Yes! The same as in Argentina in a lot of ways. It seems that in China the music sort of reflected youth sentiment or counter-culture ideas through emotionality. On the other hand, Rock Nacional began as and apolitical music movement but then later on became codified/ideologized at the festivals through reporting on the harsh, unemotional reality of the situation in Argentina. (This can be seen in lyrics that directly mention the country's sociopolitical problems and their effects but not necessarily the emotions that result from said occurences.)

The idea of anthems, as we discussed in class, involves some amount of codification--they are songs made to instill something in the listener. The Chinese student demonstrators chose anthems in the same way that the rockers in Argentina did--they both used songs that would speak to their cause and to their needs. In Argentina, the students had anthems like "La marcha de la bronca" which were ideologized songs that were meant for the movement in particular (as they did speak of militarization, censorship, and state violence). "Nothing to My Name" used the same tactics as the song reached levels of individualism that were ultimately unheard of (and forbidden) at the time and struck a chord with youth that had no tangible inspiration for their revolution.

The community that Chinese youth were given through this movement is similar to the youth community that formed in Argentina as they both served as an outlet for their digressions from their pasts. With Argentinian youths it was the country's traditions of gender, politics, and economics, and in China it was the same. This links back to Stuart Hall piece as in both places the youth's revolutionary identities rebel against the cultural identities their generations had been codified with.

This lyric made me think of the ways in which power come in to play in this song. Other more obvious lines in the poem speak to an authority or out-group figure, but this one invokes the image of god. I think this is especially interesting because Simone's reference alludes to a certain powerlessness and desperation that might be masked by the anger in the rest of the song.

It's almost like Simone is playing off the "hate your next door neighbor but don't forget to say grace" line. She's making sure that her stance is known--she is advocating for the overdue rights owed to Black people and makes sure to bring the detractors to the forefront by saying they don't even have to live next to her. Simone's frustration culminates in a line that sums up the entire moral of her story.

This is one of the parts that stuck out to me the most in the video. When she recites this verse her anger and exasperation are palpable. She manages to condense the historical trauma of segregation and slavery into one song, and I feel like this one explicit mention of slavery set the tone of the song early on.

While following along with the song, I noticed this line and how incredibly poignant it is. This speaks to those die hard religious folk that manage to twist their religious texts to fit their agendas--they normalize the idea of outcasting and incite hatred simultaneously.

True community is something negatively affected by this sentiment; communities thrive on diversity and support and the fact that so many people sing the praises of their higher power while stepping on those that are different is appalling. It says a lot about the way community thrives and fails, especially in this historical context.