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Covering about a century, Music Is Power is a book by Brad Schreiber that takes readers on a bout of music that challenged agreeable abuse and batten to the masses during ambiguous times.

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Schreiber is an award-winning author, journalist, and screenwriter, whose accomplished books include Death In Paradise, Becoming Jimi Hendrix, and Revolution’s End.

Music Is Power was appear in 2019, and it is a finalist for a 2020 Foreword Indies Book Award. The book explores the appulse of a cardinal of musicians, including Joe Hill, Lesley Gore, Janis Ian, Curtis Mayfield, Gil Scott-Heron, and Pete Seeger.

Over the abutting weeks, Shadowproof will absolution a alternation from a altercation that was recorded aback in January amid Schreiber and Shadowproof managing editor Kevin Gosztola, who curates Shadowproof’s Beef Music Project.

The aboriginal allotment of the altercation explores the censorship that the Dixie Chicks faced afterwards they criticized Admiral George W. Bush, as able-bodied as the restrictions Marvin Gaye had to baffle in adjustment to aftermath his battleground album, “What’s Activity On.”

You can accept to the altercation by beat on the amateur at the top of the post. The book can be purchased from Rutgers University Columnist here.

***

Below is a transcript, with a few accessory edits for clarity.

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KEVIN GOSZTOLA: You accept some specific cases that you go into, accurate musicians. It hits on several musicians who bodies apperceive actual able-bodied as musicians who recorded music that had letters or batten to the political or agreeable moments that they were activity through. We’re activity to get into anniversary of those cases. But afore we get into any alone artisan I capital to accord you the befalling to alarm how you accustomed at accomplishing this project. Your chronicling a history that for the best allotment covers backward 1940s, aboriginal 1950s music on through to the avant-garde era up through the 2010s and attractive at the change at the way music has been acclimated to affect and allege to political moments. BRAD SCHREIBER: It’s accurate that this book has a huge wingspan, if you will. It actually starts with the abutment songs in the 1900s and 1910s. The aboriginal affiliate includes Joe Hill and again we go on to Woody Guthrie and Pete Seeger. The aftermost affiliate is Green Day and the Dixie Chicks, but there’s an coda breadth I allocution about some of the agreeable artists today who are blame aback adjoin Trump and issues about all-around abating and so forth. It all came about apparently because of the aftermost two books I wrote. I wrote a book alleged Becoming Jimi Hendrix. That was an aboriginal history of Jimi accounting from the analysis of Hendrix historian Steve Roby. And in 2016 I wrote a book that had consistently been abutting to my heart, and it was alleged Revolution’s End. It was the hidden history of the kidnapping of Patty Hearst by the Symbionese Liberation Army in the 1970s in which I explain to the clairvoyant that Patty Hearst was a sideshow and that the conception of this declared left-wing accumulation was engendered by Ronald Reagan, the prisons, and the CIA. It goes into Donald DeFreeze’s accomplishments as an accuser at the LAPD, accepting drugs acclimated aloft him at Vacaville, and again actuality accustomed a get-out-of-jail-free agenda in adjustment to actualize the SLA, which behaved crazily and attenuate the Black Panthers and the New Left in the Bay Breadth in the 1970s.So you put all that together, and you get music and you get politics. And you get music is power.GOSZTOLA: You’re right. You accept this admirable chapter, breadth you dig into what happened with Joe Hill. One added catechism afore we get to specific artists. I don’t anticipate there’s actually a amiss answer. Any way you do it, as continued as you absolve it, is good. In the assignment I do accoutrement music, I do absolute alarm it beef music aloof as a actually accessible way to allegedly get bodies to accept what we’re talking about. But I accept that accoutrements that comes alternating with it, and a lot of artists don’t appetite to be apparent as beef musicians or beef singers because they feel like they’re marginalizing their music. Do you accept any thoughts you appetite to accurate on that?

SCHREIBER: I acknowledge that actual much. And I acknowledge your work, which I’ve listened to and read, and a lot of bodies who account me about Music Is Ability appear from the music accomplishments and not the able political analysis background. So I’m affectionate of counterbalanced in both of those areas acutely from what I’ve done.

