{"id":34,"date":"2025-12-19T15:52:10","date_gmt":"2025-12-19T15:52:10","guid":{"rendered":"https:\/\/pressbooks.ulib.csuohio.edu\/all-we-are-saying\/?post_type=chapter&p=34"},"modified":"2026-02-09T20:41:34","modified_gmt":"2026-02-09T20:41:34","slug":"new-trends-but-a-familiar-message","status":"publish","type":"chapter","link":"https:\/\/pressbooks.ulib.csuohio.edu\/all-we-are-saying\/chapter\/new-trends-but-a-familiar-message\/","title":{"rendered":"New Trends But a Familiar Message"},"content":{"raw":"
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\u201cQuestioning anything and everything to me is punk rock.\u201d<\/em><\/p>\r\n

- Henry Rollins<\/p>\r\n<\/blockquote>\r\nOf course, the awareness of certain styles of music are a barometer of how effective their messages are delivered and understood. While punk and new wave that first arose in the early to mid-seventies may have had a select and even limited audience, there was no shortage of strong messaging. As we\u2019ve have noted, other musical genres picked up the baton, but were they as effective in spreading their messages for peace and social awareness or social justice? We mentioned Chris Butler a few pages back. He knows the Kent State story well.\u00a0 Butler also knows a lot about the music industry as part of the bands Tin Huey, the nationally known Waitresses, and as a successful solo musician. He calls it \u201ca huge bloody topic!\u201d\r\n\r\n\u201cGive Peace a Chance,\u201d he tells us, \u201cis the protest song equivalent to McCartney\u2019s \u2018Simply Having a Wonderful Christmas Time.\u2019 If we are stating \u2018All we are saying is give peace a chance\u2019 as opposed to \u2018We want fucking peace!\u2019 \u2014 that\u2019s a big difference. \u2018Ohio\u2019 is an amazing song and in the classic folk tradition where you take a traumatic incident, whether it\u2019s a miners\u2019 strike or Phil Ochs doing \u2018the news.\u2019 Bob Dylan made a sarcastic comment about Phil Ochs, saying that, \u2018He doesn\u2019t write songs, he writes the news.\u2019\u201d Is that a bad thing? Butler does tip his hat to CSNY for producing a song that was not only powerful when it premiered but has stood the test of time, and he can see the Phil Ochs way of thinking. He also wonders about the degree of commitment.\r\n\r\nHe points out, \u201cOn one hand, it\u2019s a powerful, reactive message but on the other hand, it\u2019s like, where is the line between reporting the news and bringing awareness versus exploitation?\u00a0 The big question I have about that is that I know Graham Nash and David Crosby have played for free at Kent. They\u2019ve donated their services to various causes, but my question is 1). whether Neil Young has ever come back to Kent and 2). did he take any of his publishing money from that song and contribute it to any of the causes? Maybe the answer is yes, but that would be something I would want to know about.\u201d\r\n\r\nBob Lewis was on the front lines of the first phase of new wave music. A founding member of Devo, he was at Kent during the events of May 4th, 1970, and says you have to understand the history of protest music to reflect on its possible direction. According to Lewis, there are two things to consider. \u201cFirst,\u201d he says, \u201cthe music. Sixties protest music was driven by issues like civil rights. Some folks saw that as left leaning stuff from the 1930s. Voices like Pete Seeger, the Weavers and \u2018Which side are you on?\u2019 When we progressed to the civil rights era and Vietnam protest it focused our attention because everyone knew somebody that was getting drafted and going to Nam. All the guys were listening because their futures were being determined and their girlfriends, wives and families were involved as well.\u201d\r\n\r\nHe continues, \u201cThis is also the biggest part, the \u2018pig in a python\u2019of the baby boomers.\u00a0 Kent State went from 8000 students to 20,000 almost overnight! It was like, \u2018What the fuck are we going to do with all these kids?!\u2019 So, they hired a bunch of new faculty and that brought in a lot of more progressive ideas and thinkers, too. It was kind of like the perfect storm for protest music at that time. You had the civil rights issue, which was important, but you also had the issue of life and death and war and peace. At the same time, you have this big bulge in the baby boomer population. So, you have this weird thing in the music industry where you have a lot of start-up record companies: Electra \/ Asylum, Alpert and Moss starting A & M Records [etc.] It\u2019s no longer just Warner and CBS. Motown was expanding options for artists to get music to their public who were eager to buy. People had disposable income back then. You had protest music, but you also had a distribution network that was not yet completely controlled by big corporations.\u201d Lewis also points out music and its message as a driving economic force.\r\n\r\n\u201cWhen Elvis was first starting out,\u201d he says, \u201cBlack music was called \u2018race records.\u2019\u00a0 When Elvis was growing up you had to listen to Black music on the \u2018QT.\u2019 But it didn\u2019t take long for the corporate overlords to respond to this challenge. You had Warner Brothers buying up small labels and big recording companies getting in bed with chain stores like Peaches Records and stuff like that. They almost immediately fought back the attempts by the independent record business to get their product out.\u201d But Lewis also notes there were well-heeled investors who were willing to face off against the corporate monster. \u201cOf course, you also had Richard Branson starting Virgin Records and Chris Blackwell starting Island. There was Stiff Records and all these little labels. It was possible for alternative artists to get their product into the marketplace in a way that was not possible earlier than that.\u201d Did that include protest music?\r\n\r\nLewis is quick to respond to that, stressing, \u201cDevo was protest music! It was perhaps a step removed because it wasn\u2019t obvious. And another thing, with the Amazon (rain forest) burning and the plastics in all of our blood streams and shit like that, in 1971, a year after May 4th, there was an organization called the Club of Rome. They got a grant from the Volkswagen Foundation to do a study on projecting into the future and the growth of population would affect resources. They came out with a report called \u2018The Limits of Growth \u2013 The Report of the Club of Rome\u2019 and it basically said we can\u2019t afford to keep going like this or really bad shit is going to happen! It was immediately attacked by conservatives and the right and in the eighties and nineties the Club of Rome report became kind of a joke. Anyone who wanted to have ecological concerns would get criticized. \u2018What are you trying to do? Another Club of Rome deal?