a vigorous independence movement, though largely motivated by regional pride and economic considerations rather than more abstract ideals.
In that sense it is typical of a contemporary sub-nationalist movement. Though singing rock songs in Catalan e. Rosenthal and Flacks, Playing for Change , Also see, e. For a representative sample of some of the critiques of Fukuyama's thesis, aside from Huntington, see Arquilla , Hardt and Negri , and Zakaria Fukuyama himself has revised aspects of his argument e. See Lausevic for further discussion of such songs. Lyrics translated by Zahir Anwar, to whom I am grateful.
Obviously, I believe that a closer look at global popular music scenes belies this optimism. Skip to main content Skip to quick search Skip to global navigation.
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Quick search:. Editors Submissions Contact. Home About Search Browse. Volume XI , Issue 1 , Winter Abstract While the decline of protest music in the USA has often been noted, a global perspective reveals that progressive, activist protest musics occupied lively niches in many music cultures worldwide e. Confidence written across our foreheads, history in our hands . Every man has an equal right to live and be free. We are the ones who extract rubies from the earth, pearls from the sea,. Comrades, lend your hands. My gaze goes back that way too, what can be done? Arise again, so that our solemn and clear voices can be heard And only want it for its own sake.
We are Serbian supermen, we wage war against the whole world,. We are ready for the holy war, even if it lasts a hundred years. Alternatively, you can take a look in the GetSongBPM database to find some really left-field ideas for a new dance routine. We can see the awesome creation of the Father, experience the redemption of the Son, and marvel at the way the Holy Spirit works in our lives. Here you can find the lyrics to every feature song, a capella ditty and alternate theme song, and listen to the MP3s as well. However, when you use a streaming delivery method, there's no need to download a file.
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Is this the end of owning music?
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When We See Christ I cannot find much information regarding the history of this hymn apart from the fact that it was written in and is an old American hymn. Get MP3 download cards that you can sell at your shows. If Genius is an option for that song, you will see Behind the Lyrics near the top. Below the text field, make sure Format:. Amazing Grace. Firmly press on the song to open its 3D Touch menu or tap on the song, then tap the More … button.
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The World's End () - Soundtracks - IMDb
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