Cultural Imperialism and the Attenuation of Ethnic Barriers Six soldiers, as immortalized in Rosenthal’s famous photo of the flag-raising on Iwo Jima in 1945, are seen working together to lift, not a flag, but a ‘G Clef’. The Good Rats’ 1981 album, Great American Music, featured this painting by Pasqual D'Angelo as its album cover.
The band’s name, prominently displayed across the top in bulky, stenciled letters, gives this image a militaristic appearance, a characteristic that can have different meanings to different audiences. To many Americans, the military represents the unification of American strength and spirit to better defend its freedom. To others, the military is viewed as the oppressive arm of the Americans’ will to dominate and conquer. Could this be a depiction of American military dominance and cultural imperialism? Or is it a testament to the unifying power of music – crossing racial and ethnic barriers to bind people of all cultures under one flag? Throughout this paper we will examine the painting, the band and the history behind it all to discover the message intended for us.
The parallels between this image and the photo it emulates are made evident, not just by its stenciled letters, or even the soldiers themselves – but the painting’s background and overlay. Consisting of a faded, yellowish tint, the painting closely resembles the original photo of Iwo Jima. Yet, while the fading is nearly identical to that of the original photo, the yellow tinting is something more common amongst all historical photographs. This imagery may have been used to equate the painting to not just the flag-raising at Iwo Jima or even historical photographs in general – but, more specifically, to photographs of defining moments in American history. This could imply that American music is equally important and influential as any great moment in American history. Or, that the most prominent moments in American history are, in fact, based on the concept of American military dominance. Furthermore, the coloring draws a sharp contrast with the soldiers in the foreground, who, supporting the ‘G Clef’ from its center bar, are trying to raise this symbol the same way the American soldiers raised their symbol over the island of Iwo Jima during World War II. This imagery, further alluding to the idea of cultural imperialism and American military dominance, simultaneously supports the notion of a shared ‘flag’ – for a ‘G Clef’ is not uniquely American, nor does imply any measure of cultural dominance. Upon closer examination, we can see that the painting, while bearing close resemblance to the original photograph, has been painted in a way that simplifies or masks the detail. Shadows hide the soldier’s hands and faces – lending a measure of ambiguity to the painting. By hiding any clues as to the identity of the soldiers, D’Angelo could be eluding to the fact that the individual – no matter what race, class or gender – is a part of this movement; raising the symbol in unity with fellow soldiers. Given this interpretation it is implied that, no matter what race we are, through music we can break through the barrier separating us and unite under one ‘flag’. D’Angelo would not be the first to call attention to these social hurdles. Frequently, songs and paintings are created to directly appeal to public discontent and urge action for a cause. For example, the lyrics of Bob Dylan's music inspired participation in the civil rights movement by emphasizing that no one should "turn his head" and ignore race discrimination (Wells). Having examined the painting itself, we must now turn our attention to the band that chose to commission this painting for their album cover. The Good Rats have found their fame both nationally and internationally since they first formed in 1964. Throughout the years, the band has been producing quality American Rock ‘n’ Roll music and, in 2008, they were inducted into the Long Island Music Hall of Fame. However, despite their success world-wide, having headlined and opened for famous artists such as Bruce Springsteen, Aerosmith, The Ramones, Ozzy Osbourne, Kiss, Journey and many others – they were still relatively unknown ("Everything You Ever Wanted to Know... and More!"). Even Rolling Stone magazine labeled The Good Rats as "the world's most famous unknown band." Their music implements elements of multiple ‘American styles’ – mixing rock with blues, jazz and pop – musical styles native, but not exclusive, to the United States ("Rock & Roll: An Influence on Pop Culture.").
The Good Rats’ choice to use a ‘G Clef’ may be representative of all music in general – or, more likely (as their album title implies) all American music. While, again, this symbol is not necessarily exclusive to The United States – the imagery of these American soldiers working together to erect their flag in the chaos of the pacific during WWII has been ingrained in the minds of nearly every American. To replace the proudest symbol of the American people with this musical mark calls one to consider the dedication and pride backing not just the flag, but the multitude of American musical styles, their origins and their future
Musical styles and preferences are often used to deduce the personality or the personal identity of an individual. However, the same technique can also be used to better understand the group cultural identity – the influence on, and of, an entire generation. The title, Great American Music and its corresponding album cover are not limited to The Good Rats’ music alone, but are representative of the multitude of musical styles that American musicians have created. In a country commonly referred to as a ‘melting pot’, musical styles from all cultures are fused together into several unique styles. America has been the birthplace of many influential musical styles, like Rock ’n’ Roll, Jazz, Pop and the Blues. But these styles spread like wildfire across the globe, not only because they captured the spirit of the generation that created them, but because, like all true American music, these styles are the blended product of all cultures (Starr and Waterman 4).
The Good Rats have primarily affiliated themselves with the Rock ‘n’ Roll genre and this affiliation may be the key to understanding their intentions masked behind this image. The story of Rock ‘n’ Roll has a very rich history. From the very beginning, it was the music of the young, and was reviled by the old (Hornberger). This disagreement was not simply because the music itself was distasteful to adults, but because Rock ‘n’ Roll shook the very foundation of values and beliefs held dear by the adults of the 1950s. One of the more prominent social teachings during that time was that blacks were inferior to whites and that it was therefore unacceptable for whites to associate with blacks. With segregation and the battle against integration prevalent even in government-run schools, American teenagers were bombarded by the idea that it was not only discouraged, but socially detestable for whites to be associated with blacks (Hornberger).
