University Place  Erik Kasper Insights Into Campaign Music History  November 12, 2012 UP808  cc >> We're going to start with "Don't Stop Thinking About the Music: The Politics of Songs and Musicians in Presidential Campaigns." This was written by Benjamin Schoening. He's an Assistant Professor of Music at the University of Wisconsin Barron County, where he is Director of Campus Musical Activities. He's the Director of the Holiday Festival and Music Director and Conductor of the Red Cedar Choir. He earned his DMA in voice performance at the University of Minnesota, but we're not holding that against him. [LAUGHTER] Eric Kasper is his co-author. He's an Assistant Professor of Political Science at the University of Wisconsin Barron County, and he also serves as the Municipal Judge for the City of Rice Lake. Previously, he was employed as a teaching assistant, lecturer, and adjunct professor at multiple institutions, including the UW-Madison and UW-Milwaukee. He is a former member of the Rice Lake City Council, and he is an attorney and member of the Wisconsin Bar Association. Ladies and gentlemen, please welcome Eric Kasper and Ben Schoening. [APPLAUSE]  >> Thanks, Mayor Dave. 

It is, as he mentioned in the intro, Benjamin did go to University of Minnesota, and I, as a UW grad, also do not hold that against him. [LAUGHTER] But for the next 20 minutes, what we'd like to do is kind of give you a little bit better of an understanding of how music has been used, and in some cases abused, by presidential campaigns over the years. And it may surprise some, perhaps not all, that we've seen presidential campaign music exist from very early on in presidential campaigns in American history. Dating back to campaigns of George Washington and John Adams, Thomas Jefferson, and so on. But a lot of that early music was kind of coronation music, if you will. That's how it began. A lot of the early campaign songs actually started out as music that was written after the president had won election, and it was inauguration music in celebration of that candidate who had already been elected. And then that kind of became the de facto music for when that president was running for reelection. By the time we get a little bit of the way, a few decades into the 19th century, we start to see music being used in more innovative ways and being used more frequently. And kind of a watershed moment in that regard becomes the 1840 presidential election with a song that perhaps some of you have heard before which is "Tippecanoe and Tyler Too." We have an audio clip of that here. 

§ § § Oh, who has heard the great § § Commotion, motion, motion § § All the country through? § § It is the ball a-rolling on § § For Tippecanoe and Tyler too § § For Tippecanoe and Tyler too § § And with him we'll beat § § Little Van, Van § § Van is a used up man § § And with him we'll beat § § Little Van § § § § Sure, let 'em talk about § § Hard cider, cider, cider § § And log cabins too § § It will only help § § To speed the ball § § For Tippecanoe and Tyler too § § For Tippecanoe and Tyler too § § And with him we'll beat § § Little Van, Van § § Van is a used up man § § And with him we'll beat § § Little Van... § >> I'm just amazed the recording sounds that good from that year. [LAUGHTER] That recording is actually done by a gentleman by the name of Oscar Brand, who does a lot of these campaign songs, especially from earlier periods in American history. But some of the things you can see right off the bat. First of all, even though we'd just gotten ourselves through an election with a lot of negative campaigning, you can see that negative campaigning existed then as well. This person they're referring to as Little Van, he's a used up man, they're referring to the president, Martin Van Buren. [LAUGHTER] This was a campaign song by William Harrison and his running mate John Tyler, and it was a song that was occurring, it was used during an important era of change in American history because of the Jacksonian reforms that had been working their way through the country in the 1830s. You had a pretty large expansion in terms of the potential voters out there because before the Jacksonian reforms, there were in most states pretty strong property qualifications put in place. And I think most people are familiar with the obvious restrictions at the time with respect to voting based on race and based on gender, but what a lot of people aren't familiar with is there were also pretty strong property qualifications that you had to own a certain amount of physical land in order to be eligible to vote in many states until the Jacksonian reforms come through in the 1830s. And so, what ends up happening then during this period is you have a much larger class of voters, many of whom do not have a lot of formal education, and so the use of music becomes and important way to get a campaign's message out to them, and that's exactly what "Tippecanoe and Tyler Too" is designed to do. >> And it's not just about having a wonderful song that you can attribute to your candidate. 

