A Quote by Gregory Porter

The protest songs of the 1960s and 70s managed to blend political and societal views with music from the heart. — © Gregory Porter
The protest songs of the 1960s and 70s managed to blend political and societal views with music from the heart.
While writing 'The Orientalist,' I played a soundtrack that alternated between ragtime and Azeri mugams, Russian operas and German and Italian pop songs from the 1920s and 30s. When I finally finished, I gorged on all my music from the 1960s, 70s, and 80s.
You can't cheer when political officials punish the expression of views you dislike and then expect to be taken seriously when you wrap yourself in the banner of free speech in order to protest state punishment of views you like and share.
In the '60s and '70s, a protest song was a genre in music.
What we look for when we need to find someone who can fit in with our music, the vocals and the harmonies and the way they blend are very important to us because if you listen to Beach Boys music, the harmonies, not only are the notes being sung, but there's a blend to it. The voices have to blend.
When I was younger, I was listening to a lot of Armenian music, you know, revolutionary music about freedom and protest. In the 70s I was listening to soul and the Bee Gees and ABBA, and funk.
After touring the first album, we went into the studio and started making music that was influenced by all the freaky folk music we'd been listening to. Lots of Canterbury scene stuff from the 1960s and '70s. Robert Wyatt, Soft Machine, Caravan, Gong.
In the 1960s, people like Bob Dylan, his music and words were a threat to the society and mainstream of the time. It shook people alive, and directly and indirectly things changed. But, as I see it, the change is never through the music alone. It's also the circumstances around the music that will cause/create the effect. And sometimes it's just strictly accidental that a piece of music becomes a form of protest.
Because of my song 'Sam Stone,' a lot of people thought I was interested in writing protest songs. Writing protest songs always struck me as patting yourself on the back.
I was captured by the songs as much as the singer. They grabbed my heart. The reality of Country Music moved me. Even when I was a kid, I liked the sad songs... songs that talked about true life. I recognized this music as a simple plea. It beckoned me.
If rock criticism is to be a political calling, which has always been my angle, that's obviously not because it's a fountainhead of protest songs.
'Rangeela' and 'Daud' are both exciting films. The songs, the music, the dances - they all blend so well.
Thinking about the artists I've loved through the years, my favorites are the ones who've made music with cultural, societal and political significance.
Music that was made in the 60s and 70s did come from a really soulful place. The seed for the songs written in the 90s were planted in those songs, even though they were samples.
After that I didn't listen to music as much because '70s music just wasn't... I remember all the songs, but it wasn't because I was into them, you know what I mean?
I remember 'The Shepherd's Dog' record being not necessarily a political record, but a reaction to socio-political situations in America. And it didn't manifest itself as protest or propaganda songs, but there's a lot of surreal imagery that was born out of really me being surprised Bush got re-elected in '04.
In Denver, all we really had was pop radio, so I grew up on all that late '70s pop stuff - Billy Joel, James Taylor, Lionel Richie, Elton John, Steve Miller and Toto. Great love songs and really hooky and melodic music - I have all of that stuff in my heart.
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