Call to Arms: The Politics of Americana Music in a Post 9/11 World

It is common knowledge that the world that we inhabit is ever changing, whether that is for the better is subjective. Merriam-Webster defines “Era” as being “a memorable or important date or event; especially : one that begins a new period in the history of a person or a thing”. In my opinion, the 20th century had multiple “eras” that changed the world in multiple different facets. Every century of course is a span of 100 years. We currently live in the 21st century and only 17 measly years into it. But in that 17 years, really 16 years, we saw one of the largest shifts in the way we conduct our daily lives, the way we cherish our families, the way we honor our country and most importantly how we present ourselves. Towards the beginning of our current century we saw the greatest attack on American life and most importantly on American soil of all time. That being the September 11th attacks. September 11th, 2001 meant more than just a blow to America, it introduced a new era for the American people especially how we react to political changes and an ever growing feud across the political aisle. One of the most vocal areas of politically active people in this post-9/11 world we are in, is musicians. They have their platform and the ability to use their voice, or as we will examine later the “tower of song” to spread their own political message (Cash, 2017). One genre of musicians who is sometimes overlooked it seems in political conversations is the sub-sect of country music known as Americana. Post 9/11 serves as my term for the time frame in which, as the awaking of an ever changing political current began.

We will examine four pieces of political media used by American artist and the gravity that they carry. In no way am I asserting my own political beliefs but rather giving an in-depth insight, through resources and personal analysis. The four pieces of political media presented will be Rosanne Cash’s 2017 opinion article in The New York Times, Hayes Carll’s KMAG YOYO, Drive-By Truckers’American Band, and finally Sturgill Simpson’s A Sailor’s Guide to Earth. These four pieces represent to me the largest political contributions to the art of Americana. I also believe that each of the pieces are unique in their own right and deal with a variety of issue’s in a multiple different way.

On October 2nd of 2017, at the Mandalay Bay in Las Vegas a man named Stephen Paddock committed one of the worst mass shootings this nation has ever seen. He was heavily armed and had obviously thought out this plan. He fired what seemed to be thousands of rounds at innocent bystanders enjoying a country music festival adjacent to the Casino (Browne, 2017). Of course along with any mass shootings the country returns to the firearm debate that has turned into one of the most heated debates in this country. One extreme demands firearms to be outlawed and, the other extreme demands they be unregulated. Sometimes it doesn't seems like both sides can come to an agreement. A constant theme throughout will be the contrast of idealogical differences of main-stream country music compared to the wild world of Americana. One day after the mass shooting in Las Vegas Americana/Country artist, Rosanne Cash posted an Op-Ed in The New York Times entitled, Rosanne Cash: Country Musicians, Stand Up to the N.R.A.

In this powerful article she quickly dismisses the group of people wanting to use the common degradation towards her of “your dad would be ashamed of you” (Cash, 2017). Her father obviously being country legend Johnny Cash. She states that she believes the National Rifle Association (N.R.A.) are the main factor behind why we have yet to see any changes in gun laws. She famously states in this article that she believes “The N.R.A. funds domestic terrorism.” which was sure to make a few headlines (Cash, 2017). In this article she’s asking for one thing. She wants more country artist and Americana artist to participate in taking a stand against the N.R.A., while also stating that she understand’s about the possible push back. She states “Don’t let them bully you into silence” (Cash, 2017). She encourages what I mentioned earlier that she credits Leonard Cohen, which is the artist’s abilities to use their “tower of song”, and their platform to convey and push a message against the N.R.A. for what Rosanne Cash calls “common-sense gun laws” (Cash, 2017). This article is an obvious statement of where her politics stand. This is different from the other sources we will examine because this is an artist not using music as their platform to communicate their views but, using their fame.

Unlike Cash’s article, in 2011 Hayes Carll released an album by the name of KMAG YOYO (and Other American Stories). KMAG YOYO beautifully stands for “kiss my ass guys, your on your own” (Hight, 2011). This album was selected for two songs within it; “KMAG YOYO” the albums namesake and, “Another Like You”. Carll takes current post-9/11 political issues in America and gives them a humorous spin. In “KMAG YOYO” we track the life of a man in the modern military after his father pushed I'm in that direction (Carll, 2010). The solider does a series of things wrong but somehow keeps earning promotions, the solider works his way from being a regular solider out in the desert to riding rocket ships (Carll, 2010). The other song, “Another Like You” is the story of a conservative women and a Democrat man. The story begins with the man over hearing the women speaking about the national deficit (Carll, 2010). He continued to listen to her conversation until he heard something about Afghanistan and decided he had to interject into their conversation (Carll, 2010). We never clearly understand if the women is a conservative but confirm the man is a Democrat. When the women states during their argument “You’re probably a democrat”, he responds with “What the hell is wrong with that?” (Carll, 2010). She quickly responds with “Nothing, if your taliban” (Carll, 2010). In the end the argument dissipates and the couple end up together, regardless of their differences. I think these songs shed a more uplifting light on the current politics of America. He gives humor to things I’m sure some Americans might be uncomfortable talking about, such as being a solider in the modern military, the deficit, and the taliban. Another point I believe Carll touches on that might be over looked is, that despite our political differences, we can still have positive relationships with each other.

