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Finally (3/3)

(This is the third and final installment of my series of posts comparing two ethics thought experiments. If you haven’t already, check out Part 1 and Part 2.)

 

In these thought experiments we don’t know anything about the victims, which forces us to consider whether the victims’ identities matter. Ethical subjectivists would say that it is impossible to make a judgment in these cases without additional information, such as identities or identifying information, but this has a significant implication: if the ethical decision changes based on the victims’ identities, then we are accepting that some individuals’ lives are more valuable than others.

This is of course not a completely invalid assumption. While equality seems like a positive virtue, there are a lot of senses in which it is negative. First, to say simply that two people are “equal” is to accept that they are, morally, interchangeable. If what you mean is that they are equal in certain respects, such as entitlement to respect or inherent dignity, then they are interchangeable in questions concerning these aspects (ostensibly like our trolley problem and surgeon experiment). In summary, if people are truly equal (either in all respects or only in those respects that relate to human dignity), then you should save five people at the cost of one life (whether through surgery or pulling the trolley lever). I do not want to devote any more time to the drawbacks of equality here, but Henry Frankfurt’s On Inequality offers an interesting perspective on the subject.

Whether we accept the subjectivist critique or not, it is the same in either experiment: If we need identities for one, then we need identities for the other. If the potential victims are the same in each, my argument from this post is unchanged. If the victims are different, then the cases (as per the argument from last week) are reversible; if its ethical to sacrifice a given person to save one set of 5 victims by pulling the lever, it would be ethical to make the exchange between these same people via surgery.

In conclusion the fundamental value at stake is whether or not people are essentially equal in the respects that determine the value of individuals’ lives and the respect they ought to be afforded by others. If you believe this to be true, then it is fair to kill the one person, but you have to make this decision in every case. If you do not believe that this is true, then it is ok to decide whether or not to make the trade-off based on the circumstances and identities (though you would still have to make the same decision in either thought experiment).

As a final thought, people often present a version of this experiment in which the one person is your son/daughter. In this case, the outcome is the same to neutral observer (who is not the parent of the person) as in the original experiment. As a result, those who embrace consequentialism/utilitarianism cannot give preferential treatment to their child. To those who believe in virtue ethics or duty ethics, saving the child can be considered either the virtue of loyalty/friendship or the duty of a parent to protect his/her child. If you are inclined towards assuming that saving five lives is worth killing one person in the trolley problem simply because of the numbers, bear in mind that the extension of this logic requires making the same trade-off both in the surgery case and if you have an emotional attachment to the one person.

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Treat Like Cases Alike (2/3)

(this is a continuation of last week’s post, which can be found here)

Now that you are familiar with the experiments themselves, I want to compare and contrast them to draw out some of the underlying ethical considerations. As Mitch pointed out in a comment last week, the numbers in each experiment are clearly the same, yet the surgeon harvesting the organs of one patient to save five “feels” more wrong than pulling the lever in the trolley problem. The first question I want to answer is whether this gut instinct is rational.

In each case, some amount of death is inevitable: five people will die if you do not act, one person will die if you do. In neither case are you responsible for the circumstances, as you neither infected the five patients with their respective diseases nor caused the trolley to lose control. Both cases have innocent victims who are not responsible for their circumstances, and in both cases the one victim is in no danger unless you act. As far as I am concerned, these cases are equivalent in all relevant respects and impartiality dictates that the same logic must be applied in each. In other words, unless you can think of a compelling difference that I have missed, it is irrational to choose to pull the lever but not perform the surgery.

One possible reason some have offered for deciding differently in the two cases is that the surgery is more likely to set a precedent for future surgeons, meaning that future surgeons may repeatedly kill healthy patients to give their organs to ill ones. While on the surface this may seem like a valid critique (life-saving organ transplants are, in fact, more common than runaway trolleys barreling towards physically restrained workmen), this should not be a problem. One of the fundamental tenets of impartiality is treating like cases alike. If we are o.k. with the surgeon doing this once, we should be o.k. with all surgeons doing it always. The circumstances of each individual surgery are the same (barring additional information), so we should not fear that the action we deem moral is repeated.

