Stephanie Dowling
5/27/11
War, What is it Good For?
“War what is it good for? Absolutely nothing!” This message continually echoed among the American public during the 1970s, emphasizing its voice of protest against the Vietnam War. In contrast with the rise of counterculture in the 1960s, the 1970s saw the rise of conservatism; the desire to revert back to America’s traditional social and religious values. During this time Americans endured a loss of confidence from an unstable economy, an energy crisis, and ongoing action in Vietnam, and Americans thought that conservatism would provide stability. In the 1970s, Americans saw the rise of Motown in the music industry, which fit the mold of conservatism. Protest music became popular as a response to the Vietnam War, attracting Vietnam veterans as well as the younger generation of Americans directly affected by the draft. The song “War” by Edwin Starr reached out to those suffering from the destruction of war. “War” radicalized the conservative, apolitical aim of Motown music by reflecting anti-war sentiments and became a unionizing anthem amongst war protesters through its simplistic but powerful message.
In the 1970s, Motown strived for mass appeal by making its songs apolitical and multiracial, but its conservative aim slowly diminished because of the partnership of Norman Whitfield and Barry Strong; the initial writers of “War”. Barry Gordy founded the Motown label in Detroit in 1960. Barry Gordy’s work ethic represented Booker T. Washington’s idea of black enterprise.[1] In the early 1900s Booker T. Washington advocated for the gradual integration of blacks in white society. Gordy wanted Motown’s audience to be multiracial so he issued careful inspection and revision of its music. Gordy installed an assembly line of production for the music, following Henry Ford’s model of car production.[2] This represented the rising culture of consumerism in which society focused on the efficiency of the production to increase rate of consumption, using a formulaic system. The Motown label had a Quality Control department that revised any controversial messages in the songs by prohibiting any explicit protest messages.[3] Motown strayed from investing with the resistant mood of the times as well as with the political sphere in order to remain commercial and maintain mass appeal. Norman Whitfield joined Quality Control in 1962. Whitfield had a very aggressive business nature; continually pushing songs on multiple artists until they finally worked. Over time Whitfield radicalized Gordy’s conservative Motown by introducing a more intense brand of psychedelic soul; a new mixture of rock and soul, conveying a countercultural voice of protest, and emphasizing “black power”.[4] Norman Whitfield partnered with Barrett Strong to write new music for Motown. Otis Williams, a singer in the Temptations, commented on Whitfield and Strong’s motive; “They didn’t talk about politics, that’s just what was happening in the world at the time. Norman and Barrett decided to capitalize on what was happening.”[5] Even though Whitfield and Strong introduced a new style to Motown, they still followed Gordy’s apolitical aim to retain mass appeal. In 1970, Whitfield’s production of “War” would change the face of Motown forever.
Whitfield’s “War” threatened to generate controversy among the public because of its strong anti- war sentiment, creating a problem for Motown producers. The song was originally created for the Temptations but Motown producers thought that the song’s message threatened the Temptation’s career. Motown producers strategically decided to give the song to Edwin Starr, a Motown artist not as popular at the time, in case the song’s message backfired. Whitfield still revised “War” in order to maximize its potential for success; "It helped transform the song's sullen, moody spirit and distant military marching calls into a bombastic body of funk-tinged sound, punctuated with huge horn stabs and a multitude of backing singers who all reinforced the lyrical sentiment with gusto.”[6] Whitfield hoped that powerful sound would generate a just as powerful response from the public but Edwin Starr still rejected these lyrics by saying; "When (they) brought the lyrics and the initial track to me, it was very watered down, it was unimpressive. I said, I can do this but I have to sing the vocals my way. I have to do what I feel. So... 'Good God y'all' and all those 'absolutely nothings' are my ad-libs. I did that record in our take.”[7] Starr reinforced the song’s lyrical sentiment even further, heightening its potential for controversy. The production of “War” involved singer and band collaboration instead of Motown’s initial assembly line of production, showing a shift from Motown’s conservatism. “War” surprisingly generated huge, renowned success, proving the conservative Motown producers wrong. Starr successfully transformed the song into a “Technicolor statement of universal anguish”.[8]
Edwin Starr’s interpretation of “War” conveyed a simplistic but powerful message that people could easily relate to, while his enthusiasm generated immense public support. “War” hit the pop charts for 13 weeks.[9] Starr asserted that the song’s message was versatile, not unidirectional, "It was not about the Vietnam War. It was about any kind of war. It can be war you have in your neighbourhood trying to survive. It can be about the war you have in your job or the problems you have because of your colour."[10] Starr wanted to retain mass appeal in order to diminish controversy over Vietnam, yet people still believed that it was a definite anti-war song.[11] Starr’s rendition opened with an ominous drum roll and ended with an eerie rhythm of marching soldiers, emphasizing the militaristic tone.[12] The song encompassed basic human emotions such as grief and love through simplistic lyrics.[13] The direct and repetitive lyrics made it easier to learn, and therefore generated a greater public appeal. Starr’s grunts, shouting, and repetitiveness made “War” a more effective protest song by emphasizing general frustration. Verse one condemned the destruction of innocent lives and sympathizes with tearful mothers of victims.[14] Verse two emphasized war as being the universal enemy which troubles younger generation.[15] This verse reflected upon the resistance to the draft lottery as well as upon increased level of student rebellion in the 1970s. Verse three called for peace and asked whether war is necessary to preserve global freedom.[16] US involvement in Vietnam was intended to preserve freedom, but little was changed in the end despite the war’s longevity. In the song, Starr underlines the disadvantages of war; “War, it ain't nothing but a heartbreaker/ War, friend only to the undertaker”.[17] War is allied with the soldier because the solider is prepared and aware, while families at home are kept in the dark with constant preoccupation and grief. Starr’s enthusiasm while performing “War” bolstered the song’s effect. He especially displayed his enthusiasm at a 1970 rock concert at Northwest Catholic High School in West Hartford. Only a small crowd came but Starr built up his performance as though it were for thousands. Starr claimed; "If you give them all you've got, the audience feels the enthusiasm too."[18] Starr’s raunchy and rough voice memorized the crowd and engaged them in the lyrics, whether they were participating or listening.[19] Starr’s enthusiasm enabled him to powerfully execute “War’s” simplistic lyrics.