\u2019\u201d\r\n\r\nBut Lewis says that report in so many ways withstood the test of time, saying \u201cIn the last ten years or so, folks have gone back and looked at their data and what they\u2019re saying is, \u2018You know, they weren\u2019t exactly right because they didn\u2019t anticipate all the current problems,\u2019 like Roundup (weed killer) was going to be in the water and discarded plastics would be such a problem. But they saw the trend lines indicating we\u2019ve got problems and a lot of concern in the songs Devo did were with an understanding that unless some kind of rational thought is paid to human growth we are going to run into a big wall. It\u2019s going to be a really big problem.\u201d In so many ways, the content of Devo\u2019s music\u2026which was seen as eccentric and even comical for the time\u2026 has proven eerily prophetic.\r\n\r\nLewis continues with a look at recent years. He also stresses that we are offering individuals the right to express opinion. As he notes, \u201cRight now, we are looking at the start of resource wars over water in a very short time if they are not already happening.\u00a0 In fact, part of the reason that Syria destabilized was that we invaded Iraq and a million and a half refugees fled into that country. But Syria also had an eight-year drought with farmlands drying up and farmers forced off their land. Then Turkey, our ally, reduces flow into Iraq and Syria from the Tigris and Euphrates Rivers and part of the Isis recruiting tools is, \u2018We\u2019ll get you water rights.\u2019 Meanwhile, Nestle\u2019s is sucking water out of the bottom of the Great Lakes selling it for bottled water!\u201d\u00a0 Lewis also points out changing trends in political thought adding, \u201cI also believe the overall \u2018then window\u2019 of American politics has shifted radically to the right. The 1956 Republican platform when President Eisenhower was running for his second term had stuff like \u2018Make it easier for people to join unions!\u2019 Yeah. Times change! But did we lose direction with protest \/ message music or do people not recognize the message? Did people lose the message while recognizing the art and novelty of the music?\r\n\r\nAfter a while,\u201d he says, \u201cpeople did recognize that message. Some really smart people like (former Kent State instructor and noted poet) Ed Dorn and people like that, they realized it right away. At the same time a lot of people reacted very harshly to it because it angered them.\u201d\u00a0 An early Devo concert at Cleveland\u2019s WHK Auditorium opening for jazz great Sun Ra is an example where the \u201cspud boys\u201d were chased out of the hall, and part of that might have been territorial. Lewis recalls, \u201cThere was kind of a tension between Akron and Cleveland. For example, the folks in Akron weren\u2019t burning LeBron\u2019s jersey when he went left for Miami. He didn\u2019t leave Akron, he left Cleveland.\u201d At times, messages can be widely interpreted. Let\u2019s hear more about the musical scene following the events at KSU. Lewis looked at how the audience perceived the messenger as well as the message.\r\n\r\nWhen we went to Cleveland that was the first time we found out that if you were the opening band, you didn\u2019t get to have as much volume on stage as the headliner and that kind of shit that goes on.\u00a0 The other thing is, if you look at the Beatles White album and you trace each of the songs that lead from one to the next musical form. You got heavy metal on there and all sorts of stuff. The music market started to fragment because there no longer is sort of an American Bandstand<\/em> where you see the top ten songs that week for the whole country. Now you have world music and the new country and traditional country and hip-hop and rap. Of course, hip-hop and rap has some serious protest music, especially the \u2018Fuck Tha\u2019 Police\u2019 stuff.\u201d But a familiar theme emerges once again.\r\n\r\nLike others before him, Lewis says it comes down to marketability. \u201cIn the sixties and seventies, if you could get your protest song onto vinyl, someone would sell it. Now people access their music differently. It\u2019s kind of like siloes. There are people that don\u2019t go out of their own category of what they want to listen to. In the days of pioneer FM rock radio, you could hear a whole album side! For a lot of FM deejays their play list was whatever the fuck they wanted to play! Then you had the rise of Clear Channel and the music consultants.\u201d Without getting into the evolution of radio analytics, you still have to recognize an audience and what they expect from a station. Who are you looking to serve and how? That can be open to interpretation and even generational. When big money owns a station, you are beholden to the needs of the master\u2026or you look for a new employer. That\u2019s not an excuse or an endorsement, it's just the lay of the land. Then there\u2019s the generational difference as well as the obvious economic one.\r\n\r\nBack to Butler, who stresses, \u201cThis is a real tough subject to address\u201d stating, \u201cIt is ridiculously nuanced. There has never been a time when in certain areas of music whether it became punk or hard-core feminist musicians like Pussy Riot or Ani DiFranco or on and on.\u00a0 Real country people, anti-folk people, hard core rappers who pioneered a poetry style\u2026 there has never been a time when music has not been an expression of protest and discontent. It changes formats from time to time, but it\u2019s always there and so is music as entertainment. Pardon my French but there\u2019s the new wave saying, \u2018Fuck art, let\u2019s dance!\u2019 Things are always mass marketed. If you can get a message song in now and then that\u2019s amazing, but in general it\u2019s always going to be underground. Every once in a while, it may poke its head up with a song like Bob Dylan and \u2018Hurricane.\u2019 There are anomalies left and right. There\u2019s a wonderful song by Soho, \u2018Hippiechick,\u2019 about a police interrogation. It sounds like a pop song with a sample from the Smiths, was a huge hit but it\u2019s about a police interrogation of a Black woman. My point is that both protest and entertainment have gone on in parallel and, once in a while, one will poke through. Yes, there was a sense of alternative culture that was turned into music that became \u2018popular,\u2019 but at the same time, if you look at the pop charts, it\u2019s still going to be Neil Diamond, it\u2019s still going to be fluff.\u201d\r\n\r\nButler says it often comes down to an industry that may not understand art, but certainly know its way around a buck. \u201cThere was a consciousness that became part of an awareness by the record companies that, \u2018I don\u2019t know what it is but the kids like it! You know, this San Francisco stuff. What the hell!\u2019 When they had a lot of money rushing around and they could take a chance on something because their kid told the record executive, \u2018How come you\u2019re not listening to Jefferson Airplane?\u2019 The whole Volunteers<\/em> album by the Airplane came out and when they played Kent I really sensed that while they may have been sincere there was something funny about RCA Records releasing an album called Volunteers<\/em> with all these \u2018\u2026up against the wall motherfucker\u2019 type songs. I could just see the suits chuckling in their business suite saying, \u2018Well, that\u2019s what the kids want. Let\u2019s take a chance on it!