SCHOLARLY RESEARCH PAPER

Seeking a research proposal with a topic, description, question to be addressed and thesis on something similar to on the very rough fragmented subject below. Feel free to edit it into something that makes sense.

The Essence of Subversive Messaging In Music

POLITICAL RESEARCH PAPER –

This scholarly research paper begins with this excellent intro that was well received and graded A. It is the Five page Proposal – Political Science, written on the topic of “ subversive messaging”, featured in various types of music a powerful artistic forums. Music connects expressions as the universal language encompassing and conveying emotional messages of passionate emotions of love, loss, rejection, anchored in its quality of subversive messaging and sexual imaging communicated verbally and non-verbal, dialog in jazz, country western, rap, pop, classical, soul, of all genres and the emotions embedded deep within sounds (lyrics & instrumentals) over conversation about unrequited love, domestic relationships, political and social differences that unite us as a society. The advent of sexual escapades in association to music as the communication tool. USE THIS WORK AS THE FOUNDATION, EXPANDING ON IT TO MEET THE ASSIGNMENT REQUIREMANTS. NOTE: The completed assignment MUST NOT NEED OR REQUIRE A FINAL EDIT! RESULTs OF PROOF READ, done by me, MUST BE error free and EXCELLENT! Seeking high-level scholarly , competent, relevant content for a research 25 + page document that includes, components of and including competent and relevant content, an annotated bibliography, literature review and citations page, all of which will evolve and continue around the content and references in this document. May use references listed and also, if possible, Please include and document uses of scholarly resources, journals, references, such as Galileo, jstore, ebsco, etc, as a part of your research trajectory?

Instructions; Final draft, extending on this content, to evolve into a 25 + page Scholarly Research Paper, that will proof read for the mechanics of the SCHOLOARY documents, organization, continuity and transition created and EDITED into a completed FINAL DRAFT document, Plagiarism Free (verified) totaling minimum 25 pages , 8 pages of which are presented here, graded (A) prototype proposal, including excellent references, of what the research topic encompassing subversive, political messaging of music, and films, subversive messaging in music, connecting social and cultural alternative communication methods bonding socially. The class, COUNTER POLITICS IN POP CULTURE Political Science, Textbook 1. MUSIC & POLITICS, By John Street, Textbook 2. “Projecting Politics, Political Messages in American Film”, by Terry Christensen & Peter Hass

Introduction

Throughout history, music has been a major form of entertainment and presentation of culture. The performers endeavor to maximize their connection with the audience in both verbal and non-verbal communication. However, as the music took center stage in the society, the need to pass some information to a particular audience arose while retaining the contemporary role of music as an entertainment medium. Therefore, artists sought ways to address the same crowds yet don’t connect at a more intimate/ deeper level with selected portions of the audience. Different communities have found different ways to mask their ‘secret’ messages with the obvious coding naturally done through the language used. This paper explores some three perspectives of music to define subversive messaging including; origins of calypso, pop from the relevent source for a top 40’s song countdown,circa 70’s -80’s, created by radio legend Casey Kasem whos personal career encompassed over 50years, and romance radio personality Delia, who’s interactive messaging of feelings and connection, started in 1996 and continues today.Jointly Resignating presently the gernred history of country western and African-American music consisting of soul, spirituals, jazz, blues, rock & roll, hip-hop and Rhythm & blues. The intention is to understand the historical background and the need for subversive messaging in different cultures. Concluding with the not so much subversive but liberating external delivery of raw emotions emitting from dialog that country westerns’ uses lyrics to unabashedly release feeling that could never be spoken n in traditional ono on one relationships due to emotional stressors of shyness, intellectual limitations, social status of gender, macho males who believed that emotions expressed were signs of weakness.

