Jan
2022
Civic Issue Blog #1: Live at Folsom Prison
The right music plays not just to our ears, but to our heads as well. No matter the genre of the song or artist, musicians have forever attempted to relate to their audience through the power of intense lyricism and instrumentals. We have seen a myriad of genres do this, from the Ink Spot’s sombering love songs of the 1930s to modern day rappers such as Kanye or Eminem. Despite being nearly a century apart, all artists use their music to tell a story- one which can be analyzed and comprehended through a civic lense.
In this first blog, I wish to highlight how criminality has been viewed and utilized by both the public and musicians over the decades, specifically focusing on Johnny Cash’s “Folsom Prison Blues” recorded at his 1968 album “Live at Folsom Prison.”
When one thinks of crime and music today, likely culprits to come to their mind are rap and metal- both genres which assuredly contain vulgar depictions of drug use, robbery, and murder (likely even in that order). One study even finds that the majority of those who listen to “violent”, modern rap do so becuase of the exhilerating activities spouted by the artists (1). With this information in mind, it is clear that criminality inspires something in the audience, but how did audiences of the 60s respond? “Folsom Prison Blues”, Cash’s popular single (#1 on US Country Billboard and 32 on US Top 100) gives us keen insight in the matter of how criminals were represented in the music industry at this time.
Firstly, let us begin with the most obvious similarities between “Folsom Prison Blues” and more modern examples of criminality found in music. It is important to acknowledge for whom Cash recorded this album. The title is not just another piece of artistry, for he really performed for the population of Folsom, California State Prison. The famous line “I shot a man in Reno, just to watch him die,” drew loud cheer and applause from the audience, showing the extent of the persona Cash displayed on stage. This persona is not one of a mere country farmer or small-town man, but instead of a grizzled killer devoid of any reason for his crimes. This does not draw disgust in this upbeat song, but it instead succeeds in drawing admiration from the crowd. This lyric utilizes the ultimate form of relatability, for many men in the audience lived the exact words being sung on stage, perhaps demonstrating the ultimate form of civic engagement where the artist is an extension of the audience. These lyrics did not only resonate with the prisoners, for both the album and the single reached the top of the charts among all U.S. and Canadian audiences(2).
Despite my focus on the similarities between Cash’s 60s hit and more contemporary music, there is one major deviation which I think highlights the transformation of the representation of criminility in music. Reviewing the lyrics of the song, one finds a contrasting, almost contradictory sombering wish of freedom over an upbeat guitar solo. The lyrics, “Well I know I had it coming, I know I can’t be free. But those people keep a-moving, and that’s what tortures me.” These lyrics no longer inspire admiration in the audience, and instead reminds the listener (and of course the prisoners in the live audience) that despite the up-beat nature of the lyrics and instrumentals, the sobering reality grounds these illegal deeds in perpetual meloncholy.
This motif is prevelant throughout the entire album, not just the title track. The most significant may be in “Cocaine Blues”, where Cash’s fictional character Willy Lee lives a tale of criminal anomie- addicted to drugs and alcohol after committing the murder of his girlfriend. The song switches from story telling to a plea to the audience in its concluding line, “Come all you gotta listen unto me, lay off that whiskey and let that cocaine be.” This general theme denotes the important difference between criminality represented in earlier and modern music: where modern artists use criminality to highlight their own achievements and clout, older musicians such as Johnny Cash offer experiences from failed lives of crime. Jay Z’s famous song, “99 Problems”, for example, highlights the rapper’s ability to outsmart the police mentally and physically. Comparitively, “Folsom Prison Blues” tells the tale of an already immured convict helpless against those who imprisoned him, simply wishing to be free.
While anyone can cherry pick a few songs from certain decades to make their point, I believe this album perfectly demonstrates the representation of criminality and criminals in music. Despite being two very different genres and styles of music, I believe both kinds of songs can be analyzed through important civic and cultural contexts to make them uniquely distinct.
Bib.
- http://www.chinamusictherapy.org/file/file/doc/Music%20Exposure%20and%20Criminal%20Behavior_%20Perceptions%20of%20Juvenile%20Offenders.pdf
- https://folsomcasharttrail.com/the-trail/blog/the-real-story-behind-johnny-cash-folsom-prison-blues
kbh5580
January 27, 2022 at 4:06 pm (3 years ago)I agree, music definitely has a strong influence on a person’s mind, thoughts and actions. “Studies have shown that different languages, tempos, tones, and sound levels of music can cause different effects on emotions, mental activities, and physical reactions.”(Qi Meng) Music has the ability to connect people to specific experiences, take you somewhere you have never been, or provide an opportunity for a brand new experience; like any good book. Music is ultimately a novel combined with instruments. And with any good story, the audience should be captivated and excited for what words come next. The mind is an organ that can be manipulated by external factors; and music is definitely one of them. “The world is increasingly hearing these tunes with special acuity and paying more attention to the lyrics.” Artists intentionally formulates their lyricism to perfectly orchestrate a true story, making the message believable and doable. Hence, why criminality in music is widely used today.
