Montana is a musician with a “rip-roaring, swamp’rockin’ vibe” — and he’s just getting started. He maintains a can’t-quit attitude that has lifted him from obscurity to Rolling Stone magazine. On one New Year’s Eve, an industry executive told Montana he’d never write a hit on his own. That night, he skipped the celebrations and wrote Low Class, just to prove the guy wrong.
Tim Montana makes his network television debut on Letterman | YouTube
In his youth, Montana had hoped to become a SEAL himself, but an injury prevented him from serving. His patriotism and support for the military, however, never faded (he says we’re all red, white, and blue-blooded). After Navy SEAL Chris Kyle was killed, Montana discovered there would be a Chris Kyle Memorial Benefit and Auction in Fort Worth, Texas. He immediately picked up the phone and volunteered to play for free.
He took it one step further and teamed up with Gibson to auction off a custom Chris Kyle Commemorative Les Paul Standard Special. It sold for $117,500.
So yeah, the guy makes sh*t happen.
And he’s chosen to use music to make his mark. He told We Are The Mighty there’s no way to know what music can do, but it’s cool to think about the possibilities.
“Music evokes emotion. It evokes thought. It captures a moment.”
He maintained his connection with Rob O’Neill, and featured the SEAL in his latest music video for Hillbilly Rich. Check it out:
And there are non-profit organizations like Guitars for Vets, which provides free guitar lessons — and a guitar — to veterans nationwide.
Vietnam War veteran James Robledo is a graduate of the program and the chapter coordinator at the Loma Linda chapter in California who, as a volunteer, has helped over 180 veterans graduate from the program.
“Playing the guitar takes concentration, it’s a little frustrating, it’s a challenge — but when you’re doing that, everything else disappears,” Robledo told We Are The Mighty.
He has written songs about the military community, including one that helped provide solace after the loss of loved ones.
“Learning to play guitar has let me reinvent myself. My knees and back are pretty banged up, but I can still impact other peoples’ lives in a positive way,” said Peterson about how he uses music to help others.
To date, Guitars for Vets has administered over 25,000 guitar lessons and distributed over 2,500 guitars to Veterans, and their waiting list keeps growing, which is why We Are The Mighty has partnered up with Base*FEST powered by USAA to donate $1 (up to $10k) every time you vote for one of our veteran artists and Mission: Music finalists until Sept. 23, 2017.
Editors’s Note: Voting is now closed. We reached our goal of donating $10k to Guitars for Vets — thank you to all those who supported this program!
In 1987, singer David Bowie played a concert in West Berlin, near the Reichstag. The performance was so loud, a massive crowd gathered on the East side of the nearby Berlin Wall to better hear his performance. He could hear the East Germans behind the Iron Curtain, singing along.
At the time, he didn’t know it would be the catalyst for the beginning of the end the city’s crushing divide.
The Berlin Wall was built in 1961 to keep East Berliners (and all East Germans) inside East Germany. It certainly wasn’t needed to keep Western citizens out. It quickly became a symbol of the Iron Curtain over Eastern Europe, the barrier between East and West that kept one side subject to the oppression of forced Communism and the other a burgeoning society of freedom and self-governance.
It was in Berlin where Bowie recorded his 1977 album, “Heroes,” a song about two lovers, one from East Berlin and one from the West. Living with punk legend Iggy Pop in the city’s Schöneberg neighborhood, Bowie could walk outside his door and see the tyranny and death that came with living in the heart of the Cold War. The song’s lyrics were so descriptive of the city’s plight, it became one of Berlin’s anthems:
I, I can remember (I remember) Standing, by the wall (by the wall) And the guns, shot above our heads (over our heads) And we kissed, as though nothing could fall (nothing could fall) And the shame, was on the other side Oh we can beat them, forever and ever Then we could be heroes, just for one day
70,000 Germans attended the 1987 Concert for Berlin.
The artists spent years in Berlin recording his albums “Low” and “Lodger,” along with “Heroes.” Today, they’re referred to as Bowie’s “Berlin Trilogy.” A decade after recording “Heroes,” Bowie returned to Berlin as part of the Concert for Berlin, a three-day festival held near the Reichstag, the seat of West Germany’s parliament. Nearby was the Brandenburg Gate and, running through it, the notorious Berlin Wall. The music, forbidden in the German Democratic Republic (East Germany) rang out loudly in the West, and wafted over the wall.