\u2019 But this is RCA; it\u2019s one of the oldest, most conservative labels in existence doing this record. It seems like a built-in conflict. If you want \u2018protesty\u2019 stuff it\u2019s always there but, yes, it\u2019s usually not mainstream.\u201d\r\n\r\nJim Fox tells a different story about marketability as a necessity.\r\n\r\n\u201cNo, if you\u2019re susceptible.\u00a0Let\u2019s put this in the past tense because that\u2019s where it lives.\u00a0If you had the kind of mind that is curious about things like that, if you\u2019re interested in the condition of the planet, the condition of the world of the race whatever, you could find it.\u00a0When it was just coming in you had that opportunity.\u00a0Today, there are two things going on.\u00a0One, you wouldn\u2019t have the opportunity\u00a0<\/strong>if it existed and two, it doesn\u2019t exist!\u00a0<\/strong>Some people would tell you that within rap music it\u2019s still there and it can be.\u201d More on that later.\r\n\r\nJohn Lennon suggested we could be marketing peace like a commodity. Something we can\u2019t live without. He even tried in his own unique way, but at the same time found you can\u2019t get support for anything unless people are willing to buy into it. Even so, he had a voice because of his distinguished career. Record companies knew the Lennon name could move product, but what about new voices? Butler says it\u2019s there, but you often really have to look for it.\r\n\r\n\u201cRecord labels are in the entertainment business. They\u2019re not in the political business and in terms of the way music is consumed now it\u2019s its own radical protest. That first kid that digitized a CD and spread it around his friends for free, Napster or whatever, that first kid broke the back of the music business. He was probably doing it as a teenage prank. I don\u2019t if that was protest or an economic thing. Why pay if I can get it free? That\u2019s the prevailing thought with streaming and that broke the back of the very established money trail. That song would be played on the radio, it generated a nickel for the publisher, the publishers paid the writers and it was a beautiful little set up system. You sell a record and you may have a bullshit contract, but you are entitled to a royalty. There was a money stream but that is completely blow apart now.\u201d Plus, he says the topic \u2014 like the industry and the delivery platform \u2014 are often fragmented. \u201cOne reason this protest issue is extremely hard to address,\u201d he says, \u201cis you have to define what protest is. Economic? Violence against women? Black suppression? I\u2019m saying it\u2019s out there.\u00a0 The protests do exist but there are so many different medias and it\u2019s so fragmented that it may be on a webpage or a blog or a college radio station as opposed to \u2018Ohio\u2019 coming out of a 50000\u00a0 watt AM radio station like CKLW blasting out of Windsor Ontario with a clear channel radius of 500 miles.\u201d\r\n\r\nMany Baby Boomers were raised to question authority and \u201cthink outside the box.\u201d\u00a0 Those are lofty ideals, but when the \u201cgreatest generation\u201d saw its progeny oppose many of the principles and beliefs they held dear it resulted in the so-called generation gap that in many ways\u00a0 extended automatically to a polarizing effect when it came to fashion, music and political thought. It went both ways. Bob Lewis tells us, \u201cThe folks who fought World War II did great things, but they didn\u2019t think to question the government with Vietnam. Part of the problem was when we got the brainwashing about the history of our nation, and everything we actually expected it to live up to that billing. Then a generation came forth with Vietnam asking, \u2018Wait a minute. Why are we doing this?\u2019 Also, because of the fact that everyone was affected by the Vietnam war and the draft, in April of 1967 twenty of us from Kent drove up to New York for the first big march and there were 500-thousand people marching down Fifth Avenue. It\u2019s hard to get that kind of turnout now because the particular issues are kind of like specialized.\u201d The influence of TV and the alternative press also helped publicize and exacerbate that division for all sides of the issue. Also, keep in mind that in the mid-seventies after the pullout from Vietnam a lot of folks lost that main focus and just figured \u2018Let\u2019s have a good time. Let\u2019s dance\u2019, and we had disco.\u00a0 In the eighties, spurred on by popular culture and the moto \u2018Greed is good\u2019 you had hippies and even Yippies like Jerry Rubin becoming stockbrokers and white-collar businesspeople. For those who stuck by their values and often remained poor Lewis says, \u201cPoverty was a good indicator of someone who stayed virtuous.\u201d But today, how relevant is protest music to an angry music audience that may not know what they are angry about, that their movement is not clearly defined? Back to Bob Lewis who takes a stand: Don\u2019t blame the boomers!\r\n\r\n\u201cI understand anger, but some folks may not even know that they are angry. I got out of high school in 1965.\u00a0 I\u2019m looking for a summer job to make some money before I go off to Kent, so I got a job painting apartments; three bucks an hour, which was pretty good for back then. The same guys who hired me to do that had a little office building in Cuyahoga Falls, near Akron.\u00a0 I\u2019d go in there six nights a week and empty ashtrays and wastebaskets, straighten up and sweep the floor. If I really busted my ass, I could do it in an hour a night. Six hours a week, but they paid me $45 for that because it was still cheap for them. Seven bucks an hour! Three an hour for painting apartments and a brand-new Corvette at that time is $3000! If I work a thousand hours, I can buy a new \u2018vette! If a kid came out of high school now, he\u2019d have to be making $60 an hour, and maybe he\u2019s still at that seven bucks an hour stage. We didn\u2019t realize that the post-World War II prosperity was an anomaly in American history. Our generation was real smart. We were smart enough to be born White males in the middle of the 20th century in the United States. We lived better than the Roman emperors did!\u201d He also says, \u201cI understand why kids today are pissed at the boomers, because they think we wanted things to be this way. Gotta disagree with them on that. We didn\u2019t want this. We were warning this would happen! Ronald Reagan and those fucking assholes are the ones who brought us here. It wasn\u2019t baby boomers!\u201d\r\n\r\nThis begs the question: Can the modern artist target a key audience? In Lewis\u2019 eyes, \u201cTo a certain extent, you can\u2019t be knowledgeable to every musical genre. You also can\u2019t be involved in every area of protest because injustice and oppression are so widespread. It\u2019s everywhere. At some point, you kind of get burned out. But I still think that humans and music are inextricably linked.\u00a0 Humans need music and music needs humans. The age of protest will continue because things will get worse and people will be making songs about it. That\u2019s guaranteed.\u201d\r\n\r\nPolitical messaging and art are alive and well across the globe, and modern punk artisan Ed Hammell agrees, saying, \u201cThere's more protest music now than ever, it's just not much by White guys. I'll cite Rage Against the Machine, Dead Kennedys, NWA, Tupac, and Public Enemy.\u00a0My favorite protest \u2018albums\u2019 I guess in the 80's were by Sinead O'Connor and The Clash \u2014 and that's old stuff. Currently check out Eminem's \u2018Untouchable,\u2019 Kendrick Lamar' s \u2018DNA\u2019, Pussy Riot's 'Make America Great Again', Logics 'Everybody,\u2019 Xxxtencion's \u2018Hate Will Never Win,\u2019 Joey Bad's Rockabye Baby and the great Kimya Dawson.\u201d Which brings us to what may be the most popular form of music in the world. Even traditional voices agree that rap and hip-hop are loud voices that cannot be ignored.\r\n\r\nA longtime fixture on the Greenwich Village folk scene all the way back to the sixties and the one-time manager of Bob Dylan and her late husband Dave Van Ronk, writer and folk observer Terri Thal says, \u201cFewer songs have narratives; more have blunt statements similar to those we associate with rap,\u201d and the legendary Tom Rush shares, \u201cIt\u2019s probably not as obviously important, but I do think the whole rap thing, for instance, is definitely part of the fabric.\u201d Add Devo\u2019s Bob Lewis to the mix and he admits, \u201cThe targets of the protest movement have scattered. Yeah, Lady Gaga did \u2018Born This Way\u2019 so that message was heard loudest by the LGBT protest. Plus, Beyonc\u00e9 and Black Lives Matter are making their voices heard. Their music is important but it\u2019s most important to the people to whom their music applies. The music spectrum split into highly specialized areas. When you\u2019re seventeen and you hear that special song and it affects you in a way that doesn\u2019t affect you in the same way as when you\u2019re seventy. It\u2019s so important and vital at the time and to what is happening in your life at the time.\r\n\r\nRolling Stone\u2019s <\/em>Greg Tate observed in 2015, \u201cBlack American musical history is chock full of full of amazing fight songs, overt and covert, and more than a few steady-aiming, freedom-fighting chanteuses.\u201d Today, the \u201crap people,\u201d as David Crosby put it, are now some of our most prominent musical voices of dissent. It may be hard for some folk artists from the defining era of protest to wrap their heads around the \u201ctits and ass\u201d of it all, but there\u2019s very little denying it\u2019s the central voice of musical dissent today.\r\n\r\n\u201cPersonally, I don\u2019t get rap,\u201d Rush says. \u201cI don\u2019t understand it but clearly billions of people do. I think it\u2019s part of the fabric of the social interactions that go on today.\u201d Hip-hop\u2019s heavy use of explicit language and hyper expression of female sexuality tend to turn this generation of artists off, or at the very least, give an overall impression that the genre is more vapid and commercial than it is political. Still, Rush agrees it\u2019s a large part of today\u2019s social movements. \u201c<\/strong>Especially when it's getting into social commentary,\u201d Rush said. \u201cUsing language I do not approve of and expressing ideas that I don\u2019t endorse but still, I think it\u2019s an important part of the social scene. It\u2019s not as in your face as it was back in the Sixties when some of my colleagues were, you know, taking the establishment to task. Maybe it is. Maybe I\u2019m saying it\u2019s not as obvious because I\u2019m not listening to it all the time.\u201d\r\n\r\nChris Butler suggests that because so much rap is topical its appeal may also be focused on an audience that identifies with the topics firsthand. It can also be cultural as well as generational. \u201cA perfect example,\u201d he points out, \u201cNWA\u2019s \u201cStraight Outta Compton.\u201d It\u2019s from the street but they were able to package it in a commercial way and money makes people weird.\u00a0 Rap is the top musical form and it influenced contemporary R & B. That brings up another point because soul as a White guy you could say, \u201cYeah, I can identify with that.\u201d Hardcore rap is very exclusive for an audience that is not aimed at me. It\u2019s brothers talking to brothers, or sisters talking to sisters. I know people who are huge fans of gangster rap, or whatever, but by and large that is certainly not aimed towards my demographic.\u201d\r\n\r\nKent State\u2019s Gene Shelton pointed out a prime example of a hip-hop artist using the landscape for more political messaging than commercial imagery. \u201cChance the Rapper, people [like him] who come out and address the social ills of America and they base their music on the message as opposed to the materialism of the message. They don\u2019t need a gatekeeper; they don\u2019t need a record company they don\u2019t need somebody to say hey you can\u2019t say that in a song. I don\u2019t know why, but I agree that you would think pop radio we would hear more of a reaction.\u201d\r\n\r\nAs we look over decades in the evolution of music with a distinct message, you\u2019ll often come across the term \u201clongtime activist.\u201d Perhaps no one deserves that title more than Barbara Dane, one of the premier jazz and folk vocalists who worked with everyone from Louis Armstrong to Doc Watson and Bob Dylan and it seems that age hasn\u2019t slowed her down all that much.\u00a0Based in Oakland and called \u201can enduring voice of resistance\u201d by music critic Liz Warner, Dane is still going strong in her nineties, performing and adding to her musical legacy. She also continues to voice opinions in a tone that writer Andrew Gilbert described as \u201crighteous determination\u201d talking stands on a wide range of topics related to social injustice, government oversight, civil disorder, and even the way those issues are described by her fellow musicians. In an interview for this book, she agreed that today\u2019s musical voice of dissent is largely hip-hop.\r\n\r\n\u201cDon\u2019t look for a folkie with a guitar and a beard and long hair. That\u2019s not it,\u201d Dane said. \u201cIt\u2019s not a question of a style or anything. You\u2019re trying to communicate. Whatever period you live in, or whatever country or whatever language or culture you use all those tools that are there. And they\u2019re using them. All over the map.\u201d\r\n\r\nTracing the genre\u2019s roots way, way back, begins with the music that played a pivotal role for African Americans during the civil rights movement. Activists sang African American spirituals, gospel, and folk music songs like \u201cTree of Life,\u201d \u201cEyes on the Prize,\u201d and \u201cWe Shall Overcome\u201d\u00a0to \u201cmotivate them through long marches, for psychological strength against harassment and brutality, and sometimes to simply pass the time when waiting for something to happen,\u201d as the Library of Congress put it.\r\n\r\nDecades later, protest music continued to be a uniting force for expressing Black issues, but by the late 80s, early 90s, it took on an entirely new form.","rendered":"