The use of Criminality in the music industry is not a new phenomenon. It actually has been used as a selling point in entertainment for many years. People tend to think that violence and vulgarity in music is a concept only used in heavy metal, hip-hop and gangster rap. Although, “through[out] its history, rap music has demonstrated passionate creative expression, exploding with emotion and truths…” (Andrea L. Dennis)
Nonetheless, criminality can be traced back to the 1960’s and even before then.
An example of such music and artistry is the songs of Johnny Cash in 1969. He had a specific audience that he wanted to connect and relate to with his songs from the album, “Folsom Prison Blues”. The lyrics spoke of drugs, murder and stealing. He even dressed the part as a “grizzled killer” for his live performance. The public was so enthralled that his album reached the top of the charts, in spite of the criminalistic content. Which is exactly what musicians attempt to create in today’s music.
Nonetheless, though there are vast similarities in the use of criminality in music, then to now, there are also various differences. In the 1960’s criminality in music was about a lesson to be learned and evoked very humanistic emotions. It exploited the feelings of sorrow and remorse for the violent or criminal actions. The lyrics had an undertone of guilt or shame. It perpetuated that their criminal acts were wrong and illegal. Not only did the music illustrate the wrongful doing, but it attempted to discourage people from wanting to be a part of criminal behaviors by showcasing the repercussions of such actions; actual prison time. In the 1960’s the lyrics were meant to be a plea for freedom, a show of loss and regret. The overall message was that criminality in music provided beneficial lessons.
On the flipside, present day music of criminality portrays a different perspective. Music influencers have used their platforms to highlight their misconduct, frugality, and achievements of their criminal or illegal actions. “Now the most popular musical genre in America, rap has always shared—and consistently critiqued—disproportionate effects of the criminal legal system”(Andrea L. Dennis).
There is no emotional factor like regret, but instead they are very vocal, boastful, and bragatory about these activities. A prime example would be the artist YNW Melly. His song “Murder on My Mind” went gold last month, moving half a million units,” was used to glorify and praised the actions of criminal behavior and With the clout and media stream of this hit song, it was also a confessional (Anna Hopkins). Thus, the repercussions were jail time. Simultaneously, it was meant to enable and encourage the behavior.
Criminality in the music industry has been a topic of debate for a long time. As a civic issue, communities have compared and contrasted the use of criminality in songs and how it affects the public, specifically the youth. Though criminality has been used for many years in the entertainment industry, the concept and message has drastically changed from regret to encouragement.
Dennis, Andrea L. “The Music of Mass Incarceration.” Americanbar.org, 1 Dec. 2020,
Hopkins, Anna. “YNW Melly’s ‘Murder on My Mind’ Takes on New Meaning after Double Murder Charges.” Miami New Times, Miami New Times, 15 Feb. 2019,
Meng, Qi, et al. “Influence of Music on the Behaviors of Crowd in Urban Open Public Spaces.” Frontiers, Frontiers, 1 Jan. 1AD,
eml5921
January 28, 2022 at 12:32 am (3 years ago)I think it’s really interesting that you pointed out how songs about criminals from the past contained remorse and guilt whereas the music today often glorifies the crimes the artist is describing. While not the same issue, it falls into the same vein of those who argue that violent video games promote and glorify violence. I think media in general has not only progressively gotten more visibly violent, but that that violence is becoming marketed at progressively younger audiences. Furthermore constant access to often unmonitored social media is not helping this issue, while children often coming across content not age appropriate for them. All in all, I think this trend in glorifying violence and crime extends beyond just the music industry.
Source: https://mediasmarts.ca/violence/marketing-violence-young-people
eml5921
January 28, 2022 at 12:32 am (3 years ago)I think it’s really interesting that you pointed out how songs about criminals from the past contained remorse and guilt whereas the music today often glorifies the crimes the artist is describing. While not the same issue, it falls into the same vein of those who argue that violent video games promote and glorify violence. I think media in general has not only progressively gotten more visibly violent, but that that violence is becoming marketed at progressively younger audiences. Furthermore constant access to often unmonitored social media is not helping this issue, while children often coming across content not age appropriate for them. All in all, I think this trend in glorifying violence and crime extends beyond just the music industry.
Source: https://mediasmarts.ca/violence/marketing-violence-young-people
Anna
January 28, 2022 at 6:56 am (3 years ago)I really love the topic you chose here, and in fact I dedicated my passion blog to the power of lyrics and their meanings to the listener. So, I definitely agree that music has the ability to incite resonance in many through storytelling.