A lot of the songs during this time period were what we call parodied songs, and parodied in the Weird Al Yankovic, ha-ha, type of parody. But the idea of taking an existing popular tune and putting new words to it that were attributed to your candidate, and especially with the lower education level of this expanded electorate, being able to get some of them gathered together at a rally and teach them new words to a song that they already knew and then have them go to their hometown and sing. And some of these songs were 8, 10, 12 verses, and you're not necessarily hoping they remember every one of the verses, but you're hoping they remember that tag line "Tippecanoe and Tyler Too." And they go to their hometown and sing a couple verses, and that catches on and it spreads like wildfire. And all the sudden the name of your candidate has spread all throughout the country. It was actually really ingenious At the time, in 1840, it was said that it actually sang Harrison into the White House. >> And, because we're kind of limited here on time today, we could go into a lot of depth in terms of changes that went on throughout the rest of the 19th century and into the early 20th century, skipping over quite a bit of that except to say, with one exception. Kind of the norm during this period was that there may have been preexisting music that was out there, but there were new lyrics that were written for the campaigns to describe the candidates, to describe the candidate's opponents. The one exception to that which would kind of be a forerunner to things that we experience much more today was in 1932 when the Roosevelt campaign used the song "Happy Days Are Here Again." That particular tune, it was adopted by the Roosevelt campaign note for note, lyric for lyric, and was used as a popular song that was co-opted by the campaign and was used quite well. Kind of hoping that people might think about happy days around the corner. But, with that one exception, this is basically a period of better than a century in which new music was written for these campaigns for the most part. 

Sort of an interesting interlude, before we get to the more modern era where candidates tend to use a lot of prerecorded pop music, was when we had the advent of television. And once you get into the 1950s, you have campaigns really trying to figure out how do we use music with this new medium and combining the visual and the audio. And so, one of the best known examples of that was in 1952 with the Eisenhower campaign and the use of "I Like Ike."  § Ike for president § § Ike for president § § Ike for president § § Ike for president § § You like Ike § § I like Ike § § Everybody likes Ike § § For president § § Hang out the banners § § Beat the drums § § We'll take Ike § § to Washington § § We don't want John § § or Dean or Harry § § Let's do that big job right § § Let's get in step § § With the guy that's right § § Get in step with Ike § § You like Ike § § I like Ike § § Everybody likes Ike § § For president § § Hang out the banners § § Beat the drums § § We'll take Ike to Washington § § We've got to get § § Where we are going § § Travel all day or night § § Ike for president § § While Adalai § § Goes the other way § § We all go with Ike § § For President § § You like Ike § § I like Ike § § Everybody likes Ike § § For president § § Hang out the banners § § Beat the drums § § We'll take Ike § § To Washington § § We'll take Ike § § To Washington § >> Now is the time for all good Americans to come to the aid of their country. § Ike for president § § Ike for president § § Ike for president § § Ike for president... §  >> I can't imagine a campaign using that today. [LAUGHTER] But it worked then. And it was a great integration of the audio and the cartoon on the screen. Something that today's ads kind of, music has kind of gone into the background, and it isn't kind of the central focus in most of these campaign ads anymore. But music on the campaign trail and at national conventions and at speeches and so on, that still remains with us, and it's a big part of what these campaigns are still doing today. One interesting way that the trend kind of took itself to what we're looking at now with a lot of the use of pop music in these campaigns is the fact that in the 1960s into the 1970s you have a lot of social movements that are building and that are either there are songs written specifically by artists for the social movements or there are songs that have already been written by pop stars which are used in social movements. And those who are running for president tend to be pretty smart people. 