Along with Bowie came Eurythmics, Genesis, and Bruce Hornsby. Thousands of East Berliners began to crowd the area near the gate, trying to get an earful as East German guards fought them back, dragging them away from the area and arresting the unruly. If they couldn’t listen near the wall, they could listen over the airwaves. The radio station Radio in the American Sector broadcast the concert in its entirety throughout the city, with the blessings of the artists and recording labels.
“It was like a double concert where the wall was the division,” Bowie told The Atlantic. “And we would hear them cheering and singing along from the other side. God, even now I get choked up. It was breaking my heart. I’d never done anything like that in my life, and I guess I never will again. When we did ‘Heroes’ it really felt anthemic, almost like a prayer.”
Eventually, the crowd broke into a full-on chant of, “the wall must fall!” and “Gorby, get us out!” When the concert ended on the third night, the East German police beat back the crowd with billy clubs. Even though Bowie headlined the second night, it’s believed his performance attracted more East Berliners to the wall the next night. It was the overreaction from the East Berlin police that turned so many residents against the regime. It completely changed the mood of the city, which would only be divided for two years longer before frustrations overwhelmed the wall.
“The title song of the ‘Heroes’ album is one of Bowie’s best-known works and became the hymn of our then-divided city and its yearning for freedom,” said Berlin Mayor Michael Müller. “With this song, Bowie has not only set musical standards, but also unmistakably expressed his attachment to our city.”
Bowie played Berlin again in 1989, after the wall fell and the city was united. His last show in Berlin was in 2004. When Bowie died in 2016, the German government officially thanked him for bringing the wall down and unifying a divided Germany.
U.S. Army medic Joshua K. Swensen met people from all over the world while serving and those people influenced his range of musical knowledge. He’s now a music DJ in San Antonio, Texas, a town that not only has a strong military community, but a vibrant vinyl culture as well.
Not only that, but he’s heading out to Camp Lejeune over Independence Day to spin at BaseFEST powered by USAA, a free music festival that brings the entire community together at some of the largest military bases in the United States. Troops, families, and the base community can enjoy music, food & beverages, family activities, adult games, shopping, and more.
BaseFEST at Camp Lejeune will be free and open to the public (but premium tickets will get you drinks and a private beer garden — hey-o!). Swensen is looking forward to bringing his passion to the event.
The Battle of Stalingrad is widely considered the turning point for the Soviets on World War II’s Eastern Front, and maybe the entire war. From the rubble of Stalingrad came hundreds of small stories each more difficult to believe – yet, still true.
Another eerie, true story to come from the fighting there was the music the Red Army played as propaganda as the two sides fought over the now-infamous city.
In “Stalingrad: The Fateful Siege 1942-1943,” Antony Beevor describes how the NKVD, the Soviet secret police and forerunner to the KGB, set up loudspeakers throughout the city. For weeks, the Soviets played a tango they believed conveyed a sinister mood: “The Tango of Death”
Interspersed with the music was the sounds of a ticking clock and messages in German about how hopeless their position in the city really was or that a German soldier died every seven seconds.
These musical programs were also driven around on vans throughout the city streets. They began with quotes like “Stalingrad, mass grave of Hitler’s army!” then go into the music, clock, and demoralizing quotes. Often times, the ends would be punctuated by the firing of Katyusha rockets at Nazi positions.
The propaganda effect may not have worked the way it was supposed to, but the constant bombardment of audio sure did. The Nazis became increasingly exhausted in “Counting Sheep, the Science and Pleasures of Sleep and Dreams,” Paul Martin quotes German soldiers at Stalingrad, who suffered from extreme exhaustion waiting for the Soviet broadcasts to end.
Doing the math, if a song is roughly four minutes, it will play 15 times in an hour, 360 times in a day, 2,520 times in a week – or 58,680 during the 163-day Battle of Stalingrad. Beevor also notes that the Red Army’s favorite song to play for the visiting Germans was “Zemlyanka” by Aleksey Surkov.
Just in case the Germans found “Tango de la Muerte” more than a little upbeat, that is.