I have made a point in this argument of emphasizing impartiality, but it should not be accepted at face value that impartiality is important. I have embraced it here because I am attempting to take a rational approach to these experiments (to contrast the gut feeling that leads people to treat them differently). Rationality requires beliefs (and actions that follow from them) to be grounded in reason and facts. By definition, there is no factual reason for treating cases differently based on attributes that are irrelevant to the situation at hand. Consequently, to treat identical cases, or cases that differ only in irrelevant respects, differently is irrational. Some philosophers have argued that rationality itself is not important, and that being guided by emotion is preferable. I do not wish to engage in this debate here (nor do I have the requisite expertise in the field), but if you are interested there are a lot of books on the subject.

Up to this point, I have argued only that we must decide the same way in either case: I have not argued for deciding one way or the other. For that, you will need to read again next week. In the meantime, if anyone believe that there is a difference I have missed that makes treating these cases differently acceptable, please let me know in the comments.

 

— Yes, I have changed this from a two-part to a three-part post. I am trying to be thorough so you guys can get a sense of how the process of evaluating thought experiments generally works. I promise that next week I will finish this and move on to something else (unless you guys want me to keep going with this, in which case you can leave me a comment next week). —

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Experiments in Ethics (1/3)

For this week’s post, I want to delve into a set of thought experiments that offer compelling lenses through which to view one of the most essential fields in the entire discipline of philosophy: ethics. For as long as people have interacted with one another, their behavior has implicated questions of right and wrong. These questions have formed the basis of the vast majority of legal codes, social norms, and religions.

The first thought experiment that I want to explore is called the trolley problem. There are many versions of the trolley problem that have been used to explore different dimensions of ethics, but I will explain the original as it was proposed by Philippa Foot in 1967. In Foot’s though experiment, there is a runaway trolley careening down a track towards a junction. You are placed near the junction holding a lever. If you do not pull the lever, the trolley will remain on the current track and hit five workmen working on that section of the track. If you do pull the lever, the trolley will be diverted to another section of track on which there is only one workman. It is assumed that all the people working on whichever portion of the track the reader chooses (either 5 workmen or 1 workman) will be killed. For reference, there is a sketch below that shows this visually (although in the sketch the people are tied to the track).

trolley-problem pic

The question Foot poses is whether the reader should pull the lever and divert the train toward the track with fewer people. Essentially, it is a question of whether human lives are fundamentally interchangeable (and therefore 5 is greater than 1) or each should be treated as an individual moral agent deserving the respect of others. Some philosophers have attempted to tease out a middle ground; usually by changing the numbers on each side, assigning specific attributes to the people involved (for example, the one person is your daughter or the President of the United States, or the five people are prisoners or terrorists), or changing the role the individual plays (pushing a man onto the tracks to stop the trolley rather than pulling a lever). At its core, the question is about determining the worth of people and deciding if it is morally acceptable to make decisions about how to act based on one’s perception of a person’s worth.

Since most people tend to read Foot’s experiment and instinctively accept that the person should divert the trolley to kill the individual person, one philosopher offered a particularly powerful counter-experiment that often elicits the opposite response. In this experiment, proposed by Judith Jarvis Thomson in a 1985 paper, you are a brilliant surgeon with five patients of the same blood type in need of five different vital organs. This surgeon also has a sixth patient who is perfectly healthy but who’s organs are compatible with the other five patients. Thompson asks whether the surgeon would be morally justified in taking the five vital organs from the healthy person in order to save the five other people who need the organs.

Like with the first experiment, this one lends itself to a number of variations. A few notable ones include different numbers of patients in need of organs, the possibility that some of the organ transplants will not be successful, and assigning roles the the characters in play (the five people are children or the one person is the president, etc.) Because there are a number of ethical issues at play in each of these variations and this post is already fairly long, I will use the next two weeks’ posts to explore these issues in great detail.