I accept what you’re adage about the appellation beef music. The acumen I shy abroad from it is the acumen I shy abroad from agreement like cabal theory. Because linguistics are actual powerful, and you can use them to basically attenuate someone’s rational argument. Well, that’s aloof a cabal theory. Well, no, here’s the proof. Here’s the documents. It’s not a theory.

Protest music sounds like it’s alone the Sixties, and that was my concern. That as you say bodies would say, oh, a book about music that protests. That would be Bob Dylan and Joan Baez, I guess. And I’m aggravating to advance that there’s a continuum alike up to today, and that’s why I adopt to alarm it socially acquainted or sociopolitical music or annihilation like that. But as continued as we accept this compassionate that it isn’t bedfast to the Sixties, there’s annihilation amiss with adage beef music either.

GOSZTOLA: For the aboriginal example, let’s get into what the activating was like for musicians afterwards the September 11th attacks and again advanced of the Iraq War. As you certificate in the book, we accept Clear Channel that is involved. They booty accurate songs and they say conceivably these songs should not air. Again you accept the burden that the Dixie Chicks appear beneath to not sing about assertive capacity because of the advance to access Iraq.

SCHREIBER: I’m animated you alpha there because it’s adequately recent, and it goes to my antecedent point to a assertive amount about linguistics controlling—There’s a guy called George Lakoff out of UC Berkeley, who talks about framing arguments with language. If you anatomy the attributes of the altercation and you get there first, the bodies on the added ancillary now accept to acknowledge to your abetment linguistically. They don’t accept an befalling to accomplish a rational appeal because they’re actuality controlled by the arena rules so to allege that you’ve set.

Clear Channel Communications afterwards 9/11 had about 110 actor admirers nationally, and it was actually Orwellian, as anybody who remembers that time will agree, in which Clear Channel starts adage these are the songs that we do not advance our stations play. Their apropos were not alone all-embracing but at times absurd. I accept the raw anguish in America afterwards the attacks of 9/11, but to say that you can’t comedy Peter, Paul, & Mary’s “Leaving On a Jet Plane” because no one wants to anticipate about planes. Because planes were acclimated as weapons. It is crazy, and the added affair is article that Barbara Kopple, who by the way did the Dixie Chicks documentary, “Shut Up and Sing,” announced with me.

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She’s actually brilliant. I mean, she’s won two Oscars, but the conciseness of her accent and her anticipation aloof abashed me aback we did our account because she explained how corporations, not aloof governments, but now corporations accept agreeable ascendancy over bodies if they accept abundant of a bazaar share. And that’s actually what happened with Clear Channel, and now at iHeart Media, they’ve got 45 actor listeners. So not alone did they do to the Dixie Chicks what they did to the nation afterwards 9/11, but we still accept to be acquainted of vertical affiliation in the accumulated apple and the actuality that the added that goes on the beneath abandon of accent we’re activity to have. It’s affecting in Barbara Kopple’s documentary, “Shut Up and Sing,” aback you see Natalie Maines accepting a afterlife blackmail adjoin her in Dallas of all places. I don’t alike charge to accredit to the assassination advance that was acknowledged in Dallas in 1963 for that affiliation to be made.

In some ways, the alienation of the Dixie Chicks, alike admitting they had a acknowledged aftereffect album, was due to the country music enactment and the radio stations that comedy country music and their admirers betraying them and adage you don’t accept abandon of accent to say in London aloof afore the incursion, the actionable aggression of Iraq, hey, y’all we aloof appetite you to apperceive we’re abashed that the Admiral of the United States is from Texas.

Of course, the bodies in the UK anticipation annihilation of it because 90 percent of them were adjoin the war in Iraq, and of advance Tony Blair actually abandoned the will of the people. Well, over here, accord had been bogus so to speak, with affliction to Noam Chomsky, and bodies were agitative accessible to go and advance Saddam Hussein. So aloof not alike in song but in an interview, the Dixie Chicks were accursed by the enactment and that is air-conditioned to anticipate about.

GOSZTOLA: It does about affix to addition aspect from your book that I appetite to altercate with you. And you could allocution added about about the artisan if you want. It’d be adamantine to say that best bodies don’t acquisition article actually admirable about the music of Marvin Gaye, but I appetite to ask you about the kinds of pressures he faced as an artisan as addition who was alive for Motown.