He was injured while serving as an Infantry Officer during Vietnam, and after months of surgeries and recovery, he extended his commitment to teach counterinsurgency tactics before finally separating.
Deep down, Smallwood is a soulful artist. An actor, writer, singer, and musician, he has made a career for himself in theater and on-screen, but it’s his writing and his music that really makes him stand out.
We Are The Mighty sat down with him to talk about his relationship with music.
“I can hear some music and know the setting behind it, and it just goes straight to my part that feels.”
He couldn’t speak when he woke up in the hospital in Vietnam, but rest assured, his voice healed and transformed into something rich and soothing.
Check out his video, not only for the Battle Mix that makes him think of his time in service, but for a performance with his acoustic guitar that will leave you wanting more:
The historic piece of art that’s featured in the hilarious meme showcasing three marching Revolutionary War musicians has a long, long history. While it might not date as far back as the Revolutionary War, it shouldn’t come as a surprise to anyone to learn it was inspired by and modeled after drunken American war veterans.
Ohioan Archibald Willard was a Civil War veteran who enlisted with the 86th Ohio Volunteer Infantry. During the Civil War, the 86th saw action at the Battle of the Cumberland Gap and headed off Confederate General John Hunt Morgan as he made the furthest incursion northward during the war, but it only lost 37 men total — all due to disease. Willard began to draw pictures of the things he saw as he moved with the unit. He and a business partner began to finish and sell the drawings throughout the war.
Archibald Willard, Civil War veteran and creator of “The Spirit of ’76.”
Before moving back to Cleveland, Willard studied art in New York City. He stayed for a number of years, but it was back in his native Ohio that Willard was inspired to paint a humorous picture he called, “Yankee Doodle.” It was the first incarnation of what would become his most famous and celebrated work, with three Revolutionary War musicians marching in tune to their martial music. But this first pass was less of a serious work and more of a funny comic-book painting.
The original featured three natives of Wellington, Ohio — all slightly intoxicated veterans of the War of 1812 — goofing around and creating mock battles with instruments in the town square. He also used Wellingtonians as models to paint the patriots seen in the famous painting. These models included his father, the Reverend Samuel Willard, fellow Civil War veteran Hugh Mosher as the fife player, and a local named Henry Devereaux, a military academy cadet and the son of a local railroad president, as the drummer boy.
Willard drew the original as a comic scene, but a friend who saw his sketch suggested that Willard take it a little more seriously, perhaps draw it up with a patriotic theme. The idea intrigued Willard because it was outside the realm of anything he’d ever done before. He preferred to paint landscapes and comical scenes of everyday life. Thinking back to old stories his grandfather would tell him about fighting in the American Revolution, Willard created an eight-by-ten foot masterpiece, re-titled “The Spirit of ’76.”
“The Spirit of ’76” first went on display in 1876 as part of a celebration of the American Centennial Exhibition in Philadelphia. Willard went on to paint several different versions of the painting but there were none so iconic or reproduced in American culture than the original. In the years following the Civil War, years characterized by mixed feelings, resentment, and Reconstruction, “The Spirit of ’76” was a work of art that evoked a shared sense of national unity.
And lived on in many different iterations.
After the Centennial Exhibition in Philadelphia, the original painting was sold to General John H. Devereux, father of the drummer boy in the painting, who took it to his home in Marblehead, Mass. where it remains on display to this day. The drum used by the younger Devereux and Hugh Mosher’s fife can be seen in the Spirit of ’76 Museum in Wellington, Ohio.
You let us tag along on your convoy. You let us raid a house in the stack. You watched our ass while our head was in a camera viewfinder. You even let us eat your food. So when you ask us for some of the footage of the unit in action we’re happy to oblige.
When you want us to make a music video of it, no problem, even though we know using copyrighted music is illegal. We want you to keep letting us roll with you…and for you to keep saving our asses.
But then one of your officers tells us to use one of these eight songs and it makes us die inside.
1. Drowning Pool — “Bodies”
This is by far the most overused song ever paired with combat camera footage (with “Soldiers” a close second). And it’s not just commanders asking combat camera to do this. Civilians do this ad nauseam.
That video has more than a million views. A MILLION. I don’t understand the enduring popularity of this song, but if there’s a better or more obvious song about killing a lot of people, I haven’t heard it.
