Music for America (MfA) is Example A of why the future is for the young and MfA-type organizations who are inspired now more than ever to continue to effect positive change. Twenty-one million Americans under the age of 30 cast ballots, 4.6 million of them were new voters. This was the highest youth turnout since the voting age was lowered to 18 in 1972, and it’s an important example of what went right in the campaign.
If only 18, 19 and 20 year olds had been permitted to vote in this election, Kerry would have carried Ohio, Florida and Missouri, defeating Bush by more than 200 electoral votes. MfA supplied a lot of the muscle. It recruited almost 20,000 volunteers, allied with more than 200 bands and helped arrange over 2,000 concerts, which, the group’s savvy 25-year old executive director Molly Moon says, reached two million people.
The real story behind MfA’s success, however, lies beyond a mere recitation of post-election statistics. Culture and politics were fused together in new ways, as MfA worked to speak to communities through the force of music. Its artists tailored their messages to homegrown audiences and inspired their fans through local appeals. Artists included Caustic Resin–“Boise, Idaho favorites,” as Alias Records described them; Cold Duck Complex, from Northampton, Mass., playing “music that makes you think”; and Amersterband, “round pegs in square holes” from the Ozarks in Southwest Missouri, according to MfA’s website. MfA’s 45,000 members connected with peers through blogs, concerts and other peer-to-peer interactions.
MFA’s strength comes from its clarity and willingness to avoid the nonpartisan pitches issued by groups like Rock the Vote. MfA reached out to young voters, as Moon put it, by “talking about how unemployment sucks, or how young people don’t like bans on gay marriage, or were screwed out of jobs or benefits and social security, and how they’re oppressed by drug laws strengthened through this Republican Administration.”
MFA sought out mostly local artists with local constituencies who weren’t national celebrities and encouraged them to be partisan, but in their own unique ways. The group refused to shove pre-packaged talking points down band members’ throats, and urged artists to find their own voice, their own issues, and their own messages–“to speak to their community in their own way,” said Moon. As Death Cab for Cutie’s Chris Walla explained to The Nation‘s Hillary Frey in a recent online interview, “the crowds know what’s going on. They’ve been very receptive and very warm. The whole atmosphere at each of the shows has been a lot homier than I would have expected. Really encouraging and really cool.”