"Macho Man" and "Beat It": The Meaning of Song Selections

Music holds meaning. Sometimes this meaning is personal—we listen to songs that remind us of a memorable time, or we select that one song on the playlist because it gets us into a certain mood or emotional state.

Other times, this meaning reflects our socio-cultural values and traditions. In his seminal 1964 text The Anthropology of Music, Alan Merriam outlined 10 functions of music, four of which relate in some way to validating, stabilizing, and integrating a cultural group and/or society. Music is integral to many of our traditions and rituals (e.g. singing "Happy Birthday" to the birthday recipient) and it can provide a feeling of social unity (e.g. hearing your national anthem played during the Olympics).

The music we listen to, dance to, and play often reflect the values of who we are as individuals, as well as of the social and cultural groups we identify with. Additionally, music has the ability to influence the shared mood and social cohesion of a group. Given these considerations, the musical choices made for a public occasion (like a political rally) should not be taken lightly.

So when a friend posted a list of the songs played during the January 6th rally in Washington DC, I couldn’t help but wonder… why these songs? Why Pink Floyd’s “Brain Damage, Celine Dion’s “My Heart Will Go On” from Titanic, Michael Jackson’s “Beat it,” and the Village People’s “Macho Man?”

Now naturally I was not privy to the selections of these songs. Additionally, I recognize there could have been little thought given—they may have been chosen simply because the person making the selection liked that song. But if we follow the premise that music reflects the values and identities of a social group, what might these particular song selections mean?

Let's start with the titles and lyrics. Taken at face value (i.e., out of context and/or meaning of the songs), the phrase “beat it” means to leave or to get out, with an arguably aggressive quality. This aggression is highlighted in some of the subsequent lyrics:

Beat it, beat it, no one wants to be defeated / Showin' how funky and strong is your fight / It doesn't matter who's wrong or right / Just beat it (beat it)

You have to show them that you're really not scared / You're playin' with your life, this ain't no truth or dare / They'll kick you, then they'll beat you / Then they'll tell you it's fair / So beat it, but you wanna be bad

And who is it that might be showing this "strong fight," that they’re not really scared? Perhaps it's the "Macho Man," with the repetitive refrain of “I gotta be a macho man” and lyrics that seem to identify and celebrate certain physical and personality characteristics of the (ideal?) “macho man”—the mustache, the body hair, and the confidence.

Of course in both these examples, the actual meaning (in "Beat It") and cultural associations (of "Macho Man") of the songs are quite different than what I described. In “Beat It” the lyrics as a whole speak to taking a non-violent approach, to the strength it takes to walk away and not fight. And “Macho Man” is a song considered to be a gay anthem. So there almost seems to be a disconnect here—do these two songs actually reflect the values and identities of those who attended the January 6th rally?

Well, perhaps it’s not the semantics and associations of the lyrical content, but the music itself. In fact, when it comes to setting and shifting the mood of a group and establishing social cohesion, it’s not so much the words that create the space, but the musical sounds—the rhythms, melodies, harmonies, musical textures, and timbres (or colors) of what's heard. So what do we have with these four particular selections?

We have four songs from three different decades, all with distinctly different sounds.

Starting chronologically, Pink Floyd’s “Brain Damage” was released in the early 1970s. It’s set at a slower tempo, has a shifting texture that moves between extended consonances and dissonances, and a repetitive melody that doesn't change much in pitch, but at times has this soaring expansiveness. These characteristics create an almost sonic, hypnotic quality and aural space.

“Macho Man,” released in the late 1970s, is quite different. It’s a disco dance tune, with persistent, driving rhythms set at a faster tempo, and a more traditional song structure with multiple verses and a repeating chorus.

“Beat It,” released in the early 1980s, has some similar musical qualities to “Macho Man"—hard-driving rhythms and the common verse-chorus song structure. But it’s less a celebratory dance tune, and more a song that tells a story, with the music set to enhance the intensity and arc of the storyline.

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We end, then, with the theme song from the 1997 movie Titanic—Celine Dion’s “My Heart Will Go On.” I will admit to being surprised about this selection for a rally. This is an emotional song, for sure, but not one that necessarily serves to pump you up. This song is more akin to an operatic aria, with soaring melodies, a slow tempo, and a rich harmonic and textural structure. It’s a musical love letter.

So what place do these songs have at a political rally? It’s difficult to say—there doesn't seem to be much consistency in the mood created by each musical selection, and no clear theme to the lyrical content. Additionally, the meanings of the lyrics and cultural associations of some of the songs seem in direct contrast to the values commonly expressed by those who attend rallies like what we witnessed on January 6th.

So ultimately it may boil down to this—that these songs were selected without much thought, design, or intent, but perhaps for a more personal reason.

It may simply be that the organizers liked them.