Whatever happened to songs that benchmark history and cultural change? For years, songwriters and musicians gave us refrains that defined eras, from stirring hymns to evocative folk ballads and pop songs. But recently, the soundtrack of public life has been oddly muffled.
Buffalo Springfield got it right: “There's something happening here. What it is ain't exactly clear.”
Era-defining songs often emerged during war and crisis. “Yankee Doodle” mocked British insults against the colonies. Francis Scott Key gave us a national anthem, "The Star-Spangled Banner,” which introduced sacred phrases — from “dawn’s early light” and “twilight’s last gleaming” to “broad stripes and bright stars,” “rocket’s red glare,” “land of the free” and “home of the brave.”
The "Battle Hymn of the Republic” was a riveting Civil War poem celebrating survival of the union and the common thread of prayer. “Dixie” became the anthem for the Confederacy; it lived on for decades in parades and high school gymnasiums, but eventually faded as a relic of the past.
George M. Cohan’s “Over There” was a rallying cry in the First World War. “Happy Days Are Here Again” offered Americans a ray of hope during the Great Depression.
“God Bless America,” written by Irving Berlin and famously sung by Kate Smith, linked prayer with love of country during World War II. "Praise the Lord and Pass the Ammunition" was a phrase first used by a Navy chaplain to reduce the monotony of sailors continuously passing ammunition to gunners on the USS New Orleans.
The civil rights movement supplied powerful songs, many of which originated in African American churches. The best known included “We Shall Overcome,” “Lift Every Voice and Sing” and Sam Cooke’s “A Change is Gonna Come.”
The 1960s birthed a rich mixture of music based on themes of societal change, relating to both the rights revolution and the Vietnam War. James Brown’s “Say It Loud — I’m Black and I’m Proud,” Bob Dylan’s “Blowin’ in the Wind” and Pete Seeger’s “Turn, Turn, Turn” are examples. Dion’s “Abraham, Martin and John” venerated dreams that were deferred by tragic assassinations.
The Beatles’ “Revolution” warned us about the high cost of destruction and false prophets; their hit “Blackbird” was about the long-delayed struggle for equality. Spanky and Our Gang’s “Give a Damn” focused on urban poverty.
Popular songs have made the case for gender equality, resilience and self-acceptance. Aretha Franklin’s "Respect,” Lady Gaga’s “Born This Way,” Helen Reddy’s "I Am Woman,” Gloria Gaynor’s "I Will Survive," Dolly Parton’s “9 to 5” and Diana Ross’ "I'm Coming Out" used lyrics to break stereotypes in ways that were entertaining and motivating.
After the tumult of the 1960s, Don McLean’s eight-minute “American Pie" mourned the loss of national innocence. "Born in the U.S.A." was Bruce Springsteen’s ode to Vietnam veterans.
Lee Greenwood’s “God Bless the USA” caught the spirit of renewed patriotism during Ronald Reagan’s presidency. Then came “We Are the World” — a Grammy “record of the year” about poverty and hunger in Africa that brought together the biggest names in music.
Country hits like Merle Haggard’s “Mama Tried” and Toby Keith’s “Courtesy of the Red, White and Blue” presented era-defining themes from patriotism and nationalism to rebellion and repentance.
Wikipedia lists 39 songs about Donald Trump. Demi Lovato’s “Commander in Chief,” released during the final weeks of the 2020 election, was a full-throated attack on his policies and values. “Fighter,” by Joe Kahn, portrayed Trump as an irrepressible leader who always “gets back up” even after an assassination attempt.
To be sure, newer songs are taking on a wide range of contemporary issues — preventable violence, abuse of power, digital anxiety and the implications of AI. Jon Batiste’s high-energy “Freedom,” released in 2021, has already become an anthem celebrating Black life and culture. And in January, Springsteen's “Streets of Minneapolis” became the foremost protest song against the Trump administration’s immigration policies.
In time, new generations may elevate some of this decade’s songs to era-defining standards, much as my generation did with the music of its own day.
Unfortunately, the gestation of landmark songs has become increasingly difficult.
New music genres are more frequently looking inward than outward, and that works against creation of enduring anthems. While the digital age has made music more accessible and immediate, it’s also fragmented audiences, often along political and ideological lines, disrupting appeals for national unity and common purpose.
As poet Heinrich Heine wrote, “Where words leave off, music begins.” Whatever the trends, let’s hope music continues to capture the temper of the times.