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A protest song on the futility of war, written in response to the Vietnam War. Later also covered by Edwin Starr and Bruce Springsteen. "We Didn't Start the Fire" Billy Joel (1989) – a cleverly structured list of historical events of the Cold War period from the 1950s–1980s, making special mention of the "communist bloc". "Weeping Wall ...
Many of the songs in the 1950s hinted at the simmering racial tension that would later usher in the Civil Rights Movement in the 1960s. The 1950s was a pivotal era in music, laying the groundwork ...
Country music has a long tradition of upholding conservative values and patriotism, and by the 1950s, with the Cold War heating up, several country singers had already recorded pro-American, anti-Communist songs.
Some anti-war songs lament aspects of wars, while others patronize war.Most promote peace in some form, while others sing out against specific armed conflicts. Still others depict the physical and psychological destruction that warfare causes to soldiers, innocent civilians, and humanity as a whole.
Songs with a theme of nuclear war have been a feature of popular culture since the early years of the Cold War. [1] "4 Minute Warning" By Radiohead (2007) "137" By Brand New (2017) "1983... (A Merman I Should Turn to Be)" by Jimi Hendrix "1999" By Prince (1982) "2 Minutes to Midnight" By Iron Maiden (1984) "540,000 Degrees Fahrenheit" by Fear ...
In the 1960s and early 1970s many protest songs were written and recorded condemning the war in Vietnam, most notably "Simple Song of Freedom" by Bobby Darin (1969), "I Ain't Marching Anymore" by Ochs (1965), "Lyndon Johnson Told The Nation" by Tom Paxton (1965), "Bring Them Home" by Seeger (1966), "Requiem for the Masses" by The Association ...
The Cold War was reflected in culture through music, movies, books, television, and other media, as well as sports, social beliefs, and behavior. Major elements of the Cold War included the threat of communist expansion, a nuclear war, and – connected to both – espionage.
It was a way of thinking perfectly suited to the new market in which vocalists were creating unique identities and hit songs were performed as television skits. [2] Whereas Big Band/Swing music placed the primary emphasis on the orchestration, post-war/early 1950s era Pop focused on the song's story and/or the emotion being expressed.