Chapter 2 Political and social background The 1960s was a decade of revolution and change in politics, music and society all over the world. It started in the United States and the United Kingdom, and made its way to central Europe and other parts of the world (Street 2001: 243.) There have been a lot of statements towards popular music, made by people who are opposed to popular music and this resulted in the political importance of popular music in the 1960s. From the beginning of rock’n’roll, politicians, priest and parents have cautioned the youth of the dangers in the images, the words, the voices and the rhythms of the music. In the West, the political right has been terrified that it will undermine capitalism, family life and traditional values (Street 2001: 243.) The politics of influence over popular music, and fears about its effects, it would be incorrect to propose that we are dealing with harshly different ways of reading pop’s politics – either as symbol or as effect. They are well connected, and that it is difficult to separate them. This connection has consequences that are too often ignored. The representational politics of music are established in part by recognised practices, and policy can change the ways in which …show more content…
Between 1955 and 1968, acts of civil disobedience and nonviolent protest produced crisis situations between activists and government authorities. Federal, state, and local governments, businesses, and communities often had to respond immediately to these situations that highlighted the inequities faced by African Americans. Forms of protest and/or civil disobedience included boycotts such as the successful Montgomery Bus Boycott (1955–1956) in Alabama; "sit-ins" such as the influential Greensboro sit-ins (1960) in North Carolina; marches, such as the Selma to Montgomery marches (1965) in Alabama; and a wide range of other nonviolent activities (Jackson 2000: