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[INTRO MUSIC]

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[BYRDS PLAYING]

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NARRATOR: Give[br]them three chords,

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and they'll give you the truth.

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THE BYRDS: (SINGING) The[br]times, they are a-changin'.

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NARRATOR: Welcome[br]to watchmojo.com,

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and today we're[br]counting down our picks

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for the top 10 protest songs.

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BOB MARLEY: (SINGING)[br]Get up, stand up.

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Don't give up the fight.

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NARRATOR: For this[br]list, we've chosen

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songs that argue[br]against the status

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quo, ask for change in social,[br]political, or other spheres,

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and/or are associated with[br]particular events, periods,

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movements, et cetera.

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EDWIN STARR: (SINGING)[br]War, huh, yeah.

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What is it good for?

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Absolutely nothing.

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PETE SEEGER: (SINGING)[br]We shall overcome.

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NARRATOR: Number 10-- "We[br]Shall Overcome," Pete Seeger.

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PETE SEEGER: (SINGING)[br]We shall overcome.

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NARRATOR: Although the song[br]had been kicking around,

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in some form, since--[br]well, no one really knows.

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"We Shall Overcome" has become[br]synonymous with Pete Seeger.

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PETE SEEGER: (SINGING) The[br]whole wide world around.

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The whole wide world around.

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NARRATOR: The banjo-slinging[br]folk legend certainly

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had a hand in shaping[br]the song as we know it.

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Used as a musical[br]form of protest

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during the Civil[br]Rights Movement,

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the anthem features[br]simple, but honest, lyrics

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that made it a ready battle cry[br]for any group facing adversity.

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PETE SEEGER: (SINGING)[br]deep in my heart--

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NARRATOR: Plus, it continues[br]to be recorded in support

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of a number of causes today.

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PETE SEEGER: (SINGING)--believe[br]we shall overcome--

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[THE EDGE PLAYING GUITAR]

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NARRATOR: Number 9--[br]"Sunday Bloody Sunday," U2.

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U2: (SINGING) Mm, oh.

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NARRATOR: Despite being drenched[br]in U2's signature echo pop

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sound, "Sunday Bloody Sunday"[br]is actually the band's response

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to the British Army's armed[br]attack of Northern Irish Civil

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Rights protesters in 1972.

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U2: (SINGING) Puts my back up,[br]my back up against the wall.

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Sunday, Bloody Sunday.

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NARRATOR: Also known as[br]the Bogside Massacre,

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the incident resulted[br]in over a dozen deaths.

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U2: (SINGING) Sunday,[br]Bloody Sunday.

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Sunday, Bloody Sunday.

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NARRATOR: Thanks to[br]its clanging guitars,

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and military-inspired[br]beat, it's become one

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of the group's signature songs.

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U2: (SINGING) How long?

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How long must we sing this song?

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How long, how long?

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Tonight--

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NARRATOR: But it's the[br]respect, and authority,

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with which U2 tackles[br]the subject matter, that

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really makes it stand out.

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U2: (SINGING) wipe[br]your blood shot eyes.

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Sunday, Bloody Sunday.

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Wipe your tears away.

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Sunday, Bloody Sunday.

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NARRATOR: Number 8--[br]"F*** tha Police," NWA.

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NWA: (RAPPING) F*** tha[br]police, coming straight from

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the underground.

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A young n**** got it[br]bad cause I'm brown.

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NARRATOR: With this[br]gangsta rap track,

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NWA went straight outta Compton,[br]and straight into controversy.

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NWA: (RAPPING) F*** that[br]shit, cause I ain't the one,

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for a punk motherf*****[br]with a badge and a gun,

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to be beaten on--

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NARRATOR: By presenting[br]a clear street-view look

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at racially-motivated police[br]brutality, "F*** tha Police"

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got the rappers[br]noticed by the FBI.

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NWA: (RAPPING) Yo, Dre[br]I got something to say.

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F*** the police.

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F*** the police.

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F*** the police.

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NARRATOR: The government[br]agency's attention

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to lyrics that appeared to[br]support violence towards cops,

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actually helped fuel the[br]band's cred and popularity.

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NWA: (RAPPING)**** the police[br]and Ren said it with authority,

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because the n***** on[br]the street is a majority.

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A gang--

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NARRATOR: Meanwhile, the song[br]has become a classic protest

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song.

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And the weight behind[br]its title phrase,

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has become a recurring[br]theme in hip-hop music.

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(RAPPING) Dumb[br]mother****** with a gun.

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And if I'm rolling[br]off the 8, he'll

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be the one that I take[br]out, and then get away.

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While I'm driving off laughing[br]this is what I'll say.

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F*** the police.

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[GUITAR PLAYING] Number[br]7-- "Ohio," Crosby, Stills,

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Nash, and Young.

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CSNY: (SINGING) Tin[br]soldiers and Nixon coming,

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we're finally on our own.

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On May 4th, 1970, the[br]Ohio National Guard

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fired on several[br]peacefully-protesting Kent

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State University students.

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CSNY: (SINGING)[br]Gotta get down to it,

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soldiers are cutting us down.

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NARRATOR: After he saw[br]photos of the shootings that

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left four dead in Ohio,[br]Neil Young wrote the lyrics

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to this protest song.

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NIEL YOUNG: (SINGING)[br]four dead in Ohio.

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NARRATOR: David Crosby, Steven[br]Stills, and Graham Nash,

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then joined him in the[br]studio to record the rocker.

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CSNY: (SINGING) How can[br]you run when you know?

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NARRATOR: Though some AM radio[br]stations banned the single

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for its unflattering[br]namedropping of President

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Nixon, Ohio still reached the[br]Billboard Hot 100's top 20,

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following its release.

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CSNY: (SINGING)[br]Four dead in Ohio.

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Four dead in Ohio.

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Four dead in Ohio.

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NARRATOR: Number 6--[br]"Killing in the Name,"

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Rage Against The Machine.

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RAGE AGAINST THE MACHINE:[br](SINGING) Killing

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in the name of.

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NARRATOR: Never a group to[br]shy away from tough issues,

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Rage quickly[br]established themselves

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as a politically-minded act[br]with their debut single.

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RAGE AGAINST THE[br]MACHINE: (SINGING)

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Some of those that work forces,[br]are the same that burn crosses.

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NARRATOR: The rap metal band[br]turned "Killing in the Name"

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into a musical attack[br]on police brutality,

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institutional racism,[br]and the Klu Klux Klan.

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Through its snorting baselines,[br]Tom Morello's unorthodox guitar

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part

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[TOM MORELLO GUITAR SOLO]

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NARRATOR: And f-bombs.

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Lots and lots of f-bombs.

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RAGE AGAINST THE MACHINE:[br](RAPPING) F*** you,

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I won't do what you tell me.

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F*** you, I won't[br]do what you tell me.

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NARRATOR: Despite[br]its explicit lyrics,

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the track has become[br]their signature tune,

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and has been covered[br]by multiple artists.

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RAGE AGAINST THE MACHINE:[br](RAPPING) F*** you,

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I won't do what you tell me.

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F*** you I won't do[br]what you tell me.

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F*** you I won't do[br]what you tell me.

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F*** you I won't do[br]what you tell me.

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NARRATOR: Number 5-- "Fight[br]the Power," Public Enemy.

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(RAPPING) Listen if you're[br]missin' y'all, swingin' while

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I'm singin', givin'[br]whatcha gettin'.

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Knowin' what I know, while[br]the black bands sweatin,

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and the rhythm rhymes rollin'.

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PUBLIC ENEMY: While the Beastie[br]Boys were fighting for their,

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right to party, Chuck D,[br]Flavor Flav, and the rest

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of the Public Enemy crew,[br]were fighting for their right

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to do pretty much[br]everything else--

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PUBLIC ENEMY: (RAPPING)[br]Fight the power.

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NARRATOR: --fused with[br]aggression, defiance,

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and rebellion.

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(RAPPING) Fight the power.

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NARRATOR: The lyrics of[br]Fight the Power are steeped

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with samples of[br]African-American culture,

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and shots at the[br]American establishment.

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PUBLIC ENEMY:[br](RAPPING) Sample a look

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back you look and find nothing[br]but rednecks for 400 years,

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if you check.

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Don't worry be happy.

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Was a number one jam.

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Damn if I say it you[br]can slap me right here.

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NARRATOR: Along with playing in[br]Spike Lee's Do the Right Thing,

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the song has since[br]become an anthem

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for urban, underprivileged[br]young adults.

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PUBLIC ENEMY: (RAPPING)[br]Fight the power.

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We've got to fight[br]the powers that be.

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THE WAILERS: (SINGING)[br]Get up, stand up--

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stand up for your rights.

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NARRATOR: Number 4-- "Get[br]Up, Stand Up," The Wailers.

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THE WAILERS: (SINGING)[br]Don't give up the fight.

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NARRATOR: Struck by[br]the devastating poverty

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found in Haiti, Bob Marley[br]teamed up with Peter Tosh

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to write this[br]three-minute number.

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THE WAILERS: (SINGING)[br]We're sick and tired

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of the ism-skism, dyin' and go[br]to heaven in a Jesus' name--

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NARRATOR: In the early[br]'70s, many Haitians

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fled the country in the[br]hopes of freeing themselves

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from these conditions.

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THE WAILERS: (SINGING) And you[br]can fool some people sometimes,

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but you can't fool all[br]the people all the time.

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And now you see the[br]light-- what you gonna do?

0:07:53.675,0:07:55.110
Stand up for your rights!

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NARRATOR: With its solid reggae[br]groove, and powerful lyrics,

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"Get Up, Stand Up"[br]urged those who remained

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to fight for their rights.

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Thanks to its powerful[br]message, it quickly

0:08:03.930,0:08:06.323
became a concert staple[br]for Marley and the Wailers.

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(SINGING) Get up stand up--[br]don't give up the fight.

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NARRATOR: And was the last song[br]the Rastafarian performed live

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before his death in 1981.

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THE WAILERS: (SINGING)[br]Don't give up the fight.

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NARRATOR: Number 3-- "The[br]Times They Are a-Changin'," Bob

0:08:23.330,0:08:23.830
Dylan.

0:08:23.830,0:08:25.788
BOB DYLAN: (SINGING) Come[br]gather 'round people,

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wherever you roam, and admit[br]that the waters around you have

0:08:32.210,0:08:32.890
grown--

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NARRATOR: Written[br]when America was

0:08:34.306,0:08:36.000
on the cusp of[br]great social change,

0:08:36.000,0:08:38.860
and just prior to[br]JFK's assassination,

0:08:38.860,0:08:41.400
this is Bob Dylan's call[br]for open-mindedness,

0:08:41.400,0:08:43.270
and a warning to the old guard.

0:08:43.270,0:08:45.600
BOB DYLAN: (SINGING) Come[br]senators, congressmen,

0:08:45.600,0:08:48.334
please heed the call.

0:08:48.334,0:08:50.318
Don't stand in the doorway.

0:08:50.318,0:08:52.364
Don't block up the hall.

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NARRATOR: The coming[br]generations quickly

0:08:54.030,0:08:57.140
adopted it as an anthem of[br]change, due to its timeless

0:08:57.140,0:08:57.640
lyrics.

0:08:57.640,0:09:01.990
BOB DYLAN: (SINGING) The[br]battle outside raging,

0:09:01.990,0:09:05.990
will soon shake your windows[br]and rattle your walls.

0:09:05.990,0:09:09.606
For the times they[br]are a-changin'.

0:09:09.606,0:09:11.250
NARRATOR: The Times[br]They Are a-Changin'

0:09:11.250,0:09:14.870
also reach the UK Top 10,[br]and cemented Dylan's place

0:09:14.870,0:09:17.567
in folk music, and[br]as a protest singer.

0:09:17.567,0:09:19.150
BOB DYLAN: (SINGING)[br]And the first one

0:09:19.150,0:09:21.650
now will later be last.

0:09:21.650,0:09:24.910
For the times they[br]are a-changin'.

0:09:24.910,0:09:29.258


0:09:29.258,0:09:32.174
[SONG CHANGES]

0:09:32.174,0:09:36.080


0:09:36.080,0:09:38.948
Number 2-- "What's[br]Going On," Marvin Gaye.

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MARVIN GAYE: (SINGING) Mother,[br]there's too many of you crying.

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NARRATOR: In the first track and[br]single from "What's Going On,"

0:09:47.900,0:09:51.256
Marvin Gaye questions the[br]world, and times, around him.

0:09:51.256,0:09:55.432
MARVIN GAYE: (SINGING) Don't[br]punish me with brutality.

0:09:55.432,0:10:01.600
But talk to me, so you[br]see, what's going on.

0:10:01.600,0:10:03.370
NARRATOR: The initial[br]spark for the song

0:10:03.370,0:10:06.970
was an act of police brutality[br]witnessed by co-writer Obie

0:10:06.970,0:10:08.962
Benson during an[br]anti-war protest.

0:10:08.962,0:10:13.600


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After Gaye added[br]his own touches,

0:10:15.640,0:10:18.560
the track was released without[br]Motown boss Berry Gordy's

0:10:18.560,0:10:22.620
consent, as he hated the track.[br](SINGING) We need some unity,

0:10:22.620,0:10:24.010
some love--

0:10:24.010,0:10:25.920
NARRATOR: Lucky for us[br]all, "What's Going On"

0:10:25.920,0:10:29.120
topped the soul charts, and[br]became Motown's fastest-selling

0:10:29.120,0:10:30.552
single to that point.

0:10:30.552,0:10:33.733
RAGE AGAINST THE MACHINE:[br](SINGING) Hear me people, oh.

0:10:33.733,0:10:40.120
What's going, what's going on?

0:10:40.120,0:10:42.300
Before we unveil[br]our top pick, here

0:10:42.300,0:10:44.650
are a few honorable mentions.

0:10:44.650,0:10:47.650
CCR: (SINGING) Some folks are[br]born made to wave the flag.

0:10:47.650,0:10:50.578
Ooh, they're red,[br]white, and blue.

0:10:50.578,0:10:53.470
BRUCE SPRINGSTEEN:[br](SINGING) Born in the USA.

0:10:53.470,0:10:57.322
I was born in the USA.

0:10:57.322,0:10:58.780
BUFFALO SPRINGFIELD:[br](SINGING) Stop

0:10:58.780,0:11:00.680
children, what's that sound?

0:11:00.680,0:11:04.180
Everybody look whats going down.

0:11:04.180,0:11:06.062
What are we fighting for?

0:11:06.062,0:11:10.508
Don't ask me, I don't give a[br]damn, next stop is Vietnam--

0:11:10.508,0:11:14.770
And it's five, six, seven,[br]open up the pearly gates.

0:11:14.770,0:11:16.436
SAM COOKE: (SINGING)[br]A long time coming,

0:11:16.436,0:11:22.364
but I know a change gonna come.

0:11:22.364,0:11:25.328
MIA: (RAPPING) I throw this[br]shit in your face when I see ya.

0:11:25.328,0:11:27.304
Cause I got something to say.

0:11:27.304,0:11:32.244
I was born free.

0:11:32.244,0:11:35.208
I was born free.

0:11:35.208,0:11:37.720


0:11:37.720,0:11:39.640
NARRATOR: Number 1--[br]"Give Peace a Chance,"

0:11:39.640,0:11:43.140
the Plastic Ono Band. (SINGING)[br]Everybody's talking about

0:11:43.140,0:11:46.203
Bagism, Shagism, Dragism,[br]Madism, Ragism, Tagism--

0:11:46.203,0:11:47.786
NARRATOR: Paving the[br]way for Imagine--

0:11:47.786,0:11:51.472
JOHN LENNON: (SINGING)[br]Imagine all the people.

0:11:51.472,0:11:53.180
NARRATOR: --this John[br]Lennon-penned track

0:11:53.180,0:11:56.050
provides the sentiment that[br]Lennon is best remembered for.

0:11:56.050,0:12:01.340
PLASTIC ONO BAND:[br](SINGING) All we are saying

0:12:01.340,0:12:05.340
is give peace a chance.

0:12:05.340,0:12:08.430
NARRATOR: Quickly she adopted[br]as the anti-Vietnam war song,

0:12:08.430,0:12:11.130
give peace a chance was[br]conceived, and recorded,

0:12:11.130,0:12:14.730
during the ex-Beatles Montreal[br]bed-in with wife Yoko Ono,

0:12:14.730,0:12:18.830
and later sung by 500,000[br]people at the Moratorium March

0:12:18.830,0:12:19.475
on Washington.

0:12:19.475,0:12:24.890
PLASTIC ONO BAND:[br](SINGING) All we are saying

0:12:24.890,0:12:27.781
is give peace a chance.

0:12:27.781,0:12:30.030
NARRATOR: While it reached[br]the Billboard Hot 100's Top

0:12:30.030,0:12:32.770
20, and the UK[br]charts Top Five, it's

0:12:32.770,0:12:35.590
the song's hopeful tune that[br]has given it its enduring

0:12:35.590,0:12:37.125
legacy in rock and roll.

0:12:37.125,0:12:39.520
PLASTIC ONO BAND: (SINGING)[br]is give peace a chance.

0:12:39.520,0:12:41.160
NARRATOR: Do you[br]agree with our list?

0:12:41.160,0:12:42.940
What's your favorite[br]protest song?

0:12:42.940,0:12:45.690
For more rebellious Top[br]10's published every day,

0:12:45.690,0:12:48.732
be sure to subscribe[br]to watchmojo.com.

0:12:48.732,0:12:52.545
JOHN LENNON: (SINGING)[br]--is give peace a chance.

0:12:52.545,0:12:53.749
JOHN LENNON: OK, beautiful.

0:12:53.749,0:12:54.248
Yeah.

0:12:54.248,0:12:56.900


0:12:56.900,0:13:00.820
[OUTRO MUSIC]

0:13:00.820,0:13:07.828