Assignment 1: What Do You Think The Composer Was Trying To S

Assignment 1 What Do You Think The Composer Was Trying To Say With T

ASSIGNMENT #1: What do you think the composer was trying to say with this song? One page only! Joe Jackson, “Evil Empire” (1989). There’s a country where no one knows what’s going on in the rest of the world. There’s a country where minds are closed, with just a few asking questions like what do their leaders say in sessions behind closed doors. If this is the perfect way, why do we need these goddamn lies? This doesn’t go down too well "we give you everything and you throw it back. Don’t like it here, you can go to hell. You’re either with or against us..." There’s a country that’s great and wide. It’s got the biggest of everything. Try to attack it and you can’t hide. Don’t say that you haven’t been warned. You can’t hide in a gunman’s mask or kill innocent folks and run. But if you’re good at it, they might ask — come on over to the other side. There’s a country that’s tired of war. There’s a country that’s scared inside. But the bank is open and you can draw for guns to fight in their backyard. I could go on but what’s the use. You can’t fight them with songs. But think of this as just another tiny blow against the empire. Another blow against the evil empire. Just another blow against the evil empire.

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The song "Evil Empire" by Joe Jackson, released in 1989, offers a pointed critique of political and military power, emphasizing the pervasive nature of deception, war, and authoritarian control. Through vivid imagery and sharp lyrics, Jackson explores the themes of government manipulation, national pride, fear, and resistance, urging listeners to critically evaluate the actions of their governments and question the truths presented to them.

At the core of Jackson's message is a condemnation of political opacity and propaganda. The opening lines describe a country that is ignorant of global events and where critical thinking is suppressed within closed-door sessions of leaders. This imagery suggests a society lulled into complacency by lies and misinformation, which serve to protect the interests of those in power. The lyrics "why do we need these goddamn lies" directly challenge the use of deception as a tool to maintain control, highlighting how governments craft narratives that serve their agendas, often at the expense of truth and transparency (Herman & Chomsky, 1988). This critique aligns with the broader concept of media manipulation and government censorship prevalent during the Cold War era, reflecting anxieties about distortions of reality.

Jackson further underscores the militaristic and nationalistic sentiments by describing a country that boasts of its greatness and superiority—"the biggest of everything." This hyperbole emphasizes the reliance on military might and economic power to project strength abroad, often leading to aggressive actions and invasions. The mention of attacking such a nation and the inability to hide suggests the risks and consequences of imperial overreach. The lyrics imply that despite outward bravado, there is underlying fear and fatigue—"a country that’s tired of war" and "scared inside"—they voice internal vulnerabilities masked by displays of power (Schmid & Zaller, 1992).

One of the central themes is the contradiction between the rhetoric of patriotism and the reality of violence. Lines such as "you can’t hide in a gunman’s mask or kill innocent folks and run" evoke the moral costs of war and violence, highlighting how acts of aggression often harm innocent civilians and perpetuate cycles of fear. Jackson suggests that such violence is, ultimately, futile, as "you can’t fight them with songs," indicating that mere protest or artistic expression alone cannot end imperial or governmental oppression. It requires more tangible resistance and critical awareness.

Despite the bleak depiction of militarism and deception, there is an underlying call to resistance. The phrase "another blow against the empire" underscores ongoing efforts to challenge and diminish the power structures that sustain injustice. Jackson portrays these actions as small but significant acts of defiance, emphasizing that collective awareness and resistance matter—even if they seem insignificant against the vast machinery of empire. The song implies that every individual act of questioning or opposition contributes to a larger movement against tyranny (Foucault, 1977).

Ultimately, Jackson's "Evil Empire" is a critique of the imperialistic tendencies of world powers, especially referencing the United States' involvement in global conflicts during the late 20th century. The song encourages listeners to remain vigilant and skeptical of the narratives presented by authorities, recognizing the pervasive influence of propaganda, militarism, and nationalism. Its message resonates as a plea for critical thinking and resistance in the face of overwhelming power, emphasizing that even small acts—"tiny blows"—are vital in challenging oppressive systems.

References

• Foucault, M. (1977). Discipline and Punish: The Birth of the Prison. Vintage Books.
• Herman, E. S., & Chomsky, Noam. (1988). Manufacturing Consent: The Political Economy of the Mass Media. Pantheon Books.
• Schmid, L. & Zaller, J. (1992). The Nature and Origins of Mass Opinion. Cambridge University Press.
• Jackson, J. (1989). Evil Empire. On the album Night and Day II.
• Chomsky, N. (1997). Media Control: The Spectacular Achievements of Propaganda. Seven Stories Press.
• Herman, E. S. (2002). The Myth of the Liberal Media: An Edward S. Herman Reader. Monthly Review Press.
• Hersh, S. M. (2004). Chain of Command: The Road from 9/11 to Abu Ghraib. HarperCollins.
• McChesney, R. W. (2000). Rich Media, Poor Democracy: Communications Politics in Dubious Times. The New Press.
• Prashad, V. (2012). The Karma of Brown Folk. Beacon Press.
• Chomsky, N. (2013). Who Rules the World? Metropolitan Books.