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The Ring of Gyges

After a brief foray into scientific thought experiments, I want to return to pure philosophical ones. For this week’s post, I want to focus on another famous thought experiment from Plato’s Republic: “The Ring of Gyges”. In the Republic, the story of the ring of Gyges is told by Glaucon, Plato’s older brother, when he his talking to Socrates about the nature of justice (for anyone interested, this comes at the beginning of the second book of the Republic). Socrates and Glaucon are discussing Thrasymachus’ assertion (from book 1) that “injustice, when on a sufficient scale, has more strength and freedom and mastery than justice,” and trying to decide whether people would prefer to be unjust if they knew that they would not be punished. To help them consider this question, Glaucon explains to Socrates the legend of the Ring of Gyges.

Gyges, a real historical figure, was the king of Lydia from 716 to 678 B.C.E.; approximately 3 centuries before Socrates and Glaucon would have had their dialog (to clarify, Plato wrote the dialogues after Socrates’ death and the extent to which they are based on real events is unclear). According to Glaucon’s legend:

When Gyges was a shepherd in the service of the king of Lydia; there was a great storm, and an earthquake made an opening in the earth at the place where he was feeding his flock. Amazed at the sight, he descended into the opening, where, among other marvels, he … saw a dead body of stature, as appeared to him, more than human, and having nothing on but a gold ring; this he took from the finger of the dead and reascended…. (Later) he chanced to turn the collet of the ring inside his hand, when instantly he became invisible to the rest of the company and they began to speak of him as if he were no longer present. He was astonished at this, and again touching the ring he turned the collet outwards and reappeared; he made several trials of the ring, and always with the same result: when he turned the collet inwards he became invisible, when outwards he reappeared. (The other shepherds sent him to make an annual report to the king; but) as soon as he arrived he seduced the queen, and with her help conspired against the king, slew him, and took the kingdom.

This is clearly mythological, but many aspects of it do align with what historians understand of the life of Gyges. For example, Gyges was born a shepherd, was sent by other shepherds to deliver a message to the King of Lydia, and did kill the King. It is unclear whether he seduced his wife prior to killing the king or married her after, but they did have a relationship.

The question that Socrates and Glaucon discuss is whether a man who could make himself invisible would behave justly or unjustly. Glaucon agrees with the general principle expressed by Thrasymachus that men are only just out of a fear of reproach or punishment; and therefore argues that, with the knowledge that his unjust behavior would never be punished or discovered, “no man would keep his hands off what was not his own when he could safely take what he liked out of the market, or go into houses and lie with any one at his pleasure, or kill or release from prison whom he would, and in all respects be like a God among men.” Socrates however argues that a man who did these things would be a slave to his appetites (the word that the Ancient Greeks used to describe one’s desires) and would never truly be happy or fulfilled as long as he lived unjustly.

The Ring of Gyges offers one way of looking conceptualizing the role that shame and social pressure play in making people behave morally, but different philosophers have come up with a number of similar thought experiments since Plato. It is a little off-putting to think that you, the person sitting next to you, and the hundreds of people you walk past on a daily basis are restrained from killing you only by a form of pseudo-peer-pressure; but deep down anybody who has ever done something in private they would never have done in public knows that there is some truth to this.

This intuition laid a lot of the ground work for social contract theory’s “state of nature/state of war” and has perplexed legal and social philosophers for millennia. On a lighter note, some have speculated that the ring of Gyges, with makes its wearer invisible and possibly evil, may have been the inspiration for the “One Ring” in J.R.R. Tolkien’s Lord of the Rings, though this is a controversial claim. Whether or not it was the inspiration, there are a lot of notable similarities.

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Gedankenexperiment

For this week’s post, I want to explore the relationship between philosophical thought experiments and scientific thought experiments. When people think about science, they usually think about empirical experimentation, not philosophical conjecture; however, many of the greatest scientists have also been philosophers, and their philosophy has had a profound impact on their scientific discoveries. This is perhaps most obvious with older scientists/philosophers; such as Aristotle, Galileo, Newton, and Descartes (yes the same one from last week); but it is no less true of more recent ones like Bohr, Einstein, Turing, and Heisenberg. While it may seem counter-intuitive, many of science’s greatest developments in the last century have come from thought experiments rather than physical ones. To better illustrate this, I want to give a famous example.

