Terrorism

The Role of Music in Terrorism

Music has been used in recruiting and radicalization of members or potential members by both domestic and international groups, including al Qaeda and the Ku Klux Klan. In the 1920s, the Klan had a record label based in Indianapolis, Indiana, in order to release songs to promote its agenda. While empirical data on music and terrorism is lacking, there are a number of reasons why terrorist groups would employ music in recruiting and promoting their agendas. First, music can be used to label and dehumanize others. By using labels that define “them” as not only different from “us,” but also in opposition and inherently inferior to an “us,” it creates feelings of antagonism toward the other.

Second, music has been used for centuries to immortalize heroes and commemorate significant dates and events. This has a two-pronged effect: Not only can songs about a charismatic leader increase the appeal of following that leader, but followers can also become enamored with the idea that someday their names and deeds may be recounted in song. Third, music is an effective way for people to air their grievances in a way that even those not already sympathetic with their position will listen to and create a sense of shared identity between the listener and the performer. Songs such as NWA's “F*ck the Police” and “911 Is a Joke” not only raised awareness of the mistreatment of racial and ethnic minorities [Page 1116]by law enforcement officers, but also galvanized support for their fight against police brutality. In the same way, terrorist groups use the dynamic of vocal singing to create a feeling of unity with the performers in a sort of shared struggle.

One challenge that the propagandists face when using music as a tool to advance their cause is the fact that music influences people in different ways. Skilled songwriters, however, craft their songs to maximize the desired effect that these songs have on listeners. The lyrics need to clearly and regularly state the message that the writer wishes to convey. For example, Public Enemy's clarion call to stand up against systemic racism in “Fight the Power” was succinctly and clearly stated by the repetition of those three words throughout the song. In addition, the use of a musical “hook,” whether melodic, rhythmic, or timbral, can influence listeners to “connect” with the song and repeatedly listen to it, which also increases the repetition of the message.

Musical Responses to Terrorism

Apart from the use of music in recruiting and radicalizing potential terrorists, music has also helped strengthen the resolve of communities affected by terrorism and bring healing to them. Following the attacks on the World Trade Center in New York and the Pentagon in Washington, D.C., as well as the related plane crash in Shanksville, Pennsylvania, there was an outpouring of musical tributes and remembrances. Radio stations created commemorative songs by overlaying popular songs such as Eric Clapton's “Tears in Heaven,” REM's “Everybody Hurts,” U2's “Stuck in a Moment,” and Amy Grant's “I Will Remember You” with segments of witness interviews, news reports, political speeches, and other audio related to the attacks. Soon, artists began to write original songs that reflected on the events. In October 2001, country singer Alan Jackson debuted one of the best known of these tribute songs, “Where Were You (When the World Stopped Turning)?” Rock veteran Neil Young released his single “Let's Roll” in November 2001. The song was inspired by the words and actions of Todd Beamer, one of the passengers on United Airlines Flight 93 who fought back against the hijackers to prevent the plane from reaching its intended target. Other songs released in response to the attacks include Bruce Springsteen's “The Rising,” Slayer's “Jihad,” Toby Keith's “Courtesy of the Red, White, and Blue,” Black-Eyed Peas' “Where is the Love?” and Mortification's “New York Skies.”

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