The Hidden Message: Pop Music

Thomas Edison invented the phonograph in 1877, and one year later, he found that the cylinder could be reversely rotated to produce an interesting version of recorded music. The melody was retained but in a unique manner including the word patterns. During the ‘Musique Concrete’ era, the Avant-garde musicians did the first experiment that entailed the editing and integration of sound fragments (Stollznow, 2014). Since then, messages have been expertly inserted into music that can only be heard with clarity upon playing the same song backward. The best example is the popular musical group the ‘Beatles’ that has ruled the music industry for over five decades. The group stumbled upon the art of back-masking while working on their 1965 album by the title ‘Rubber Soul’ (Stollznow, 2014). They heavily borrowed elements of ‘Musique Concrete’ to establish this new experience. Whether done as a popularization gimmick or conveyance of a secret message, the subversive messaging by the Beatles caught the attention of music fans and critics. The focus was too intense to an extent the death of some of the members could be supposedly confirmed through confessions in selected backmasked songs. One such incident is the 1966 rumors by American college students of Paul McCartney death and replacement but someone that resembled the artist (Stollznow, 2014).

Not long after, the 1973 film titled ‘the Exorcist’ kicked another public storm. A tape containing the garbled words of a possessed victim in the movie when played backward confirmed the speech to have been made in English. Since then, musicians such as Ozzy Osborne and bands including; The Eagles, ELO (Electric Light Orchestra, English RockBband), Judas Priest and Led Zeppelin were accused of using subversive messaging to promote satanic subliminal messages (Stollznow, 2014). To date, seemingly innocent pop music is accused of subliminal messaging when played in reverse, and the complexities have since increased based on the ability to fuse music video elements that complete the subversive messaging.

Musicians such as Miley Cyrus, Beyoncé, Justine Bieber and Lady Gaga have been cited for using erotic movements and sexism in their presentations to promote unattainable love. The words or dancing is intended to shift the focus from the main message that is often laid out in plain view. [ Was asked to explore more scholarly refrences “sources” that examines the social impact of this “coded” form of sexually interpreted messaging in music THEORY?]

African American Music

Ragtime music originated in the southern communities of African Americans (Blacks) presumably slaves. The style of music peaked in the 1890s and lasted till 1918 even though various revivals took place later in the 20th century. Artists of the time such as Scott Joplin made music intended to entertain the African American Community, but inevitably, the style attracted some white audience. Therefore, some crude lyrics often had to be coded or stylistically hidden to avoid offending the ‘masters.' The geographical and social exclusion of the ‘blacks’ from the mainstream American lifestyle prolonged the survival of the African culture long after the end of slavery (Verney, 2013). This reality was evident through the emergence of jazz and the ‘blues.' However, the Blues music provided an in-depth interpretation of the life of the southern black communities during and after slavery. Metaphors involving animals were popular in this music, and only a targeted audience could interpret and understand the underlying message. A superficial glance at the music often provided entertainment, but strategic listening delivered lasting lessons to be carried through the ‘black’ generations. The mule was a popular animal used to symbolize minimum reward for long and tedious working hours under unbearable conditions. The animal was also popular in symbolizing the lowest order in the society, reflecting the status of the black community.

Love and sex was also a popular theme in the male-dominated ‘Blues’ musical style where sexual prowess was magnified through animals such as roosters, writhing black snakes, and stallions (Verney, 2013). Objectification of women was also established during this era where they were mere symbols of sexual gratification. Some of the representations of women in graphics and words included; heifers, pig-meat, and mares (Verney, 2013). Politically, such songs often triggered debates because they tended to trigger memories of injustices, wrongs, and misfortunes of the black community. Depending on the prevailing atmosphere, the artists could twist lyrics to minimize adversities while maintaining the subliminal messages.