\n

\u201cQuestioning anything and everything to me is punk rock.\u201d<\/em><\/p>\n

– Henry Rollins<\/p>\n<\/blockquote>\n

Of course, the awareness of certain styles of music are a barometer of how effective their messages are delivered and understood. While punk and new wave that first arose in the early to mid-seventies may have had a select and even limited audience, there was no shortage of strong messaging. As we\u2019ve have noted, other musical genres picked up the baton, but were they as effective in spreading their messages for peace and social awareness or social justice? We mentioned Chris Butler a few pages back. He knows the Kent State story well.\u00a0 Butler also knows a lot about the music industry as part of the bands Tin Huey, the nationally known Waitresses, and as a successful solo musician. He calls it \u201ca huge bloody topic!\u201d<\/p>\n

\u201cGive Peace a Chance,\u201d he tells us, \u201cis the protest song equivalent to McCartney\u2019s \u2018Simply Having a Wonderful Christmas Time.\u2019 If we are stating \u2018All we are saying is give peace a chance\u2019 as opposed to \u2018We want fucking peace!\u2019 \u2014 that\u2019s a big difference. \u2018Ohio\u2019 is an amazing song and in the classic folk tradition where you take a traumatic incident, whether it\u2019s a miners\u2019 strike or Phil Ochs doing \u2018the news.\u2019 Bob Dylan made a sarcastic comment about Phil Ochs, saying that, \u2018He doesn\u2019t write songs, he writes the news.\u2019\u201d Is that a bad thing? Butler does tip his hat to CSNY for producing a song that was not only powerful when it premiered but has stood the test of time, and he can see the Phil Ochs way of thinking. He also wonders about the degree of commitment.<\/p>\n

He points out, \u201cOn one hand, it\u2019s a powerful, reactive message but on the other hand, it\u2019s like, where is the line between reporting the news and bringing awareness versus exploitation?\u00a0 The big question I have about that is that I know Graham Nash and David Crosby have played for free at Kent. They\u2019ve donated their services to various causes, but my question is 1). whether Neil Young has ever come back to Kent and 2). did he take any of his publishing money from that song and contribute it to any of the causes? Maybe the answer is yes, but that would be something I would want to know about.\u201d<\/p>\n

Bob Lewis was on the front lines of the first phase of new wave music. A founding member of Devo, he was at Kent during the events of May 4th, 1970, and says you have to understand the history of protest music to reflect on its possible direction. According to Lewis, there are two things to consider. \u201cFirst,\u201d he says, \u201cthe music. Sixties protest music was driven by issues like civil rights. Some folks saw that as left leaning stuff from the 1930s. Voices like Pete Seeger, the Weavers and \u2018Which side are you on?\u2019 When we progressed to the civil rights era and Vietnam protest it focused our attention because everyone knew somebody that was getting drafted and going to Nam. All the guys were listening because their futures were being determined and their girlfriends, wives and families were involved as well.\u201d<\/p>\n

He continues, \u201cThis is also the biggest part, the \u2018pig in a python\u2019of the baby boomers.\u00a0 Kent State went from 8000 students to 20,000 almost overnight! It was like, \u2018What the fuck are we going to do with all these kids?!\u2019 So, they hired a bunch of new faculty and that brought in a lot of more progressive ideas and thinkers, too. It was kind of like the perfect storm for protest music at that time. You had the civil rights issue, which was important, but you also had the issue of life and death and war and peace. At the same time, you have this big bulge in the baby boomer population. So, you have this weird thing in the music industry where you have a lot of start-up record companies: Electra \/ Asylum, Alpert and Moss starting A & M Records [etc.] It\u2019s no longer just Warner and CBS. Motown was expanding options for artists to get music to their public who were eager to buy. People had disposable income back then. You had protest music, but you also had a distribution network that was not yet completely controlled by big corporations.\u201d Lewis also points out music and its message as a driving economic force.<\/p>\n

\u201cWhen Elvis was first starting out,\u201d he says, \u201cBlack music was called \u2018race records.\u2019\u00a0 When Elvis was growing up you had to listen to Black music on the \u2018QT.\u2019 But it didn\u2019t take long for the corporate overlords to respond to this challenge. You had Warner Brothers buying up small labels and big recording companies getting in bed with chain stores like Peaches Records and stuff like that. They almost immediately fought back the attempts by the independent record business to get their product out.\u201d But Lewis also notes there were well-heeled investors who were willing to face off against the corporate monster. \u201cOf course, you also had Richard Branson starting Virgin Records and Chris Blackwell starting Island. There was Stiff Records and all these little labels. It was possible for alternative artists to get their product into the marketplace in a way that was not possible earlier than that.\u201d Did that include protest music?<\/p>\n

Lewis is quick to respond to that, stressing, \u201cDevo was protest music! It was perhaps a step removed because it wasn\u2019t obvious. And another thing, with the Amazon (rain forest) burning and the plastics in all of our blood streams and shit like that, in 1971, a year after May 4th, there was an organization called the Club of Rome. They got a grant from the Volkswagen Foundation to do a study on projecting into the future and the growth of population would affect resources. They came out with a report called \u2018The Limits of Growth \u2013 The Report of the Club of Rome\u2019 and it basically said we can\u2019t afford to keep going like this or really bad shit is going to happen! It was immediately attacked by conservatives and the right and in the eighties and nineties the Club of Rome report became kind of a joke. Anyone who wanted to have ecological concerns would get criticized. \u2018What are you trying to do? Another Club of Rome deal?\u2019\u201d<\/p>\n

But Lewis says that report in so many ways withstood the test of time, saying \u201cIn the last ten years or so, folks have gone back and looked at their data and what they\u2019re saying is, \u2018You know, they weren\u2019t exactly right because they didn\u2019t anticipate all the current problems,\u2019 like Roundup (weed killer) was going to be in the water and discarded plastics would be such a problem. But they saw the trend lines indicating we\u2019ve got problems and a lot of concern in the songs Devo did were with an understanding that unless some kind of rational thought is paid to human growth we are going to run into a big wall. It\u2019s going to be a really big problem.\u201d In so many ways, the content of Devo\u2019s music\u2026which was seen as eccentric and even comical for the time\u2026 has proven eerily prophetic.<\/p>\n

Lewis continues with a look at recent years. He also stresses that we are offering individuals the right to express opinion. As he notes, \u201cRight now, we are looking at the start of resource wars over water in a very short time if they are not already happening.\u00a0 In fact, part of the reason that Syria destabilized was that we invaded Iraq and a million and a half refugees fled into that country. But Syria also had an eight-year drought with farmlands drying up and farmers forced off their land. Then Turkey, our ally, reduces flow into Iraq and Syria from the Tigris and Euphrates Rivers and part of the Isis recruiting tools is, \u2018We\u2019ll get you water rights.\u2019 Meanwhile, Nestle\u2019s is sucking water out of the bottom of the Great Lakes selling it for bottled water!\u201d\u00a0 Lewis also points out changing trends in political thought adding, \u201cI also believe the overall \u2018then window\u2019 of American politics has shifted radically to the right. The 1956 Republican platform when President Eisenhower was running for his second term had stuff like \u2018Make it easier for people to join unions!\u2019 Yeah. Times change! But did we lose direction with protest \/ message music or do people not recognize the message? Did people lose the message while recognizing the art and novelty of the music?<\/p>\n

