Commentary

Well, my fellow Americans, with the beginning of the Democratic Convention and the upcoming Republican Convention next week, the presidential race is officially underway. As I watched the DNC, I couldn’t help but notice the music selections used to introduce Democratic leaders. Over the last few decades, music has become a big part of the way politicians identify themselves (who could forget Bill Clinton getting Fleetwood Mac back together—and playing that sax!—or the current Bush’s use of The Who’s “Won’t Get Fooled Again?”). This time around, things are shaping up to be even more divisive on the music front. In fact, music seems to have become a political symbol all its own.

On Monday night, Michelle Obama gave an inspired speech about her life story as well as her husband’s. It was a speech designed to combat the rather vitriolic hate-rumors spread about her over the last several months and it was generally deemed as a success by pundits on both sides of the aisle. The entrance music for Michelle was “Isn’t She Lovely,” by Stevie Wonder, a song that fits perfectly with her goals in the speech.

Last night, another powerful Democratic woman, Hillary Clinton, gave a speech that will probably make it in the history books because of its convincing and passionate call for party unity in a time when many people feared the Democrats would fumble an election they should have had locked. During a filmed introduction, the music for Hillary featured a cover of The Kinks’ “You Really Got Me,” a few other rollicking rock tunes, and finally Tom Petty’s “American Girl.” It was an emotional wellspring of rock-and-roll that in itself could have convinced viewers Hillary Clinton was exactly the type of patriotic team-player she so desperately needed to be perceived as—and who she really is, too, by the way.

The rest of the music thus far, mostly filler between speeches—aside from, I think, Rage Against the Machine, who are doing that Rage thing somewhere nearby—has remained upbeat: a mix of jazzed-up classic rock tunes and R&B.

Next week, the music will be quite a bit different. Gone will be the rock-and-roll and good-time R&B associated with the Democratic party. Instead, we’ll be entertained by a series of country music acts. I’m sure there will be a cover of that one hit Lee Greenwood had—you know the one. Most of these acts I’ve never even heard of. Apparently, I don’t keep up with country music as well as the, er, rest of the country.

What troubles me is this divide in musical tastes. What does it say about our belief systems? Why does listening to country music get associated with Republican politics? Well. I guess, with stars like Toby Keith (“Iraq, and I roll,” anybody?) it might be a tough mold to break out of. During the run-up to the Iraq War, The Dixie Chicks came under fire for not supporting the President—though a LOT of Americans didn’t support that war, let’s not forget—and I remember being surprised by the way they were viewed in the media during this dark age in our history.

Country music once had a populist streak. Sure, there’s that put-on Southern accent now, but in the old days, those guys and gals really talked like that. And they stood up for working and poor people, sang songs about their troubles, and kicked against the system. The legendary Johnny Cash for a prime example. These days, the sound coming out of Nashville has been integrated into “values-voter” Republicanism. And, dear Nashville, it stinks.