My absolute favorite of all the pieces (and probably the biggest part) that will be described is the Drive-By Truckers American Band. American Band is The most political album I've ever come across. Every song dives into a modern political phenomena. The Drive-By Truckers have a long history writing songs about politics. I would go as far as saying that the Drive-By Truckers are the most political Americana band. These of course are very anti- conservative songs. The “Truckers” make no attempt at hiding their political beliefs. I’m reminded of two songs on their 2001 album Southern Rock Opera entitled “Three Great Alabama Icons” and “Wallace”. The three icons being Ronnie Van Zandt, Alabama football coach Bear Bryant, former Governor of Alabama George Wallace (Hood, 2000). It explains the history and legacy of Governor George Wallace. According to Patterson Hood, Wallace “standing in the doorways of schools” for segregation purposes (Hood, 2000). Hood later states in the song that Wallace changed his ideals and did everything he did to win races (Hood, 2000). The next song on the album “Wallace” is given “from the devil point of view” getting ready “for the arrival of the new guest” meaning former Governor George Wallace (Hood, 2000). “Wallace” has a very heavy country, almost country boogie feel. Continuing on the belief that George Wallace did everything to win the races, Hood writes “he did all them things for the votes” (Hood, 2000).

On the Drive-By Truckers 2004 album (and my personal favorite) The Dirty South, the “Truckers” once again tackle political issues in Alabama. The song “Puttin’ People on the Moon” is from the viewpoint of a citizen of Alabama, who feels that the government is too involved with “Puttin’ People on the Moon” than helping with economic issues in Alabama (Hood, 2004). The man loses his job because the Ford plant in which he works is shutting down, “Reagan’s in the White House and nobody gives a damn, double digit unemployment, TVA be shutting soon. While over their in Huntsville, their Puttin’ People on the Moon” (Hood, 2004). The song deals with financial issues that the man in the song does not feel he can overcome, he also states that he is tired of politicians saying things will “change” (Hood, 2004).

Now that we have established the known track record of the Drive-By Truckers previous work dealing with politics we come to 2016. In 2016, the Drive-By Truckers released American Band. Observing this album cover, its obviously different from all the previous Drive-By Truckers. All previous “Truckers” album cover art were somewhat devilish drawings, this album however was a picture of the American flown at half mast. Unlike previously states where some songs on each album were political, every song on this album deals with politics. The album starts with two hard driving guitars of Patterson Hood and Mike Cooley, Cooley’s first words are “It all started with the border, and thats still wearing us today”. The song is the tale of a man named “Ramon Casiano” who is also the namesake of the song (Cooley, 2016). According to a piece NPR did on the album the song is referencing the story of the former head of the N.R.A Harlon Carter (Gotrich, 2016). Another one of Cooley’s songs on the album entitled “Surrender Under Protest” stating “Does the color really matter the face you blame for failure?” (Cooley, 2016). The fourth song on the album entitled “Guns of Umpqua” obviously speaks on the 2015 shooting at the Umpqua Community College that took place almost exactly two years to the day of the Las Vegas shooting (Ford & Payne, 2015). The shooter entered the classroom at the college a shot the teacher before turning the gun and shooting multiple students (Ford & Payne, 2015). Hood started off the song as a person at the college, who is just having a normal day and then all of sudden hears gunshots in the building (Hood, 2016). The song traces a man who had just been carrying on with his life who finds himself “barricading the doors” to hide from the shooter, “heaven is calling my name from the hallway, outside the door” Patterson sings (Hood, 2016). Hood paints the picture of just how horrific that situation would be and was for students that day, just regular people working towards and education.

The final song on this album that will be discussed it “What it Means”, which deals with racially charged police shootings across America. The first verse depicts the story of Travyon Martin in which Hood states “ If you say it wasn't racial when they shot him in his tracks, well I guess that means that you ain’t black” (Hood, 2016). The second verse depicts the story of Michael Brown who was shot in Missouri stating, “it could be in Missouri” (Hood, 2016). “He must have done something or else why would he have run?” obviously stated that the shooting was unneeded because he was unarmed (Hood, 2016). The song continues to repeat “What it Means”, touching on the fact that media will sometime spin the story to turn the public away from asking questions (Hood, 2016). My favorite line in the whole song would be when Hood sings “we trust science just as long as it tells what we want to hear”, speaking on multiple political issue that have came to light between the major political parties in America (Hood, 2016). This album constantly hits on current political issues plaguing the nation. It it staunchly against gun violence and racial issue that we have seen raise even higher in previous years.

