Think of “The Times They Are A-Changin’.” Each time Bob Dylan sets up the refrain, the context of the title line changes, and the world of the song expands outward and the stakes get higher, until the final apocalyptic allusion of “and the first one now will later be last, for the times they are a-changin’.” It’s this second point that we should examine specifically in regards to a protest song. A title should be able to be developed as the song progresses, so that it gains more impact as we gain more information.A title should be the target area that everything else in the song aims at.In his course, Lyric Writing: Writing from the Title, author Pat Pattison makes two very effective points about titles: For what it’s worth, Buffalo Springfield’s best known political song, which is titled “For What It’s Worth” may be a brilliant protest song, but they should have titled it, “Stop! What’s that Sound?” No need to go all poetic and give it a title that isn’t even in the song. You want people to find your song, so use the main lyric from your chorus as the title. This is another instance where being as direct as possible is best. Listen to the Wailers’ “Get Up Stand Up.” The message is simple and direct: “Get up, stand up, stand up for your rights, get up, stand up, don’t give up the fight.” It’s easy to chant, and there is power in its simplicity. This means they’ll likely just sing the chorus, so make it count. If your song does achieve enough momentum to inspire the masses, then ideally they will sing your song at rallies and protests, which they will probably do without your recording. You need to write what you feel, but also tap into what many other people are feeling if they’re going to act as your chorus.
They are the “chorus.” So, that’s your goal: to get your audience-usually not musicians-to sing along with your song’s chorus.įor protest songs, this is even more true. Why is it called a “chorus?” Because the audience is supposed to sing along.
This helps audience members remember it so they can sing along. The chorus is the part of the song that keeps coming back with the same lyrics and music, usually after each verse.
Jimmy Kachulis makes an astute observation about the function of the chorus in his Songwriting: Writing Hit Songs course: The chorus of your protest song should be something that you imagine throngs of people singing as they march. Think of the escalating intensity of Rage Against the Machine’s best songs, the measured anger of Killer Mike in “Reagan,” or the matter-of-fact confidence of Kendrick Lamar in “Alright.” This is because they are expressing issues that are close to their heart, and they express themselves with the same emotions that they would use to talk about such issues, but the music amplifies their passion and the sincerity of their performance puts their words on a level that mere speech cannot reach. This is an aspect of the record as a work of art.” They allow the listener to experience a truth that is often not easy for us to express or experience in daily life. In his Vocal Production course, Prince Charles Alexander writes that people just want to be entertained, “but the records that stand the test of time-the vocal performances that we remember-do something else for the audience. Because protest songs must be a mirror of society, the vocal must reflect a level of sincerity and honesty that other types of songs don’t necessarily require. If you’re recording your protest song yourself, make sure you are in your truest voice when singing. Here are a few tips from some of the greatest protest singers as well as some of Berklee Online’s songwriting instructors. If you’re looking to express your anger and frustration, especially now in solidarity with the Black Lives Matter protests, put your feelings to song. No one would bother trying to suppress something that didn’t have a chance of working it’s too much energy. Not all music that attempts to bring about social change necessarily does so, of course but the mere fact that protest songs exist, and that they are often suppressed by the institutions that are being protested, demonstrates that they can. In Robert Lagueux’s Music, Self, and Society course, the author muses pragmatically on whether a protest song can actually change anything. From a songwriting perspective, they help you connect with your society by engaging with what you want to change, whether it be the minds of the people who disagree with your ideals, or the complacency of those who agree with you, so you can energize them into action. Protest songs give a social movement a soundtrack.
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