The Underlying Truth: An Analysis On Macklemore’s Music Video “Same Love”
Everyone is entitled to his or her own opinion and beliefs. This has caused an ongoing controversy on gay rights. What people don’t think about is how this relates to past issues within society. As a culture we create this image of what is right and wrong. Those who are the minority or the outcast then tend to hide behind a shadow, afraid to show who they really are, and stand up for what they believe in. In Macklemore’s music video “same love”, he uses significant objects of history and current day to create juxtapositions in civil rights, and religion. These juxtapositions beg the question; why does Macklemore use these strong figures like Martin Luther King, and the bible? Why not use someone like Malcolm X or Tupac?
Macklemore starts his argument relating gay rights to the civil rights at (2:28) where he purposefully puts clips of a significant black women in history, the American flag flowing in the wind, a burning cross, a clip from war, and a young African American holding a sign stating “we believe in the supreme court”. These clips are playing to the lyrics “A culture founded from oppression, yet we don't have acceptance for 'em, call each other faggots behind the keys of a message board, a word rooted in hate, yet our genre still ignores it, gay is synonymous with the lesser, it's the same hate that's caused wars from religion, gender to skin color, the complexion of your pigment, the same fight that led people to walk outs and sit ins, it's human rights for everybody, there is no difference!” The significances of the American flag going with the lyrics is there to show that the USA was founded when trying to free itself from the religion and government pressure in England. In addition he uses the African American female, the burning of the cross, war image, and the young girl with the sign to show that we have a history of oppressing each other. Creating this...
Cited: Lewis, Ryan. Same Love . 2012. music video. youtubeWeb. 26 Sep 2013. .
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