After a while,\u201d he says, \u201cpeople did recognize that message. Some really smart people like (former Kent State instructor and noted poet) Ed Dorn and people like that, they realized it right away. At the same time a lot of people reacted very harshly to it because it angered them.\u201d\u00a0 An early Devo concert at Cleveland\u2019s WHK Auditorium opening for jazz great Sun Ra is an example where the \u201cspud boys\u201d were chased out of the hall, and part of that might have been territorial. Lewis recalls, \u201cThere was kind of a tension between Akron and Cleveland. For example, the folks in Akron weren\u2019t burning LeBron\u2019s jersey when he went left for Miami. He didn\u2019t leave Akron, he left Cleveland.\u201d At times, messages can be widely interpreted. Let\u2019s hear more about the musical scene following the events at KSU. Lewis looked at how the audience perceived the messenger as well as the message.<\/p>\n

When we went to Cleveland that was the first time we found out that if you were the opening band, you didn\u2019t get to have as much volume on stage as the headliner and that kind of shit that goes on.\u00a0 The other thing is, if you look at the Beatles White album and you trace each of the songs that lead from one to the next musical form. You got heavy metal on there and all sorts of stuff. The music market started to fragment because there no longer is sort of an American Bandstand<\/em> where you see the top ten songs that week for the whole country. Now you have world music and the new country and traditional country and hip-hop and rap. Of course, hip-hop and rap has some serious protest music, especially the \u2018Fuck Tha\u2019 Police\u2019 stuff.\u201d But a familiar theme emerges once again.<\/p>\n

Like others before him, Lewis says it comes down to marketability. \u201cIn the sixties and seventies, if you could get your protest song onto vinyl, someone would sell it. Now people access their music differently. It\u2019s kind of like siloes. There are people that don\u2019t go out of their own category of what they want to listen to. In the days of pioneer FM rock radio, you could hear a whole album side! For a lot of FM deejays their play list was whatever the fuck they wanted to play! Then you had the rise of Clear Channel and the music consultants.\u201d Without getting into the evolution of radio analytics, you still have to recognize an audience and what they expect from a station. Who are you looking to serve and how? That can be open to interpretation and even generational. When big money owns a station, you are beholden to the needs of the master\u2026or you look for a new employer. That\u2019s not an excuse or an endorsement, it’s just the lay of the land. Then there\u2019s the generational difference as well as the obvious economic one.<\/p>\n

Back to Butler, who stresses, \u201cThis is a real tough subject to address\u201d stating, \u201cIt is ridiculously nuanced. There has never been a time when in certain areas of music whether it became punk or hard-core feminist musicians like Pussy Riot or Ani DiFranco or on and on.\u00a0 Real country people, anti-folk people, hard core rappers who pioneered a poetry style\u2026 there has never been a time when music has not been an expression of protest and discontent. It changes formats from time to time, but it\u2019s always there and so is music as entertainment. Pardon my French but there\u2019s the new wave saying, \u2018Fuck art, let\u2019s dance!\u2019 Things are always mass marketed. If you can get a message song in now and then that\u2019s amazing, but in general it\u2019s always going to be underground. Every once in a while, it may poke its head up with a song like Bob Dylan and \u2018Hurricane.\u2019 There are anomalies left and right. There\u2019s a wonderful song by Soho, \u2018Hippiechick,\u2019 about a police interrogation. It sounds like a pop song with a sample from the Smiths, was a huge hit but it\u2019s about a police interrogation of a Black woman. My point is that both protest and entertainment have gone on in parallel and, once in a while, one will poke through. Yes, there was a sense of alternative culture that was turned into music that became \u2018popular,\u2019 but at the same time, if you look at the pop charts, it\u2019s still going to be Neil Diamond, it\u2019s still going to be fluff.\u201d<\/p>\n

Butler says it often comes down to an industry that may not understand art, but certainly know its way around a buck. \u201cThere was a consciousness that became part of an awareness by the record companies that, \u2018I don\u2019t know what it is but the kids like it! You know, this San Francisco stuff. What the hell!\u2019 When they had a lot of money rushing around and they could take a chance on something because their kid told the record executive, \u2018How come you\u2019re not listening to Jefferson Airplane?\u2019 The whole Volunteers<\/em> album by the Airplane came out and when they played Kent I really sensed that while they may have been sincere there was something funny about RCA Records releasing an album called Volunteers<\/em> with all these \u2018\u2026up against the wall motherfucker\u2019 type songs. I could just see the suits chuckling in their business suite saying, \u2018Well, that\u2019s what the kids want. Let\u2019s take a chance on it!\u2019 But this is RCA; it\u2019s one of the oldest, most conservative labels in existence doing this record. It seems like a built-in conflict. If you want \u2018protesty\u2019 stuff it\u2019s always there but, yes, it\u2019s usually not mainstream.\u201d<\/p>\n

Jim Fox tells a different story about marketability as a necessity.<\/p>\n

\u201cNo, if you\u2019re susceptible.\u00a0Let\u2019s put this in the past tense because that\u2019s where it lives.\u00a0If you had the kind of mind that is curious about things like that, if you\u2019re interested in the condition of the planet, the condition of the world of the race whatever, you could find it.\u00a0When it was just coming in you had that opportunity.\u00a0Today, there are two things going on.\u00a0One, you wouldn\u2019t have the opportunity\u00a0<\/strong>if it existed and two, it doesn\u2019t exist!\u00a0<\/strong>Some people would tell you that within rap music it\u2019s still there and it can be.\u201d More on that later.<\/p>\n

John Lennon suggested we could be marketing peace like a commodity. Something we can\u2019t live without. He even tried in his own unique way, but at the same time found you can\u2019t get support for anything unless people are willing to buy into it. Even so, he had a voice because of his distinguished career. Record companies knew the Lennon name could move product, but what about new voices? Butler says it\u2019s there, but you often really have to look for it.<\/p>\n