Despite this social norm, Rock ‘n’ Roll completely ignored these teachings. While it had its roots in various strands of American music, i.e., country/western and gospel, its biggest foundation was rhythm and blues or "race music" as it was known in the 1950s. While whites were enjoying the sweet, innocent sounds of the Big Bands – rhythm and blues (R&B), with its especially strong sexual overtones, predominated among blacks. It was then that a second-rate African American blues player named Chuck Berry, after “tightening” his blues into what we now commonly refer to as R&B, became popular amongst white youth. His music was soon incorporated into the works of many prominent white musicians ("Rock & Roll: An Influence on Pop Culture"). The mix of R&B with the rhythmic styles of these white musicians developed into what we now consider to be Rock ‘n’ Roll. Incidentally, this became the first genre of music to be developed cooperatively by both whites and blacks in the United States (Hornberger). While Rock ‘n’ Roll was unable to completely dismantle the practice of segregation it did make some of the first major steps towards removing this barrier.
However, while there are many positive interpretations that can be made from this image, such as the breaking down of racial barriers and the unification of people through music – there are also some negative connotations that must be examined. The flag-raising at Iwo Jima is an inspirational image to most Americans and their allies – signifying their success in World War II, yet this view is not likely shared amongst all people. For the Japanese, this painting could have very different implications. The image, a representation of the Japanese’s defeat on their homeland amongst the pacific isles, could be considered an insulting reminder of their loss and a symbol of American’s desire for dominance.
As stated earlier, music can be used to unify people and to encourage a group mentality – defining a group cultural identity. Unfortunately, this power has been used with ill intentions in the past. The unifying properties of music have been applied by the United States, its allies and their enemies throughout history for a more sinister purpose: propaganda. This dissemination of biased or misleading information has often been employed to embolden the people of one country or to belittle the people of another. While the music is still being used to unify people, it has been altered into something that, instead, attempts to pit one group of people against another.
Regarding Japanese American relations in particular, popular music served as American government propaganda during World War II – supporting preexisting cultural assumptions about the Japanese (Wells). Government officials, acknowledging the power of music, used it to mobilize the American people to support the war against Japan. Lyrics presented a contrasting view of an inferior Japan against that of a civilized and progressive United States. Tasked with finding an enemy for the American people, composers and publishers used these lyrics to dehumanize the Japanese during WWII. Writing songs about the struggle of the ‘good’ (meaning Christian) Americans against the ‘evil’ enemy, the "heathen" Japanese. These composers would often refer to the attack on Pearl Harbor as a "sin" against both the United States and God. The lyrics in ‘When We Set that Rising Sun’ (1945) proclaimed that Japan was "a land of heathen people" with "no respect for God or man" (Wells).
Despite these unfavorable first impressions, the relations between the United States and Japan had long since improved by the time this painting was commissioned. While these events took place during WWII and provide an alternative impression of the painting by D’Angelo, it is unlikely to be the source of the artists’ inspiration. The painting seems to highlight the soldiers, but more importantly the symbol they are supporting. The image on the album cover was not designed to convey an American desire for dominance, but is simply the product of a country that serves as a “perfect musical laboratory” – blending the properties of all music and culture into one harmonious being (Starr and Waterman 5).
Music is an “important cultural form through which people assert and preserve their own histories in the face of changing social conditions” (“American Roots Music: Historical Background"). Spiritual songs sung by African-American slaves, protest songs sung by 1960’s youth, Texas-Mexicans singing the corridor, and "union songs" sung by labor organizers all suggest how “music has been both an intrinsic response to historical and cultural conflict and an expressive vehicle that [encourages] collective action” (“American Roots Music: Historical Background"). As mentioned earlier, artists like Bob Dylan, Bruce Springsteen, Bob Marley and other contemporary singer-songwriters, from a wide variety of ethnic backgrounds, continue to use music as a way to call attention to, and inspire action against, social injustices. Music like Rock ‘n’ Roll, R&B and Pop have long been a vehicle for offering the disenfranchised a voice. This music draws on the lived experience of ordinary men and women who were, and often still are, defined and limited by cultural constructions of race, class and gender. Just as music reflects how Americans have struggled against oppressive social and economic conditions, it is also a means of celebrating and “giving dignity to identity” (“American Roots Music: Historical Background").
This production of great American music is the direct result of the overtaking of racial and cultural barriers – and is likely the concept that D’Angelo and The Good Rats intended to confer. While this diversity has been the source of constant conflict within the United States and abroad, it is more likely that the album cover is designed to celebrate our ability to rise above these obstacles through music. The Good Rats’ idea of great American music likely stemmed directly from their affiliation with the Rock ‘n’ Roll genre. It is the origins of this, and other ‘root’ American musical styles, that the band is attempting to highlight. Despite the will of older generations, the youth and the artists (often viewed as the inferior social pariah of the United States) can use music to defy these social ideals and unite the people under one ‘flag’, as one nation, one world.

