{"id":1368,"date":"2019-10-01T23:02:49","date_gmt":"2019-10-01T23:02:49","guid":{"rendered":"https:\/\/wers.org\/wecb\/milkcrate\/climatechangemusic\/"},"modified":"2019-10-01T23:02:49","modified_gmt":"2019-10-01T23:02:49","slug":"climatechangemusic","status":"publish","type":"post","link":"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/climatechangemusic\/","title":{"rendered":"A Lot\u2019s Gonna Change: Music in the Era of Climate Change"},"content":{"rendered":"
<\/p>\n
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\"Climate<\/p><\/div>\n<\/p><\/div>\n<\/figure><\/div>\n

\n

by Annie Wojnarowski<\/p>\n

Historically, artists have always been the best at examining our world\u2019s current struggles. Bob Dylan did it with \u201cA Hard Rain\u2019s A-Gonna Fall,\u201d Marvin Gaye crooned it with  \u201cWhat\u2019s Goin\u2019 On,\u201d and The Cranberries screamed it with\u201cZombie.\u201d In 2019, our struggle might be the most important of them all: climate change. <\/p>\n

I\u2019ve never been able to fully wrap my mind around climate change; I don\u2019t know if we really can. However, I think musicians have always had a talent for turning intangible things into the art we can digest. Over the past year, prominent artists have tackled the existential fear starting to hold a permanent place in our brains. <\/p>\n

I see this with the album Titanic Rising<\/em> by Weyes Blood<\/a>. That record, a beacon of inquiry, reflection, and fear, ruminates on the condition of being alive at a world that seems to be coming to an end. It opens with a song that sounds like it\u2019s bursting through the seams of its own medium: \u201cA Lot\u2019s Gonna Change.\u201d It starts with a call to past innocence and the hopelessness of not being able to get it back with lines such as, \u201cIf I could go back to a time before now \/ Before I ever fell down \/ Go Back to a time when I was just a girl \/ When I had the whole world \/ Gently wrapped around me<\/em>.\u201d With a want to be naive about the world, to experience everything for the first time, Weyes Blood wants to go back to a time when she felt like the world was hugging, not choking, her.  As the song continues, Weyes Blood writes about perseverance in an unsustainable time. She sings, \u201cFalling trees, get off your knees \/ No one can keep you down.<\/em>\u201d In an interview with NPR<\/a>, Weyes Blood says the theme of the record is \u201clearning how to cope with these changes in a way that doesn’t completely bog you down in a sense of hopelessness.\u201d I find that statement to be fully exemplified in tracks such as \u201cWild Time.\u201d In this song, she laments over our dying world while also trying to find a purpose to keep going: \u201cRunning on a million people burning \/ Don\u2019t cry, it\u2019s a wild time to be alive.\u201d<\/em><\/p>\n

While Weyes Blood has more of an introspective angle on how climate change affects the human psyche, Lana Del Rey\u2019s<\/a> \u201cThe greatest\u201d (off her 2019 record, Norman Fucking Rockwell!<\/em>) seems to admit defeat. Lana softly sings, \u201cL.A. is in flames, it\u2019s getting hot,\u201d <\/em>a reference to the California wildfires, while later admitting that \u201c\u2018Life on Mars\u2019 ain\u2019t just a song.\u201d<\/em> Seeking a second chance at humanity, Lana talks about what was once an optimistic look at human travel; today, it\u2019s seen as a necessity to keep civilization alive. One of the most prolific lines in the entire album happens in the chorus though: \u201cThe culture is lit, and if this is it, I had a ball \/ I guess that I\u2019m burned out after all.\u201d<\/em> Speaking to <\/em>NME<\/em><\/a>, Lana said that with our current culture in America, \u201cit\u2019s probably no coincidence that it\u2019s raining fire everywhere.\u201d This matter of fact attitude exudes the angst of our generation and this song seems like the pinnacle of Generation Z thought on climate change. <\/p>\n

In a similar way, The 1975<\/a> also seem to voice the feelings and emotions of Generation Z, however, their approach isn\u2019t as melancholic. In their upcoming album, Notes on a Conditional Form<\/em>, they seek to explore what it means to be human. In every album thus far, the band has named the first song after their namesake; however, what makes this particular version stand apart from the rest is that lead singer Matty Healy doesn\u2019t sing\u2014 instead, Greta Thunberg takes the mic. Thunberg<\/a>, a sixteen-year-old environmental activist, talks about a climate emergency with a calm, yet stern tone. While she talks about our dying planet, calming electronic tones are played in the background. She lists facts about how long we have to fix this, the amount of oil we have burned, and how our best isn\u2019t good enough. She ends the song with a call to action, saying, \u201cEveryone out there, it is now time for civil disobedience. It is time to rebel.\u201d<\/em> \u2018Rebellion\u2019 may as well be the theme of the album because in the next song, \u201cPeople,\u201d Matty screams at the top of his lungs, \u201cWake up, wake up, wake up,\u201d <\/em>as blunt of a call to action as any. What these songs convey is a sense of urgency and a want to make a meaningful change (something Weyes Blood echoes) while also acknowledging the defeat that what we have lost will never come back (a tone that Lana Del Reyexudes). <\/p>\n

When artists analyze the current state of the world, we begin to understand it more. These artists are using something as beautiful as art to explain something as terrifying as ecological breakdown. Although climate change is one of the most disarming and paralyzing events in our history of human civilization, I find at least some comfort in listening to someone else try to rationalize it. <\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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