\u201cRecord labels are in the entertainment business. They\u2019re not in the political business and in terms of the way music is consumed now it\u2019s its own radical protest. That first kid that digitized a CD and spread it around his friends for free, Napster or whatever, that first kid broke the back of the music business. He was probably doing it as a teenage prank. I don\u2019t if that was protest or an economic thing. Why pay if I can get it free? That\u2019s the prevailing thought with streaming and that broke the back of the very established money trail. That song would be played on the radio, it generated a nickel for the publisher, the publishers paid the writers and it was a beautiful little set up system. You sell a record and you may have a bullshit contract, but you are entitled to a royalty. There was a money stream but that is completely blow apart now.\u201d Plus, he says the topic \u2014 like the industry and the delivery platform \u2014 are often fragmented. \u201cOne reason this protest issue is extremely hard to address,\u201d he says, \u201cis you have to define what protest is. Economic? Violence against women? Black suppression? I\u2019m saying it\u2019s out there.\u00a0 The protests do exist but there are so many different medias and it\u2019s so fragmented that it may be on a webpage or a blog or a college radio station as opposed to \u2018Ohio\u2019 coming out of a 50000\u00a0 watt AM radio station like CKLW blasting out of Windsor Ontario with a clear channel radius of 500 miles.\u201d<\/p>\n

Many Baby Boomers were raised to question authority and \u201cthink outside the box.\u201d\u00a0 Those are lofty ideals, but when the \u201cgreatest generation\u201d saw its progeny oppose many of the principles and beliefs they held dear it resulted in the so-called generation gap that in many ways\u00a0 extended automatically to a polarizing effect when it came to fashion, music and political thought. It went both ways. Bob Lewis tells us, \u201cThe folks who fought World War II did great things, but they didn\u2019t think to question the government with Vietnam. Part of the problem was when we got the brainwashing about the history of our nation, and everything we actually expected it to live up to that billing. Then a generation came forth with Vietnam asking, \u2018Wait a minute. Why are we doing this?\u2019 Also, because of the fact that everyone was affected by the Vietnam war and the draft, in April of 1967 twenty of us from Kent drove up to New York for the first big march and there were 500-thousand people marching down Fifth Avenue. It\u2019s hard to get that kind of turnout now because the particular issues are kind of like specialized.\u201d The influence of TV and the alternative press also helped publicize and exacerbate that division for all sides of the issue. Also, keep in mind that in the mid-seventies after the pullout from Vietnam a lot of folks lost that main focus and just figured \u2018Let\u2019s have a good time. Let\u2019s dance\u2019, and we had disco.\u00a0 In the eighties, spurred on by popular culture and the moto \u2018Greed is good\u2019 you had hippies and even Yippies like Jerry Rubin becoming stockbrokers and white-collar businesspeople. For those who stuck by their values and often remained poor Lewis says, \u201cPoverty was a good indicator of someone who stayed virtuous.\u201d But today, how relevant is protest music to an angry music audience that may not know what they are angry about, that their movement is not clearly defined? Back to Bob Lewis who takes a stand: Don\u2019t blame the boomers!<\/p>\n

\u201cI understand anger, but some folks may not even know that they are angry. I got out of high school in 1965.\u00a0 I\u2019m looking for a summer job to make some money before I go off to Kent, so I got a job painting apartments; three bucks an hour, which was pretty good for back then. The same guys who hired me to do that had a little office building in Cuyahoga Falls, near Akron.\u00a0 I\u2019d go in there six nights a week and empty ashtrays and wastebaskets, straighten up and sweep the floor. If I really busted my ass, I could do it in an hour a night. Six hours a week, but they paid me $45 for that because it was still cheap for them. Seven bucks an hour! Three an hour for painting apartments and a brand-new Corvette at that time is $3000! If I work a thousand hours, I can buy a new \u2018vette! If a kid came out of high school now, he\u2019d have to be making $60 an hour, and maybe he\u2019s still at that seven bucks an hour stage. We didn\u2019t realize that the post-World War II prosperity was an anomaly in American history. Our generation was real smart. We were smart enough to be born White males in the middle of the 20th century in the United States. We lived better than the Roman emperors did!\u201d He also says, \u201cI understand why kids today are pissed at the boomers, because they think we wanted things to be this way. Gotta disagree with them on that. We didn\u2019t want this. We were warning this would happen! Ronald Reagan and those fucking assholes are the ones who brought us here. It wasn\u2019t baby boomers!\u201d<\/p>\n

This begs the question: Can the modern artist target a key audience? In Lewis\u2019 eyes, \u201cTo a certain extent, you can\u2019t be knowledgeable to every musical genre. You also can\u2019t be involved in every area of protest because injustice and oppression are so widespread. It\u2019s everywhere. At some point, you kind of get burned out. But I still think that humans and music are inextricably linked.\u00a0 Humans need music and music needs humans. The age of protest will continue because things will get worse and people will be making songs about it. That\u2019s guaranteed.\u201d<\/p>\n

Political messaging and art are alive and well across the globe, and modern punk artisan Ed Hammell agrees, saying, \u201cThere’s more protest music now than ever, it’s just not much by White guys. I’ll cite Rage Against the Machine, Dead Kennedys, NWA, Tupac, and Public Enemy.\u00a0My favorite protest \u2018albums\u2019 I guess in the 80’s were by Sinead O’Connor and The Clash \u2014 and that’s old stuff. Currently check out Eminem’s \u2018Untouchable,\u2019 Kendrick Lamar’ s \u2018DNA\u2019, Pussy Riot’s ‘Make America Great Again’, Logics ‘Everybody,\u2019 Xxxtencion’s \u2018Hate Will Never Win,\u2019 Joey Bad’s Rockabye Baby and the great Kimya Dawson.\u201d Which brings us to what may be the most popular form of music in the world. Even traditional voices agree that rap and hip-hop are loud voices that cannot be ignored.<\/p>\n

A longtime fixture on the Greenwich Village folk scene all the way back to the sixties and the one-time manager of Bob Dylan and her late husband Dave Van Ronk, writer and folk observer Terri Thal says, \u201cFewer songs have narratives; more have blunt statements similar to those we associate with rap,\u201d and the legendary Tom Rush shares, \u201cIt\u2019s probably not as obviously important, but I do think the whole rap thing, for instance, is definitely part of the fabric.\u201d Add Devo\u2019s Bob Lewis to the mix and he admits, \u201cThe targets of the protest movement have scattered. Yeah, Lady Gaga did \u2018Born This Way\u2019 so that message was heard loudest by the LGBT protest. Plus, Beyonc\u00e9 and Black Lives Matter are making their voices heard. Their music is important but it\u2019s most important to the people to whom their music applies. The music spectrum split into highly specialized areas. When you\u2019re seventeen and you hear that special song and it affects you in a way that doesn\u2019t affect you in the same way as when you\u2019re seventy. It\u2019s so important and vital at the time and to what is happening in your life at the time.<\/p>\n