There is perhaps no more famous modern scientist than Albert Einstein. While many people are vaguely familiar with some of his most notable work (E=MC2, Special and General Relativity, etc.), fewer people are familiar with his research methods. Einstein himself described the process through which he discovered relativity as a “Gedankenexperiment,” gedanken being the German word for thought. This experiment was simple.

Einstein imagined that he was riding on a beam of light and looking at another beam of light parallel to his own. Reasoning from classical mechanics, the second beam should appear to be still, yet according to the laws of electromagnetism, light’s speed must always be 3×108 meters per second. Both classical mechanics and electromagnetism claimed to be universal, meaning that the laws were the same for all observers, but Einstein’s thought experiment led him to conclude that either classical mechanics or electromagnetism was wrong, or that neither was universal. Confident in the laws of each, he reasoned that neither could be universal. It was from this insight that special relativity was born.

He was not done yet though. He then thought about a man in a falling elevator car. He knew that the car and the man would fall towards the center of the earth at the same rate, and reasoned that the man would thus be unable to feel his own weight. He then realized that the man would also be unable to determine, from within the car, whether he was falling due to gravity or accelerating up as the result of a force. While this was a revolutionary insight at the time, it probably should not have been. If you replace the elevator in Einstein’s experiment with the earth, which is constantly in motion, it is obvious that our measurements of motion here on earth are relative to our frame of reference. We do not express the speed at which cars travel as the observed speed (say 60 MPH) in our reference frame plus the speed of the earth’s rotation around the sun (roughly 1000 MPH) plus the speed at which our solar system is moving within our galaxy (roughly 514,000 MPH) plus the speed at which our galaxy is moving within the universe (indeterminate, because we have no external frame of reference, like the man in the elevator!!).

The fundamental insight Einstein had was one that scientific experimentation could never have arrived at empirically, since its entire premise is that empirical observation itself is relative. Without philosophy, the theory of relativity and the scientific breakthroughs that came with it would have been impossible. While this is just one example of the intersection between philosophy and science, I hope it has been helpful in understanding their relationship. If you guys are interested, I have dozens of similar examples and would gladly write a few posts about them, so let me know in the comments.

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Raman, Thought Experiments, Uncategorized

The Allegory of the Cave

Ok, so before I start commenting on specific thought experiments I want to stop and explain what thought experiments are and why they are important. Often times philosophers find themselves dealing with very conceptual, multifaceted questions that are too abstract and complex to meaningfully discuss. To get around this, they will often create thought experiments. Thought experiments, like science experiments, seek to isolate the variable being studied to allow for meaningful exploration. This usually takes the form of setting up a fictitious scenario in which people are confronted either with a purer form of the initial question or some allegorical situation.

To illustrate this, consider Plato’s famous “Allegory of the Cave” (or “Allegory of the Den” depending on the translation). In the allegory, Socrates (Plato’s teacher and the narrator of all of Plato’s dialogues) asks a friend named Glaucon to imagine that there are prisoners in a cave chained against a wall. Behind them there is a fire and a walkway (see image). Throughout the day, puppeteers walk down the walkway with puppets that cast shadows on the wall. The men can see the shadows, but they cannot see the objects themselves. If the shadow were of a book, the prisoners, knowing nothing else of books, would say that they see a book. We know that what they see is merely a shadow of a book, an approximation of the real object, but they would not understand this.

Socrates asks Glaucon to consider what would happen if a prisoner was released and able to see the sun and real objects in their true forms. Glaucon observes that he would likely be put-off at first, but that he would soon come to understand that these new objects were real and that the old ones were all shadows. Socrates then asks what the man would do if he was taken back into the cave and made to again watch the shadows. Glaucon points out that he would likely be frustrated by the triviality of it all, and that he would be especially incapable of trying to assign meaning to the shadows like the other men, since he would know that the shadows were not really the objects the men assumed they were.