Calypso

Away from the Caribbean region, calypso music is perceived to be light-hearted, carefree and in some cases frivolous (Regis, 1999). On the contrary, this style of music is one of the most political based on its subtle but serious social commentary blurred in the joyful cadences. This genre of music originates from the historical fight for emancipation from both real and mental slavery. The composure of the songs in most cases demands wit and full imagination that finds a way to communicate the obvious in an indirect manner; that keeps the target audience hooked on the vibes while the rest are thrilled from the creativity. Emerging from the West African roots and propagated by the Slaves channeled in the Caribbean region, Calypso was designed to lament often and provide satirical effects. The content was intended to mock the Slave-Masters, especially in the ‘Harvest festival of Canboulay’ that was organized to coincide with the pre-Lent Carnival that excluded even the Freed Slaves (Regis, 1999). As the genre gained its highest popularity in the 1920s and 30s, it became the primary source of news as well as a mode of interpreting/ communicating political occurrences. Just like the Blues genre, Calypso provoked political debates leading to several incidents of its banning by the colonial government. The topics of interests diversified to racial consciousness to address racial segregation in the 1960s.

Assessment of unrequited love

The difficulties and the almost impossible act of emancipation or acquisition of freedom ensured subversive messaging was sustained for the safe communication of the minorities during slavery. Consequently, the beauty and expression of freedom became vivid to most if not all the hopeful slaves. The post-slavery period and urbanization era forced all the races to recognize the power of music. Some of the themes in early musicals lost part of their meaning as the world embraced freedom and modernization. However, the need to communicate prevailing injustices that could not be completely eliminated through physical freedom has sustained the use of subversive messaging. Love is a topic that crosses all human boundaries and has the potential to overcome all social stratification factors including; age, gender, race, class, employment status, and education level. Therefore, the songs of the post-slavery period could not find common ground of reaching the masses as well as using the theme of love. As unattainable love is predominant in these songs, so is the allure of fighting the social injustices that exceed to date. Therefore, the intensity of erotic representation of the same is often perceived by critics as a source of over-indulging the masses to ensure they do not focus on the ‘real issues.' Therefore, hidden communication is made to affect the conscious/ subconscious mind of the audience as a means of establishing contact. The essence is to deliver the message in circumstances that would otherwise generate resistance if such communication was plain or direct.

Conclusion

The highlighted case studies of different music genres have defined the need for subversive messaging as emerging from the need to communicate and resonate with a particular target audience. At the same time, the concept of hidden message sometimes in plain view serves to throw off track/ confuse potential threats to the performers or their preferred audience. The ability to customize the message often endears the song to the target audience thus creating a following that may directly or indirectly benefit the musician. The sexual escapades in music can be justified according to Charles Darwin’s theory that attaches the origin of music to the need for sex, as witnessed in animals, especially birds. Benjamin Charlton, a psychologist at the University of Sussex, supports Darwin’s theory through his experiment that found women to change their sexual preferences for music performers/ composers during their menstrual cycles (Charlton, 2014). Music producers, composers, and performers seem to have borrowed a leaf from the combined findings to enhance their songs to maximize on the natural allure of sexual escapades in music. Survival in the highly competitive music industry seems destined for the sexiest not only for the natural attraction but for the ability to exploit the power of subliminal messaging that has the power to maximize subconscious programming of the masses towards a particular topic or issue. Subversive messaging was and is intended to protect the artists and in the same breath endear them to a particular fan-base as a result of its authenticity. Most artists provide superficial appearances in their music but always find rare but valuable opportunities to provide an honest front/ opinion through hidden messages. Subversive messaging, cultivates an impetrative emotional bonding that surpasses physical interactions with a spiritual connectivity that influences behaviors that tribute and memorialize, continuing a mutual respect, loyalty and love, beyond anything physically consummated.

References

Charlton, B. D. (2014, June). Menstrual cycle phase alters women's sexual preferences for composers of more complex music. In Proc. R. Soc. B (Vol. 281, No. 1784, p. 20140403). The Royal Society.

Darwin, C. (1888). The descent of man and selection about sex (Vol. 1). Murray.

Regis, L. (1999). The political calypso: True Opposition in Trinidad and Tobago, 1962-1987. University Press of Florida.

Stollznow, K. (2014). Backmasking. In Language Myths, Mysteries and Magic (pp. 133-140). Palgrave Macmillan UK.

Verney, K. (2013). African Americans and US Popular Culture. London: Routledge.