Rolling Stone\u2019s <\/em>Greg Tate observed in 2015, \u201cBlack American musical history is chock full of full of amazing fight songs, overt and covert, and more than a few steady-aiming, freedom-fighting chanteuses.\u201d Today, the \u201crap people,\u201d as David Crosby put it, are now some of our most prominent musical voices of dissent. It may be hard for some folk artists from the defining era of protest to wrap their heads around the \u201ctits and ass\u201d of it all, but there\u2019s very little denying it\u2019s the central voice of musical dissent today.<\/p>\n

\u201cPersonally, I don\u2019t get rap,\u201d Rush says. \u201cI don\u2019t understand it but clearly billions of people do. I think it\u2019s part of the fabric of the social interactions that go on today.\u201d Hip-hop\u2019s heavy use of explicit language and hyper expression of female sexuality tend to turn this generation of artists off, or at the very least, give an overall impression that the genre is more vapid and commercial than it is political. Still, Rush agrees it\u2019s a large part of today\u2019s social movements. \u201c<\/strong>Especially when it’s getting into social commentary,\u201d Rush said. \u201cUsing language I do not approve of and expressing ideas that I don\u2019t endorse but still, I think it\u2019s an important part of the social scene. It\u2019s not as in your face as it was back in the Sixties when some of my colleagues were, you know, taking the establishment to task. Maybe it is. Maybe I\u2019m saying it\u2019s not as obvious because I\u2019m not listening to it all the time.\u201d<\/p>\n

Chris Butler suggests that because so much rap is topical its appeal may also be focused on an audience that identifies with the topics firsthand. It can also be cultural as well as generational. \u201cA perfect example,\u201d he points out, \u201cNWA\u2019s \u201cStraight Outta Compton.\u201d It\u2019s from the street but they were able to package it in a commercial way and money makes people weird.\u00a0 Rap is the top musical form and it influenced contemporary R & B. That brings up another point because soul as a White guy you could say, \u201cYeah, I can identify with that.\u201d Hardcore rap is very exclusive for an audience that is not aimed at me. It\u2019s brothers talking to brothers, or sisters talking to sisters. I know people who are huge fans of gangster rap, or whatever, but by and large that is certainly not aimed towards my demographic.\u201d<\/p>\n

Kent State\u2019s Gene Shelton pointed out a prime example of a hip-hop artist using the landscape for more political messaging than commercial imagery. \u201cChance the Rapper, people [like him] who come out and address the social ills of America and they base their music on the message as opposed to the materialism of the message. They don\u2019t need a gatekeeper; they don\u2019t need a record company they don\u2019t need somebody to say hey you can\u2019t say that in a song. I don\u2019t know why, but I agree that you would think pop radio we would hear more of a reaction.\u201d<\/p>\n

As we look over decades in the evolution of music with a distinct message, you\u2019ll often come across the term \u201clongtime activist.\u201d Perhaps no one deserves that title more than Barbara Dane, one of the premier jazz and folk vocalists who worked with everyone from Louis Armstrong to Doc Watson and Bob Dylan and it seems that age hasn\u2019t slowed her down all that much.\u00a0Based in Oakland and called \u201can enduring voice of resistance\u201d by music critic Liz Warner, Dane is still going strong in her nineties, performing and adding to her musical legacy. She also continues to voice opinions in a tone that writer Andrew Gilbert described as \u201crighteous determination\u201d talking stands on a wide range of topics related to social injustice, government oversight, civil disorder, and even the way those issues are described by her fellow musicians. In an interview for this book, she agreed that today\u2019s musical voice of dissent is largely hip-hop.<\/p>\n

\u201cDon\u2019t look for a folkie with a guitar and a beard and long hair. That\u2019s not it,\u201d Dane said. \u201cIt\u2019s not a question of a style or anything. You\u2019re trying to communicate. Whatever period you live in, or whatever country or whatever language or culture you use all those tools that are there. And they\u2019re using them. All over the map.\u201d<\/p>\n

Tracing the genre\u2019s roots way, way back, begins with the music that played a pivotal role for African Americans during the civil rights movement. Activists sang African American spirituals, gospel, and folk music songs like \u201cTree of Life,\u201d \u201cEyes on the Prize,\u201d and \u201cWe Shall Overcome\u201d\u00a0to \u201cmotivate them through long marches, for psychological strength against harassment and brutality, and sometimes to simply pass the time when waiting for something to happen,\u201d as the Library of Congress put it.<\/p>\n

Decades later, protest music continued to be a uniting force for expressing Black issues, but by the late 80s, early 90s, it took on an entirely new form.<\/p>\n","protected":false},"author":3,"menu_order":6,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-34","chapter","type-chapter","status-publish","hentry"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.ulib.csuohio.edu\/all-we-are-saying\/wp-json\/pressbooks\/v2\/chapters\/34","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.ulib.csuohio.edu\/all-we-are-saying\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.ulib.csuohio.edu\/all-we-are-saying\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.ulib.csuohio.edu\/all-we-are-saying\/wp-json\/wp\/v2\/users\/3"}],"version-history":[{"count":4,"href":"https:\/\/pressbooks.ulib.csuohio.edu\/all-we-are-saying\/wp-json\/pressbooks\/v2\/chapters\/34\/revisions"}],"predecessor-version":[{"id":157,"href":"https:\/\/pressbooks.ulib.csuohio.edu\/all-we-are-saying\/wp-json\/pressbooks\/v2\/chapters\/34\/revisions\/157"}],"part":[{"href":"https:\/\/pressbooks.ulib.csuohio.edu\/all-we-are-saying\/wp-json\/pressbooks\/v2\/parts\/3"}],"metadata":[{"href":"https:\/\/pressbooks.ulib.csuohio.edu\/all-we-are-saying\/wp-json\/pressbooks\/v2\/chapters\/34\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.ulib.csuohio.edu\/all-we-are-saying\/wp-json\/wp\/v2\/media?parent=34"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.ulib.csuohio.edu\/all-we-are-saying\/wp-json\/pressbooks\/v2\/chapter-type?post=34"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.ulib.csuohio.edu\/all-we-are-saying\/wp-json\/wp\/v2\/contributor?post=34"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.ulib.csuohio.edu\/all-we-are-saying\/wp-json\/wp\/v2\/license?post=34"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}