I think your point is very interesting about the differences in contemporary and older music relating to criminality. I can compare Cash’s songs to those of the Kingston Trio, who had many songs also divulging the experiences of those who lost their freedom or livelihood through crime, accompanied by upbeat guitar and tunes. This could include their song Tijuana Jail with lyrics as follows:
“I was shooting dice,
raking in the dough (long green)
and then I heard a whistle blow
We started to run
when a man in blue said,
“Senor, come with me ’cause I want you.”
So, here we are in the Tijuana jail. Ain’t got no friends to go our bail
So, here we’ll stay ’cause we can’t pay. Just send our mail to the Tijuana jail” (The Kingston Trio)
This is backtracked by a banjo-ey sound and draws relatability while avoiding negative impressions, just as you mentioned Cash’s song does. Another song by the Kingston Trio is Bad Man Blunder with lyrics as follows:
“It was a most unsatisfactory trial.
They gave me ninety-nine years on the hard rock pile
Ninety and nine on the hard rock ground.
All I ever did was shoot a deputy down
Ninety and nine (It could have been life.)
on the hard rock pile (They might-a hung me)
And all he ever did was shoot a deputy down
(This whole thing has sure been a lesson to me. Bang! You’re dead!)” (The Kingston Trio)
This song also provides reflection on the experience as did the last and as did Cash’s about their loss of freedom due to the consequences of their crimes with up-beat rhythms and pitches in the background, avoiding negative impressions on the audience while drawing on the negative impacts of crime and the consequences of criminal behavior. These songs often end with prison and learning a lesson or experiencing a large loss from their behaviors, providing a different outlook than modern day songs describing these behaviors which often do not end with either prison or taking away a lesson or realization of the negative impacts from the experience.
I agree these more folk and older songs carry these themes and attitudes towards crime you described, and often in the rap and popular music we hear these days, the descriptions of criminality are used as very positive, flaunty, interactions and experiences. I also agree that both kinds of songs carry significant cultural and civic implications and impacts.
One outstanding characteristic of contemporary music that deals with criminality is that it sometimes touches on the injustice within our system. According to the American Bar Association, hip hop music has been exploring the issues within our system and causes and effects of mass incarceration. They have touched on subjects such as police brutality, racial disparity in incarceration rates, policies and their impacts, violence within communities, and much, much more (Dennis).
This new age and style of music, though it may sometimes exploit and glamorize the effects and occurrences of crime, also touches on important civic issues and exposes them to the public, something older folk music may have also touched on, but not delved into enough, particularly ignoring racial inequality in regards to imprisonment.
Both divulge the causes and effects of crime and imprisonment in very different ways. Nevertheless, I agree both are important and impact culture and the world’s understanding of and feelings towards crime and punishment.
Works Cited:
Dennis, Andrea L. “The Music of Mass Incarceration.” Americanbar.org, 1 Dec. 2020, https://www.americanbar.org/groups/intellectual_property_law/publications/landslide/2020-21/november-december/music-mass-incarceration/.
The Kingston Trio. “The Kingston Trio – Bad Man’s Blunder.” Genius, https://genius.com/The-kingston-trio-bad-mans-blunder-lyrics.
The Kingston Trio. “The Kinågston Trio – the Tijuana Jail.” Genius, https://genius.com/The-kingston-trio-the-tijuana-jail-lyrics.
ags5639
January 28, 2022 at 2:53 pm (3 years ago)Hey Anna, I appreciate that you brought up the importance of more contemporary music. I feared that my blog came off as anti-rap or against the newer variations of criminality in music. Obviously, I still also love these newer genres, and I believe that their civic contributions may be even more important than the ones discussed in my original post. Despite lacking a more somber, reflective tone, newer songs involving explicit crime often make observations highlighting the injustice and prejudice these artists face. Take a lyric from Jay Z’s “99 Problems” which I breifly mentioned in the first post,
“I heard, ‘Son, do you know why I’m stopping you for?’
‘Cause I’m young and I’m black and my hat’s real low,
Do I look like a mind reader, sir? I don’t know'”
It seems as though the discussion of the turmoils of being a convict and imprisoned in America’s justice system has been replaced with discussions on the racism and racial relations in America. In praising/glorifying certain crimnal acts, newer artists simultaneously emphasize important differences in our lives which disrupt our view of our own country and allows the listener to consider what it’s like for others who have lived through very different experiences. No matter the time period, the representation of criminality in music sheds light on the cultural being of America.
kbh5580
January 28, 2022 at 10:13 pm (3 years ago)I really like how each comment brings out a new perspective on the ideology of criminality in music. The songs all have a theme and connection with each other. They are teaching a lesson through music about the consequence of one’s actions with their uses of criminality in music. It’s interesting how we all have different artist and music selections that demonstrate these same lessons and storytelling through music. It really shows how music has evolved and transformed into different meanings and experiences from those of the 1960’s to modern day music. I personally never heard these songs, but the message and themes are clear to connect and understand.