There’s not a lot of connection, but in pivoting from what we’re adage about Clear Channel, you accept a Motown association that put calm an accumulation band for artists. I acclaim for bodies who are alert to our account that they bolt the Showtime documentary, “Hitsville,” that was appear aftermost year. I aloof accept a adduce from Berry Gordy, as we get to this allotment of our conversation.

Berry talks about how he basically alone gave his artists abandon but aural a restriction. He knew he was accomplishing this actual carefully because he acquainted there was a Motown cast that had to be protected. He admits in this documentary that he was not consistently adapted and that in actuality Marvin Gaye came to him and threw it in his face aback he capital to go accomplish “What’s Activity On.” Berry knew actual able-bodied that he was in the amiss for cogent Marvin Gaye no, initially.

He says in retrospect, “I now feel the abstraction of absorption the apple was not a bad abstraction at all.” It was article that Marvin Gaye, as able-bodied as Stevie Wonder, were aggravating to affect aloft him during the backward 1960s and the aboriginal 1970s and decidedly with the Vietnam War.

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SCHREIBER: Aboriginal of all, that is a agitating documentary. I accept apparent it. Second of all, there’s an absurd irony in Berry Gordy and how he ran Motown because it was both absolute and negative. Berry Gordy, aforetime alive in an automotive bulb on an accumulation line, activated the aforementioned business approach to a almanac label.

What’s agreeable to me is how he saw performers apparent through a affection ascendancy department. They told them how to dress. They formed with them on composition and ball moves and so alternating and so on.

On one hand, this is what fabricated his acts so sterling, but the cast ancillary is what happened with Marvin Gaye, which is adage if you almanac for my characterization you do the music that my songwriters and my producers and my arrangers accommodate you. You do not accept the best on your own, and of course, Marvin Gaye became actual acquainted of what was activity on in the Vietnam War because he knew bodies who came back, who had accompany who were dead or injured. This happened with added Motown acts as well.

When he went to Berry Gordy and said I appetite to do “What’s Activity On,” I feel accountable to allocution about the changes in society, Gordy’s acknowledgment was, oh, that’s political stuff, and that’s not activity to work. Such was the charge of Marvin Gaye that he threatened Gordy with abrogation the label. He said I’m activity to do this either for you or somebody else, but I’m committed to accomplishing this.

And what’s actually astounding, and what would actually never appear in the accumulated ability of 2020, is there was a sales guy and addition executive, who abaft Berry Gordy’s aback said let’s almanac “What’s Activity On” and columnist 100,000 of them and bandy it out there with out Gordy’s accept and see how it does. Well, it did fantastically, and again they produced addition 100,000. Again Gordy begin out the song was actuality appear after his accept and he confronted Marvin Gaye and said he didn’t accept the adapted to do this. But aback it did okay, I will admission you the adapted to do an album, but I’ll accord you 30 canicule to almanac it.

Can you imagine? Thirty canicule to do an absolute album. Write the songs, almanac it, mix it, and Marvin Gaye astonishingly created that apartment of music in ten 12-hour days. So Berry Gordy, like Norman Whitfield, the producer, said let’s do socially acquainted body or socially acquainted R&B, but let’s do it alone because I now see it makes money. They had actually no charge socially.

GOSZTOLA: It’s account acquainted that aftermost year for the aboriginal time it was clearly released, Marvin Gaye’s follow-up, “You’re The Man,” from 1972, which sat on a shelf for decades. The adduce in media advantage was that Gordy was abashed it would atom a backfire from Motown’s bourgeois fanbase. SCHREIBER: This is additionally article I try and accomplish agenda of occasionally aback it’s adapted in Music Is Power, which is it is not consistently a action financially to do political music. Sometimes the times crave it, and I’m academic we’re both politically in the aforementioned area, aback you accept the affliction admiral of the United States who has absent an acclamation by three actor votes and there’s an aggression on all kinds of rights, you actually do attending to the aesthetic area to advance aback as able-bodied as added sectors to protest.It is about accepted that a acknowledgment from artists during a alarming and difficult time is adapted to some degree, and I anticipate we’re seeing it now. Not alone in music, but I see it in the plays I see actuality in Los Angeles. I see it in films. It’s actually adapted for our times.

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Part 2 will analyze Jimi Hendrix and Pink Floyd. 

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