Works Cited
"American Roots Music: Historical Background." PBS: Public Broadcasting Service. 2001. Web. 04 Nov. 2011. <http://www.pbs.org/americanrootsmusic/pbs_arm_itc_historical_background.html>.
"Everything You Ever Wanted to Know... and More!" The GOOD RATS - "The World's Most Famous Unknown Band." 2009. Web. 02 Nov. 2011. <http://www.goodrats.com/>.

Hornberger, Jacob G. "Racism, Control, and Rock and Roll." The Future of Freedom Foundation. Oct. 1990. Web. 02 Nov. 2011. <http://www.fff.org/freedom/1090a.asp>.

Peak, Alexander S. "What American Culture?" The Wonderful World of Alex Peak. 14 Sept. 2004. Web. 02 Nov. 2011. <http://alexpeak.com/ww/2004/002.html>.

"Rock & Roll: An Influence on Pop Culture." The Interactive Media Lab at the University of Florida. Web. 15 Oct. 2011. <http://iml.jou.ufl.edu/projects/Fall08/StewartA/influence.html>.

Rosenthal, Joeseph J. Raising the Flag on Iwo Jima. 1945. Photograph.

Starr, Larry, and Christopher Alan Waterman. American Popular Music. New York: Oxford UP, 2006. Print.

The Good Rats. Great American Music. Uncle Rat Records, 1981. Vinyl.

Wells, K. A. "Music As Propaganda: Did Music Help Win The First World War?" Articles about America's Tin Pan Alley Music and Music History. 2004. Web. 15 Oct. 2011. <http://parlorsongs.com/issues/2004-4/thismonth/feature.php>.