The final album I will discuss is Sturgill Simpson’s A Sailors Guide to Earth. It is understood that this album is used to serve as a life lesson to his newborn son, constantly giving advice and do’s and do not’s (Powers, 2016). He stated in an 2016 interview with Rolling Stone’s David Ritz that, before graduating high school he enlisted in the Navy a decision he later regretted (Ritz, 2016). The fourth song on the album “Sea Stories” serves as his lesson to his song about enlisting (Simpson, 2016). He melodically presents his whole time in the Navy, while relaying advice that was given to him such as, “Basic’s just like Papaw said keep your mouth shut and you'll be fine” (Simpson, 2016). I believe by this he means that it’s possible that joining military service cans somewhat take away your individuality. He finishes the song with statements like “if you get sick and can’t manage to kick, And get yourself kicked out of the Navy” and “flying high beats dying for lies in a politician’s war” (Simpson, 2016). The final song on the album that also serves as inspiration for the title of my term paper, “Call to Arms”. The song begins with touching on all the conflicts the United States is involved in such as Syria, Afghanistan, Iraq, Iran, and North Korea (Simpson, 2016). Asking how long these conflicts occur and encouraging his son to not feed into it (Simpson, 2016). The song later states that technology is distracting us from real issues and that we are going to miss “bombs” falling in the skies (Simpson, 2016).

For myself, the title “Call to Arms” represents more than just being called to serve in the military but rather a call for political participation in other ways such as, prevention from escalating factors. All of these artist are using their “tower of song” to purvey their own beliefs and a call to action (Cash, 2017). The call to arms represents not letting them “bully you into silence” (Cash, 2017). The call to arms I am thinking of is taking a second to sit back and think about “What it Means” (Hood, 2016). The call to arms is being able to take a stand for what you believe no matter the medium you decide to choose but by simply doing it. At the very bottom of Sturgill Simpson’s A Sailors Guide to Earth liner notes he adds Arthur O’Shaughnessy’s “Ode”, “We are the music makers, And we are the dreamers of dreams, Wandering by lone sea breakers, And sitting by desolate streams; World losers and wolds forsakers, On whom the pale moon gleams: Yet we are the movers and shakers of the the world forever, it seems” (O’Shaughnessy, 1873). We are indeed the movers and shakers (O’Shaughnessy, 1873).

References

Browne, M. (2017, October 23). Reporting on Las Vegas, Pixel by Pixel. Retrieved from https:// www.nytimes.com/2017/10/23/insider/reporting-on-las-vegas-pixel-by-pixel.html

Carll, H. (2011). KMAG YOYO. On KMAG YOYO (& Other American Stories) [Spotify]. UMG Recordings. (2010)

Carll, H. (2011). Another Like You. On KMAG YOYO (& Other American Stories) [Spotify]. UMG Recordings. (2010)

Cash, R. (2017, October 03). Rosanne Cash: Country Musicians, Stand Up to the N.R.A. Retrieved from https://www.nytimes.com/2017/10/03/opinion/rosanne-cash-country- musicians-nra.html

Cooley, M. (2016). Ramon Casiano. On American Band [Spotify]. ATO Recordings.

Cooley, M. (2016). Surrender Under Protest. On American Band [Spotify]. ATO Recordings.

Ford, D., & Payne, E. (2015, October 02). Oregon shooting: Gunman dead at Umpqua Community College. Retrieved from http://www.cnn.com/2015/10/01/us/oregon-college- shooting/index.html

Gotrich, L. (2016, September 22). Review: Drive-By Truckers, ‘American Band’. Retrieved from https://www.npr.org/2016/09/22/494571497/first-listen-drive-by-truckers-american- band

Hight, J. (2011, February 22). Hayes Carll: KMAG YOYO (and Other American Stories) « American Songwriter. Retrieved from https://americansongwriter.com/2011/02/hayes- carll-kmag-yoyo-and-other-american-stories/

Hood, P. (2002). Three Great Alabama Outlaws. On Southern Rock Opera [Spotify]. UMG Recordings. (2001).

Hood, P. (2002).Wallace. On Southern Rock Opera [Spotify]. UMG Recordings. (2001).

Hood, P. (2004). Puttin’ People on the Moon. On The Dirty South [Spotify]. New West Records, LLC.

Hood, P. (2016). Guns of Umpqua. On American Band [Spotify]. ATO Recordings.

Hood, P. (2016).What it Means. On American Band [Spotify]. ATO Recordings.

O'Shaughnessy, A. (1873, October 04). “ An Ode”. Appleton’s Journal. New York, NY: D. Appleton & Company

Powers, A. (2016, April 07). Review: Sturgill Simpson, 'A Sailor's Guide To Earth'. Retrieved from https://www.npr.org/2016/04/07/473237504/first-listen-sturgill-simpson-a-sailors- guide-to-earth

Simpson, S. (2016). Sea Stories. On A Sailors Guide to Earth [Spotify]. Atlantic Recording Corporation for the United States and WEA International Inc. for the world outside of the United States. A Warner Music Group

Simpson, S. (2016). Call to Arms. On A Sailors Guide to Earth [Spotify]. Atlantic Recording Corporation for the United States and WEA International Inc. for the world outside of the United States. A Warner Music Group.

Ritz, D. (2016, October 06). The Fighting Side of Sturgill Simpson. Retrieved from http:// www.rollingstone.com/country/features/the-fighting-side-of-sturgill-simpson-w443513