They see that this trend is happening during this era, so they start using this music as well. And one of the best known early examples of this is in 1972 with the George McGovern campaign using Simon & Garfunkel's a "Bridge Over Troubled Water." § §  § When you're weary § § Feeling small § § When tears are in your eyes § § I will dry them all § § § § I'm on your side § § § § When times get rough § § And friends § § Just can't be found § § Like a bridge § § Over troubled water § § I will lay me down § § Like a bridge § § Over troubled water § § I will lay me down... §  >> All right, not exactly something that's going to get you up and start marching, right? [LAUGHTER] But the message here from the McGovern campaign was the trouble water here was Vietnam and the Vietnam War, and that he, as president, would be the bridge that would lead us past that. And so it fit very well within his campaign themes. No doubt about that. And you see that a lot with early use of campaign songs during this pop era. You see that, for instance, with Lee Greenwood's "God Bless the USA," which was used by the Reagan campaign kind of focusing on themes of patriotism. But the song that really kind of brings this trend into the modern era of using this pop music is Bill Clinton in 1992 with the use of Fleetwood Mac's "Don't Stop." § §  § If you wake up § § And don't want to smile § § If it takes § § Just a little while § § Open your eyes § § And look at the day § § You'll see things § § In a different way § § Don't stop § § Thinking about tomorrow § § Don't stop § § It'll soon be here § § It'll be § § Better than before § § Yesterday's gone § § Yesterday's gone... §  >> And this song, obviously the point here is to get you thinking about, sort of like the "Happy Days Are Here Again" song with Roosevelt, to get you to think about the future, to not dwell on what happened in the past, and obviously with the Clinton campaign trying to move the country in a different direction than it had been under Reagan/Bush for 12 years. Of course, the interesting things about the song was that if you just listen to the one-liner that's there, "don't stop thinking about tomorrow," it kind of works. The song originally was written to reflect upon the divorce and the breakup between two band members. [LAUGHTER] I don't know if that's exactly what Clinton wanted out there as a message. 

Although, in some ways it might be appropriate. [LAUGHTER] But those issues aside, it was a great song in that it worked toward this new democrat style that Clinton was moving forward with in 1992 trying to be a break from the past. >> And it was also a good song choice in that Bill Clinton is the first baby boomer president grabbing a song from the baby boomer generation. It was a song that the electorate could associate with really well. What we see really beginning-- I mean, before him, but really solidified here with Bill Clinton is kind of the advent of the one line campaign song. And this kind of plays to the deteriorating attention span of the American public. [LAUGHTER] If you think back to the 1960s, the average sound bite for a politician was somewhere around 40 seconds. And TV was a wonderful invention; however, marketers kind of learned after a while that the more people watched, the more they had to get their message out very quickly, and by the time we get to the '90s, we're looking at anywhere from 5 to 10 seconds for the attention span of the American public. So, candidates can't afford to do what Roosevelt did in '32, or even what Reagan did in 1984 and grab a song that's all-encompassing about their campaign. They've got to find a song that really quickly gets the message that they want to be associated with. 

And then, oftentimes, it's not just finding a message, it's finding a message in a song that's already popular out in the public at large and also finding a song that has an artist that you want to attach your name with, as well. >> And so, what do they do here in 2012? Kind of fast-forwarding this trend another 20 years. Well, the Romney campaign, the main song that they stuck with here in 2012 was Kid Rock's "Born Free," and at first you may think, well, Kid Rock, does that really work well with perhaps the voting demographic that you might be seeking if you're Mitt Romney? [LAUGHTER] In some ways, though, it does work well. It's from his original home state of Michigan. He is someone who might perhaps be used in terms of his music to help bring younger voters in. Certainly, that's an area where Obama did better both in 2012 and he did better against McCain in 2008. So, "Born Free" was the song that was used, and we have a clip of that. You can kind of listen to it. § §  § Fast § § On a rough road § § Riding High § § Through the mountains § § Climbing § § Twisting, turning § § Further from my home § § § § Young § § Like a new moon rising § § Fierce § § Through the rain § § And lightning § § Wandering out into § § This great unknown § § § § And I don't want § § No one to cry § § But, tell 'em § § If I don't survive § § I was born free § § § § I was born free § § I was born free... § >> He was born free, apparently. >> Yes. 

[LAUGHTER] >> Which was, and I think this gives an indication about the change in tone here over the last few years and particularly the rise of the Tea Party, that Romney's main campaign song when he was running for the republican nomination in 2008 was Elvis Presley's "A Little Less Conversation." Again, a song that has other themes when it was written, but a song about, hey, I'm a person of action. I'm going to go out there and do something. Whereas, I think with the influence of the Tea Party here in 2012, using a song that's not about if I'm elected I will go out there and do things, but rather, I am there to protect freedom. A very different tone than we've seen. >> Well, and it's also a good song for implied endorsement. And this was something that Eric was hinting to earlier. A candidate not only grabbing a popular song, but grabbing a popular artist that they can latch their name to. And if you're a Mitt Romney and you're not only trying to cater to a youth vote, but you're perhaps trying to cross the line to independents or to more liberal voters, grabbing an artist that tends to be associated with more of those values is kind of a great play, because even if you don't officially have their permission, as long as they don't come out and say no, you can't use my song, or no, I don't endorse you, it kind of gives their fan base this impression that, hey, Kid Rock is now endorsing Mitt Romney, maybe this guy's not so bad. The problem is ultimately you can get in a bit of trouble with that, and we've seen that a number of times over the years. I think the most notable would probably be back in 2000 with George W. Bush attempting to use Tom Petty's "I Won't Back Down," at which time he was issued a cease and desist order from Tom Petty. 