Plato wants us to learn a few things from this allegory. Specifically, he trying to illustrate the life of people who do not understand his theory of forms. The theory of forms holds that the universe has a creator and that there exists only one of each object/concept in the world, which is located in the mind of the creator. According to Plato, the physical incarnations of these forms (the name given to the original object/concept) are merely copies of the forms and are therefore imperfect. Plato equates these copies to the shadows on the walls of the cave and himself to the man who has been let out to see the original objects, the forms.

While few people seriously believe his theory today, there is still much to be learned from the allegory. While Plato intended it to represent ignorance of the forms, it can really be used with any kind of ignorance. It is also commonly used to illustrate the concept that, while we develop perceptions of objects in our minds, these perceptions are distinct from the objects that created them and not all of our “knowledge” about these objects is correct.

Hopefully this has helped you to see how thought experiments can be useful in illustrating complicated concepts. I picked an easier one for the first post, but I will try to get into some more complicated and abstract ideas as the semester progresses. On a side note, I am trying to decide whether or not to discuss paradoxes on this blog. They have a completely distinct purpose from thought experiments, but they are also useful ways of thinking about tough questions and force readers to challenge their minds. If you have an opinion, let me know in a comment.

 

platoscave

https://faculty.washington.edu/smcohen/320/cave.htm

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Music, Raman, Uncategorized

The Blues

As a guitar player, this is one of the blog posts I have been most looking forward to. Many of the world’s greatest guitar players began with or were inspired by the blues, and when I teach kids how to play the guitar I always start by teaching them the blues. In addition to their significance to guitar players, the blues are also considered to have been an essential part of black identity in the early part of the 20th century: they can be found in the works of literary icons such as Langston Hughes and August Wilson as well as in the works of scholars like W.E.B. Du Bois.

The history of the blues is long and largely unclear, but there is agreement on the basic evolution. As PBS puts it in “What is the Blues?”:

At the turn of the century, the blues was still slowly emerging from Texas, Louisiana, the Piedmont region, and the Mississippi Delta; its roots were in various forms of African American slave songs such as field hollers, work songs, spirituals, and country string ballads. Rural music that captured the suffering, anguish-and hopes-of 300 years of slavery and tenant farming, the blues was typically played by roaming solo musicians on acoustic guitar, piano, or harmonica at weekend parties, picnics, and juke joints. Their audience was primarily made up of agricultural laborers, who danced to the propulsive rhythms, moans, and slide guitar. (1)

In 1912, dance orchestra leader W.C. Handy, who had become infatuated with the blues after an encounter with a traveling blues musician at a train station some years earlier, became one of the first to transcribe and publish sheet music for blues songs. It began to catch on over the following years and singers such as Mamie Smith, Ma Rainey, and Bessie Smith helped to establish its place in American culture with the commercial success of their recordings (1).

As the music became increasingly popular it became a mainstay of the renaissance in black American culture. Langston Hughes began to experiment with what he called “blues poetry”, a type of poetry that “regardless of form, utilizes the themes, motifs, language, and imagery common to popular blues literature,”(2) and he “sought to catch this ‘blues spirit’–this compensatory expression of conflicting emotions–in his poetry, in part by imitating the blues themselves”(2). He was drawn to this style because “sad as Blues may be, there’s almost always something humorous about them–even if it’s the kind of humor that laughs to keep from crying”(2).

Playwright August Wilson had a similar experience in that the blues profoundly influenced him as well. He claimed that, when he first heard the blues, “the universe stuttered, and everything fell into place”(3). Like Hughes, he recognized the veiled hopefulness of the blues, noting that, “contrary to what most people think, it’s not defeatist, ‘Oh, woe is me.’ It’s very life-affirming, uplifting music. Because you can sing that song, that’s what enables you to survive”(3).

As the music became more popular, white blues musicians began to pop up and more white listeners began to enjoy blues music. Some people felt that white people playing and enjoying the blues detracted from its authenticity and emotional relevance to black identity. This argument was very similar to one that would be made about similar phenomena that occurred with rock and roll, r&b, hip-hop, and rap in later generations. This will likely be another blog post, but the blues was one of the earliest sources of the controversy over musical appropriation.

