A (Con)textual Argument of America’s
Globalization from an Outsider’s View
William G. Brown
The American/British imperialistic influences that have spread around the world are a heated debate. Whether one sees it as a beginning or dying trend (results may vary in a world economy that is starting to see a heavy Asian influence), there is no doubt that all sides usually portray it as a moral issue of right and wrong. As Condoleezza Rice stated in 2000, “It is best for the world if the USA continues to enforce its own interest, because American values are universal values.” It is clear that America’s current administration is in favor of pushing Americanization further. Therefore, the American position is probably best compared to Joseph Kipling’s argument for British colonialism when he stated that it was the “white man’s burden” to westernize the whole of the world. The outsider’s view, from countries that are being modernized and westernized, does not seem as favorable toward America’s “burden.” This is the argument put forth by the Slovenian musical artists Laibach, represented as a single entity like a communist nation. Laibach, which consists of various factions (such as the band 300,000 VK) and various members who come and go “as needed,” is a co-creator of the NSK (New Slovenian Art), the biggest art movement from Western Europe of the last 25 to 30 years (Laibach). It has always used the medium of popular music to construct its political art. Laibach represents a voice that comes from a rapidly Westernizing nation currently playing catch up in the world’s race to Americanize. How does it present its argument against Americanization, and whom does it attempt to persuade (Americans, Slovenians, or other nations)?
With the release of Laibach’s new album, Volk, the world is exposed to the next installment of political revolution. Its albums, all influenced by a Slovenian upbringing during the Communist occupation, have always fused moral contemplation with the art of politics, and this album is no different. With fourteen songs based off of fourteen nations’ national anthems (including one for the NSK’s virtual nation), Volk gives the listener a global critique of world politics.
The song “America,” based off of the “Star Spangled Banner,” is an argument, from an outsider’s perspective, constructed against American globalization. The song starts with a loud distortion of bass, arranged similar to the rapid fire of an automatic weapon. It grabs the listeners’ attention and, once it has their attention, then the song is free to move at its own pace and to present Laibach’s argument as clearly and precisely as possible. From here the song takes on a stark contrast with the very mild background sounds of police sirens. By linking the sounds of gun fire and police sirens, the song is immediately associated with a message of crime.
After establishing this mindset of crime, the song proceeds by utilizing words from the “Star Spangled Banner” in the foreground of the argument. “The land of the free and the home of the brave” gives a specific symbolic identity to the people of the United States of America that would be lost on those without the knowledge of this reference. Although there are other songs on the album that one might be likely to be familiar with, such as the use of the words “God Save the Queen” in the song “Anglia,” which is utilizing these words from the United Kingdom’s national anthem, these songs are best served in symbolically representing the intended nation. If one is not from that specific country the words are less likely to create a connection with the listener.
The direction of the argument is not only substantiated by the use of symbolic identity, but also by Laibach’s specific uses of the word “you” several times throughout the song. When Laibach states, “You the people of the United States,” it suggests that the listener is supposed to think “We the people of the United States” from the Declaration of Independence, which furthers the symbolic identity. However, the specific use of “you” heightens the awareness of the intended audience, and separates the speaker from the audience as well. In the song “Yisrael,” based off of the national anthem of Israel, Laibach’s words for the chorus are “My Country.” Although Laibach is Slovenian born, the band’s words in the song “Yisrael” suggests that they are speaking for Israel, though not necessarily on their behalf, because the use of “My” suggests the speaker is Israeli, but not necessarily pro-Israel. However, in “America” the speaker states “How blind can you get for your country,” suggesting that he is speaking out against the policies of the US. Furthermore, the word “you” is not overly used on the album except in the songs “America” and “Anglia,” which both are critiques of imperialism.
Art is not always straightforward in its presentation, but rather, intentionally or unintentionally, leaves room for the interpreter to draw their own conclusions. Knowing this, Laibach supplied a quote in their liner notes from the US President, George W. Bush, from 2000 stating, “Our nation is chosen by God and commissioned in history to be a model for the world.” When compared with a quote from “America” stating, “Praise the holy spirit to save us from your freedom, justice, peace, and illusion from arrogance and pride, from violence and confusion,” the impression is given that Laibach feels that the rest of the world is not as embracing of American values as George W. Bush believes. As Laibach further states, “Your Bill of Rights the enterprise.” Indeed, the outsider’s view, at least from this source, is that American interests are only for the best of American interests.
The song does borrow words from America’s national anthem, but it also borrows words from a prior release of Laibach’s called “Satanic Verses,” which originally appeared on the album WAT. This demonstrates a furthering of a prior argument. Laibach states in both songs: “Satanic verses of your superstition / The Land of Plenty (and of Ammunition) / Your self-esteem and self-desire / Your trust in God and religious fire."
Laibach draws upon its past argument to show how those elements still remain. The new argument is a further demonstration of how the “Land of Plenty,” a land with so much that it must have been chosen by God, still needs to “terrorize” people into “salvation” (Laibach).
Ironically, the salvation that Laibach hopes to achieve through this song is filtered through the language of the oppressor, because America will not learn the Slovenian language in order to continue the argument. Even more irony lies in the circumstances surrounding Laibach’s 1987 cover of “Opus Dei,” written by an Austrian band, Opus. In defiance of the native language of rock ‘n’ roll, Laibach took this song written in English and placed it in the native language (German) of Opus. In spite of the stance that Laibach was attempting to make, it is in fact the English cover of the song that remains Laibach’s biggest hit and most notable trademark. Also, in spite of the stance it is attempting to make against imperialism, it is the language of the imperialist that communicates the message.