“War” reflected upon escalation in Vietnam as well as the student protests of the 1970s and became a unifying force among protesters. In 1968 American troops issued the Tet Offensive, a series of fierce attacks ensuring a long, drawn-out war. The huge number of American casualties provoked a greater resistance to the war on the American home front. This sense of resistance is represented by the line; “War means tears/ To thousands of mothers eyes/ When their sons go to fight/ And lose their lives.”[20] Especially after escalation, mothers felt as though their sons were being sent to die. Also in 1968, American troops instigated the My Lai Massacre where hundreds of Vietnamese were raped, mutilated, and murdered. Americans saw this attack as unnecessary and inhumane. This is reflected by the line “Ohhh, war, I despise/ Because it means destruction of innocent lives.”[21] Vietnam caused excessive destruction on both sides. In 1970, Americans invaded Cambodia which contradicted Nixon’s aim toward Vietnamization and consequently crushed the hope that the end of the war was in sight. Finally, the establishment of draft lottery in the same year added to Americans’ frustration and inability to control their future. "War" highlighted American discontent by pointing out bleak physical and mental effects of the drafted soldiers.[22] “War” also reflected the student protest of the 1970s. On May 4, 1970 the massacre at Kent State occurred. The National Guard was called in stop student uprisings against Vietnam at the University. The National Guard used tear gas and ammunition, creating internal war against their own people. Diane Williams reflected on the unexpected violence; "So not expecting them to not only not fire, but the fact that they had live ammunition never really crossed my mind."[23] The National Guard opened fire despite the fact that the protesters were unarmed, resulting in national protest. This event conveyed Starr’s initial remark that “War” represented more than just Vietnam, but also represented internal conflict. “War” unified protesters through its easy-to-learn and commanding lyrics. Protesters could easily connect with each other because the lyrics could be shouted, giving them a sense of motivation. In 1971, Genevieve Flavin, writer and editor of the Chicago Tribune, reflected upon the message of “War”; "There is a song by Edwin Starr called, "War", in which he wonders if peace, love and understanding have a place in our modern society. If they don't have a place, only our technology is left to take over. Fightening, isn't it?"[24] Flavin suggests that without peace, love, and understanding society is subject to the threat of nuclear weapons. Advancing technology threatens to augment conflict between nations. Over time, “War” became a universal anthem, unifying Americans through music during a time of crisis.
“War” was remade over the years to emphasize anti-war sentiments, leaving a lasting legacy as one of the biggest protest songs in history. In 1984, the British synth-pop act, Frankie Goes to Hollywood, produced an elongated version of "War" on their album "Welcome to the Pleasuredome”.[25] Frankie Goes to Hollywood contemporized the song by using the background of the Cold War. Later in 1985 Bruce Springsteen and the E Street Band revitalized “War” for their world tour. Their version of “War” condemned American intervention in El Salvador and Nicaragua during the 1980s.[26] Springsteen transformed the song to widescreen with his “War” music video which showed the separation of families and footage of Vietnam. [27] Over the years, “War” conveyed the ongoing struggle peace through the perspectives of various artists.
Edwin Starr transformed an obvious point of protest into a revelation through his enthusiasm and dedication towards the music. “War” changed the conservative face of Motown through the power of its lyrics and widespread support of its anti-war message. “War” generated momentum and motivation among the public. America became forever united under an anthem of protest.
[1] Dorian Lynskey 33 Revolutions Per Minute A History of Protest Songs, From Billie Holiday to Green Day, (New York: HarperCollins Publishers, 2011) 145.
[2] Dorian Lynskey 33 Revolutions Per Minute A History of Protest Songs, From Billie Holiday to Green Day, (New York: HarperCollins Publishers, 2011) 155.