If you have never listened to the blues, go on YouTube and listen to BB King’s “The Thrill is Gone” and “Everyday I have the Blues”, the classic “Sweet Home Chicago” at the Crossroads festival, and Albert King and Stevie Ray Vaughan playing “Stormy Monday”. If you like what you hear, I will gladly provide you with dozens more recommendations. If you play guitar (or any instrument really) and you like what you hear, I am always up to jam!

 

Resources:

  1. http://www.pbs.org/theblues/classroom/essaysblues.html
  2. https://muse.jhu.edu/journals/callaloo/v019/19.1chinitz.html
  3. http://www.npr.org/templates/story/story.php?storyId=1700922

 

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“Maybe the Jazzer Has No Soul”

If I asked you to give me an example of “lowbrow music” or “music for kids and dope addicts”, what style of music would you think of? Unless you already looked at the title of this post, you probably were not thinking of jazz. It will likely come as a surprise to learn that legendary Jazz trumpeter Dizzy Gillespie once explained that “the great mass of the American people still consider jazz… lowbrow music…To them, jazz is music for kids and dope addicts. Music to get high to. Music to take a fling to. Music to rub bodies to. Not “serious” music.” It will likely come as even more of a surprise that this was in an article that he wrote in 1957, long after the establishment of jazz and during the heyday of rock and roll (I will write another post about “rock and roll” and rock, they are not the same).

It would make sense that people would have this perception of jazz when it first became prominent: and they certainly did. In an article in the New York Times titled “Conspiracy of Silence Against Jazz” and dedicated to the “negation of rhythmical sound and motion called jazz”, Robert J. Cole wrote that teachers could “help to curb jazzing… by showing the benighted ones how much more joyful the artistic (ballet) steps really are”. He goes on to propose that “maybe the jazzer has no soul”. This type of criticism, while comically extreme, is not unusual for a new style that challenges conventions.

What is unusual is for a style to be accepted and then go back to being “music for kids”. Paul Lopez explains this in his book, The Rise of a Jazz Art World, by noting that Gillespie’s comments came during the “peak of a renaissance in jazz music – a rebirth of jazz as a high art movement that over the two decades of the 1950s and 1960s transformed American music”. To those teens that were not enamored with the Beach Boys and the British Invasion, jazz was coming back. This was not their parents’ jazz: it was more experimental, faster and more improvisational. It also wasn’t just the artists, the new wave of jazz “included record producers, concert producers, club owners, music critics, magazine publishers, and diverse audiences. All these various actors… brought their own meanings and practices to bear on jazz music.”

Also, as a style, jazz was designed to be rebellious. As behavioral scientist Paul Lopez puts it in “Signifying Deviance and Transgression: Jazz in the Popular Imagination”, jazz “represented a double consciousness of romantic rebellion and dangerous deviancy” and “acted to reaffirm dominant norms against a rebellious and deviant world in urban America.“ Jazz began as a rejection of what had previously been considered essential aspects of music. Rhythms were swung, non-harmonic tones were embraced, and (as Cole and Gillespie point out) the dancing was far more sexual then previous styles.

If any of this sounds familiar, it is because successive generations nearly always identify with new and evolving styles of music; and these styles usually reflect a rejection of previous convention and an increased sexualization of expression. A stark cultural revolution accompanied the arrival of jazz: to recycle a quote from my post on “Blue Skies”, “few times, standing so close together, has there been such a sharp line of distinction as that which existed between pre- and post-WWI”. While this shift was more extreme than usual, it was also centuries in the making. More recently, generations are defined in much narrower groups of years and music has evolved (or devolved, depending on your perspective) tremendously even in the last 10 years (see the Billboard year-end top songs from 2005 for proof of this). It is possible that the speed of this evolution has remained constant and my perception that it is accelerating is biased by a subtlety of differentiation that will be lost to time, but the ridiculousness of the idea of jazz music as lowbrow rebellious music to modern audiences is proof that a shift is happening: it will be interesting to see where it goes in our lifetimes.

