Throughout history, the music of the era has oftentimes reflected political ideology and trends. In American culture, arguably the first notable instance of musical politics surfaced in the Vietnam era, where songs such as Ohio by Crosby, Stills, Nash, and Young, Give Peace a Chance by John Lennon, and War by Edwin Starr were released, and forced the American people to question the purpose of the war across the globe (Anderson). Bands encouraged peace rallies, sit-ins, and any form of anti-war and borderline anti-United States government rebellion. Thousands of adolescents, often dubbed as "hippies," flocked to their respective artists' events, hence supporting the anti-war mindset, and made the roots of a potential social chasm. War riots and anti-Nixon uprisings were common as American involvement in the war was charred with implied defeat in 1975 when the North Vietnamese finally overtook the south, after the removal of American forces in South Vietnam (Public Broadcasting Station). Regret and ill-spirited feelings only worsened, as Vietnam veterans were mistreated, and anti-government feelings often worsened. Big-time performers such as Bob Dylan and Simon and Garfunkel released several songs on multiple albums protesting the Vietnam War and its causes.
             In a different time period, before the depression, country music as a genre was virtually nonexistent. Following the depression, the country music industry became a multi-faced industry and actually positively influenced public sentiment toward the government. As the depression worsened, country music served as a release to the American public. National Barn Dance was released on public radio, and country sales skyrocketed. Country music reflected the country's general theme of hope and recovery, and hence the government's. This was, however, a very unique situation for the nation (Nelson).
             Today a distinctly different situation exists. Much like the questionably ...