[3] Dorian Lynskey, 33 Revolutions Per Minute A History of Protest Songs, From Billie Holiday to Green Day, (New York: HarperCollins Publishers, 2011) 146.
[4] Dorian Lynskey, 33 Revolutions Per Minute A History of Protest Songs, From Billie Holiday to Green Day, (New York: HarperCollins Publishers, 2011) 153.
[5] Dorian Lynskey, 33 Revolutions Per Minute A History of Protest Songs, From Billie Holiday to Green Day, (New York: HarperCollins Publishers, 2011) 153.
[6] Hardeep Phull, Story Behind the Protest Song: A Reference guide to the 50 Songs that Changed the 20th Century, (Westport CT: Greenwood Press 2008) 96.
[7] Dorian Lynskey 33 Revolutions Per Minute A History of Protest Songs, From Billie Holiday to Green Day, (New York: HarperCollins Publishers, 2011) 154.
[8] Hardeep Phull, Story Behind the Protest Song: A Reference guide to the 50 Songs that Changed the 20th Century, (Westport CT: Greenwood Press 2008) 96.
[9] “Edwin Starr,” Encyclopaedia Britannica Online Academic Edition, N.p., n.d, Web. 20 May 2011, <http://www.britannica.com >.
[10] Hardeep Phull, Story Behind the Protest Song: A Reference guide to the 50 Songs that Changed the 20th Century, (Westport CT: Greenwood Press 2008) 98.
[11] Hardeep Phull, Story Behind the Protest Song: A Reference guide to the 50 Songs that Changed the 20th Century, (Westport CT: Greenwood Press 2008) 98.
[12] Hardeep Phull, Story Behind the Protest Song: A Reference guide to the 50 Songs that Changed the 20th Century, (Westport CT: Greenwood Press 2008) 96.
[13] Hardeep Phull, Story Behind the Protest Song: A Reference guide to the 50 Songs that Changed the 20th Century, (Westport CT: Greenwood Press 2008) 96.
[14] Hardeep Phull, Story Behind the Protest Song: A Reference guide to the 50 Songs that Changed the 20th Century, (Westport CT: Greenwood Press 2008) 96.
[15] Hardeep Phull, Story Behind the Protest Song: A Reference guide to the 50 Songs that Changed the 20th Century, (Westport CT: Greenwood Press 2008) 96.
[16] Hardeep Phull, Story Behind the Protest Song: A Reference guide to the 50 Songs that Changed the 20th Century, (Westport CT: Greenwood Press 2008) 96.
[17] “Edwin Starr lyrics War.,” Oldie Lyrics, N.p., n.d, Web. 20 May 2011, <http://www.oldielyrics.com >.
[18] Andrew Krieg, “Starr Rocks Slim Crowd at Concert,” The Hartford Courant 15 Nov. 1970: n. pag, Rpt. in ProQuest Historical Newspapers: The Hartford Courant (1764-1985), N.p.: n.p., n.d. 6B, ProQuest Historical Newspapers, Web. 23 May 2011.
[19] Patrick MacDonald, “Rock Scene; A Starr is Reborn,” Seattle Daily Times 19 Oct. 1973: n. pag, Rpt. in America’s Historical Newspapers 1690-2000, N.p.: n.p., n.d. 60, America’s Historical Newspapers, Web. 23 May 2011.
[20] “Edwin Starr lyrics War.,” Oldie Lyrics, N.p., n.d, Web. 20 May 2011, <http://www.oldielyrics.com >.
[21] “Edwin Starr lyrics War.,” Oldie Lyrics, N.p., n.d, Web. 20 May 2011, <http://www.oldielyrics.com >.
[22] Hardeep Phull, Story Behind the Protest Song: A Reference guide to the 50 Songs that Changed the 20th Century, (Westport CT: Greenwood Press 2008) 72.
[23] Carol Mirman, Diane Williams, and Art Koushel, “May 4 Collection,” American Decades Primary Sources 1970-1979, (Farmington Hills, MI: The Gale Group , 2004) N. pag, Rpt. in May 4 Collection; Eyewitness Accounts, ed. Cynthia Rose, (Farmington Hills, MI: The Gale Group 2004), 395.
[24] Genevieve Flavin, “Voice of Youth,” Chicago Tribune 21 Feb. 1971: n. pag, Rpt. in ProQuest Historical Newspapers: Chicago Tribune (1849-1987), N.p.: n.p., n.d. NW12, ProQuest Hitorical Newspapers, Web. 23 May 2011.
[25] Hardeep Phull, Story Behind the Protest Song: A Reference guide to the 50 Songs that Changed the 20th Century, (Westport CT: Greenwood Press 2008) 94.
[26] Hardeep Phull, Story Behind the Protest Song: A Reference guide to the 50 Songs that Changed the 20th Century, (Westport CT: Greenwood Press 2008) 97.
[27] Hardeep Phull, Story Behind the Protest Song: A Reference guide to the 50 Songs that Changed the 20th Century, (Westport CT: Greenwood Press 2008) 97.