69 years ago (the earliest year Billboard year-end chart data was reported), Frank Sinatra and Bing Crosby were in the year-end top ten and dancing looked like this (https://youtu.be/I9zHYkKoL4A). 69 years later, you all know what dancing looks like. What will it look like 69 years from now? I am already scared for my grandkids.

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Music, Uncategorized

I See No Changes

In my first post, I promised to use this blog to explore the ability of music “to unite communities and preserve cultural identities across geographic and generational barriers”. I spent a lot of time considering the different forms this exploration could take and decided that I wanted to let the music speak for itself to the extent that I am able. Each week I will post a song, either to stand on its own or to represent a style/type of music, then offer some context for the time in which this song was written and some notes about its relevance to the progression of music and society as a whole.

This week I attended ID, a play commissioned by Penn State that was being performed at the Penn State Downtown Theatre Center. The play illustrates ways in which Black Americans struggle with their identity in a society that labels them “Black” first and “Americans” later, and offers a look into the life of an undercover police officer who shoots an unarmed black teen and struggles to understand the fear and animosity he harbors to those who look different than he does. As the play unfolded and the message became clear, I was reminded of a song.

The song I am thinking of talks about police shooting black men, mass incarceration, and war in the Middle East: three topics that have made headlines over the last year and are sure to find their way into the 2016 election cycle. Almost clairvoyantly, the twenty-three-year-old song begins with the line “I see no changes”.

The song that I kept thinking of in the audience of Id was Tupak Shakur’s “Changes”.

2PAC – Changes

When Tupac sat down to write “Changes”, the assault of Rodney King by Los Angeles police officers was still a recent memory, unemployment was nearing record highs, and race relations were tense. He references several other recent events directly; including the conflicts in the Middle East and the murder of Black Panther Party co-founder Huey Percy Newton.

Tupac would not live to see the song released. As he seems to predict in the last four lines, he was killed in a drive-by shooting at the age of 25. His murder remains unsolved.

When I listen to “Changes”, even as a white man, I feel as if I’m being transported back to 1992 as seen by Tupac Shakur. His frustration with the system and the state of our country is palpable, and it’s even sadder now because, two decades later, “I see no changes”. We may have a Black president, which Tupac’s America was not “ready” for, but other than that, nearly all of the social ills Tupac mentions still plague our country today.

When Tupac says, “the penitentiary’s packed, and it’s filled with blacks” and “both black and white / are smokin’ crack tonight”, I think to the report from the Brookings Institute that concluded that “Blacks remain far more likely than whites to be arrested for selling drugs (3.6 times more likely) or possessing drugs (2.5 times more likely). …even though Whites … are actually more likely than Blacks to sell drugs and about as likely to consume them”. When Tupac says, “Cops give a damn about a negro? / Pull the trigger, kill a nigga, he’s a hero”, I think of Michael Brown, Walter Scott, and Eric Harris. When I think of Rodney King, I think of Freddie Gray and Eric Garner.

I was not alive in 1992, when Tupac wrote and recorded this song, but when I hear it I feel like I am there. That is the power of music. Before I saw ID, I had a chance to have lunch with NSankou Njikam, the play’s writer, and he told us that he was inspired when he learned the literal meaning of the word respect: “to look again”. When I hear “Changes”, I look again at my America and see that, in several horrifying ways, it really is the same as Tupac’s. As he states at the end of the song, “some things will never change”: let’s just hope he’s wrong.

 

Works Cited:

“”Changes” Lyrics.” 2PAC LYRICS. N.p., n.d. Web. 11 Sept. 2015.
“Huey P. Newton.” Bio.com. N.p., n.d. Web. 11 Sept. 2015.
“Rodney King.” Bio.com. N.p., n.d. Web. 11 Sept. 2015.
Rothwell, Jonathan. “How the War on Drugs Damages Black Social Mobility.” The Brookings Institution, 30 Sept. 2014. Web. 11 Sept. 2015.
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