week15-This week's edit   LYU YANGCHENG 여양승

ummary

This week, I explored the Wikipedia page on protest songs, analyzing how this musical form reflects the power of social and political change. Protest songs are not only a form of artistic expression, but also a powerful tool for social movements. Historically, protest songs have emerged in response to various social changes, especially playing an important role in issues such as civil rights, anti-war, and social justice. Songs such as Bob Dylan's "The Times They Are A-Changing" and "Blowin' in the Wind" became symbols of the civil rights and anti-war movements in the 1960s.


Interesting Points

I am particularly interested in the evolution of protest songs in different historical contexts. Although their forms are diverse, including folk, rock, hip-hop, etc., the core characteristics of these songs have remained unchanged - they promote change with intense emotional expression and profound social criticism. By comparing protest songs from different eras, we can see that from the labor movement songs of the early 20th century to modern music about LGBT rights and anti-racism, the themes of protest songs have gradually expanded to cover more diverse social issues. In addition, protest songs are not limited to direct political protests in many cases. They can also reveal social contradictions and pain points in an artistic way, inspiring public reflection and action.


Discussion

This makes me wonder: In the digital age, are protest songs more democratic than in the past? Today, although everyone can post protest songs through social media, and the speed and influence of global dissemination seem to be stronger, the works that can really arouse widespread social repercussions are still concentrated in mainstream culture and platforms. This makes people wonder: despite the diversity of protest songs, can they really break through the constraints of power structures and become a driving force for social change? Or do they only stay at the reflection of social appearances and still cannot touch the deep institutional problems?


In the long history of protest songs, many classic works are not only artistic creations, but also witnesses of historical events and symbols of social struggle. Can we continue to promote social progress through these musical forms today, or have they become the echoes of the old revolution and have lost their original impact on some levels? These questions are worth pondering for each of us.

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