[LAUGHTER] And he did back down. [LAUGHTER] And, oftentimes, even when you do have permission from copyright holders, the copyright holder isn't necessarily the artist who performed the song. And we saw that again in just this past election with Mitt Romney using "Wavin' Flag" by... >> K'Naan. >> K'Naan. And had full rights to use the song, but K'Naan, being the artist, really an Obama supporter, came out and blasted Romney for using his song. So, while it can help you as a candidate, even the old adage negative press is good press, in this case, I don't necessarily think it's exactly the kind of press that you're going for when you're using these songs. >> And I know that we're kind of moving on. We need to move on to questions, so rather than play the clip, we'll just note kind of the two main songs used by the Obama campaign here this year. Springsteen's "We Take Care of Our Own," which kind of goes to fundamental values I think the president it trying to promote, in terms of taking care of those who are less fortunate, and then lastly, Al Green's "Let's Stay Together," which, if you're an incumbent, although again, the song wasn't written with that political intent. 

[LAUGHTER] But the one-liner in the song let's stay together, elect me for another four years. It works if that's what you're listening to, and that's the key message from the song. >> Let's thank these guys. [APPLAUSE]  >> I missed Obama and "The Boss" last time, but every time the president would come here, he would mispronounce my name. [LAUGHTER] And this time, he really got it wrong! [LAUGHTER] Questions. Do we have questions from anyone? Let's take a few. Yes, right here. >> The one that always comes to mind for me as a baby boomer is Jack Kennedy, and I think I'm a democrat today, because I watched "Oops, there goes another rubber tree," and  I remember that when I was in sixth grade and he was making all those rubber tree plants grow like it was magic. And I don't know if anybody else here remembers that Kennedy campaign, but it sure left a message for me. And I kind of thought with all the negative campaigning as kids, we were all singing that song that Jack Kennedy had in his campaign. 

>> And the comment here relates to the music used in the Kennedy campaign here in 1960. Kennedy was sort of doing some interesting things with music there. Of course, the big example there of the adaptation of "High Hopes" by Sinatra. Also going back to that issue that Benjamin had noted earlier of using the star power of someone. Talk about the star power of Sinatra in the late '50s, early '60s. But also, there was another song out there simply known as "Kennedy," and the point of that song more than anything else was to get you to remember his name. >> Do you want me to play a little? >> I could just hum a few bars. Basically, it goes § Kennedy, Kennedy, Kennedy, § § Kennedy, Kennedy, Kennedy, § § Kennedy for you § [LAUGHTER] And the song had other lyrics as well, but most of them were Kennedy, Kennedy, Kennedy, Kennedy... [LAUGHTER] The other thing the song did was really kind of focus on saying that, well, he has some significant experience already from being a senator, but he's also young and kind of mixing this together of youth and experience. Sort of trying to sell the electorate on someone who was very young at the time, running in his early '40s. 

>> One more question right here. >> With the Spielberg movie coming to Madison soon, go back to the 1860 election. Did Lincoln have any songs? >> Yes he did. >> Yeah. >> The question is about the 1860 election and Abraham Lincoln and campaign music from then. >> And he did. Mind you, during the mid-19th century, it was really common for not only candidates but the parties, in fact, to have song books. So, to have a number of songs not only about a political party, but about the candidate that was running for the party was very common. Parlor music was really common, so families sitting around at night actually playing these songs was a wonderful way to get you candidate's name out. But during the 1860 election, it's actually of some significance because it's kind of the first celebrity endorsement that comes around. 

There's a song called "Lincoln and Liberty" that was written by members of the Hutchinson Family Singers. The Hutchinson Family Singers were well-known abolitionists and supporting the republican cause. So not only did he have a great song behind him talking about liberty, which was a theme used very early with songs like Adams and Liberty. and Jefferson and Liberty, really trying to grab onto this freedom that we'd just won, but he had that star power behind him as the Hutchinson Family Singers were very big during that time period. >> Okay, ladies and gentlemen, Ben Schoening and Erik Kasper. [APPLAUSE]