2. Saliva — “Click Click Boom”
A full 20 percent of YouTube is probably the same video footage of the military with this Saliva song — this Saliva song about how great the lead singer’s childhood was and how totally awesome it is that he’s on the radio now.
I wish Beavis and Butthead were around to rip on this band. Still, it does make it pretty easy to edit a video fast, even if I feel like a complete hack afterward.
The only lyric the casual listener probably understands for most of the song is “Bombs Over Baghdad,” so when you send it to your mom, she gets the point of the video, and can’t really hear about the struggles of Andre 3000 and Big Boi’s pre-stardom struggle.
4. Chad Kroeger ft. Josey Scott — “Hero”
The singers from Nickelback AND Saliva. Enough said. Good lord this song was so big in 2002-2003. You’ll be just as proud of a video featuring you clearing houses to this song as you are your trucker hat collection and your flip phone.
This song was supposed to be an uplifting anthem for the first Spider-Man movie but it’s the most depressing song I’ve ever been asked to use in any video ever. I bet if you asked Kirsten Dunst what the low point of her career was, it would be that she didn’t have the choice to be excluded from this music video.
5. P.O.D. — “Boom”
Another band who sings about how they’re a band now. If you haven’t noticed the trend, guitar riffs and shouting “boom” were super popular in the early 2000s.
P.O.D. is the MySpace of metal. They’re still around but no one knows why.
6. Toby Keith — “Courtesy of the Red, White and Blue”
This song is so cheesy, I’m actually surprised Chad Kroeger didn’t write it, but maybe there are some things even Pop Rock Jesus won’t do. Some of you might think this song is awesome but I doubt you’d play it at a party in front of all your friends.
Also Toby Keith got more awards and plaques from military units just for singing this song than some people got for actually enlisting after 9/11.
7. Godsmack — “I Stand Alone”
Forget for a moment that the frontman sounds like Adam Sandler’s impression of Eddie Vedder. This song’s lyrics read like they were translated from Nepali by Google Translate. Also, unless your unit is the 300 Spartans at Thermopylae (it isn’t), you definitely don’t stand alone.
8. AC/DC — “Thunderstruck”
Ok, this isn’t an awful song. I mean, I get why you might want six minutes of your squadron or platoon blowing things up to AC/DC. But, aside from the opening minute and a half or so, this is could be any AC/DC song. All AC/DC songs sound like this. That’s why we love them.
Nazareth — Hair of the Dog
To be honest, this request only happened once, but do you really think any young Marine is going to love watching themselves on a dismounted patrol to this song?
Why not just have me choose something from Chicago’s greatest hits? If I gave any grunt a music video of themselves with this song, they’d beat my Air Force ass so hard.
Do you have what it takes to be one of the few, the proud, the danceable? In this classic from a few years back, Marines bust a move when their favorite jam, Carly Rae Jepsen’s ‘Call Me Maybe,’ comes on:
Did the retired Marine general say these things or did the rapper say these things?
On the surface, the two have nothing in common. The rapper-actor out of Queens, NY started his career selling drugs at age 12 during the crack epidemic. On the other hand, Mattis began his career as an enlisted Marine during 1960s.
As their careers progressed, 50 Cent left drug-dealing to pursue a music career. He quickly gained a reputation for being a shrewd businessman, becoming an actor, opening an apparel line, and eventually becoming an investor.
“Mad Dog” Mattis had a different path. He graduated to the officer ranks during the 1970s and became known as the “Warrior Monk” because of his bachelor life and lifelong devotion to the study of war. “Saint Mattis of Quantico, Patron Saint of Chaos” is the current secretary of defense.
Besides their different walks of life, the two seem to have a similar outlook. We gathered some of their most famous quotes to make this quiz. Can you guess who said what?
A lot of popular music artists have attempted to capture the military experience over the years, but only a small percentage of them have gotten it right in the eyes of the community. Here are the 9 that did it best:
1. “Boogie Woogie Bugle Boy Of Company B,” The Andrews Sisters (1941)
A fast-living jazz musician from Chicago gets drafted and winds up in the heat of the action with Bravo Company. But his CO is a music fan who uses his power and influence to get the rest of the guy’s band drafted and assigned to the same unit. They all wind up hated by their fellow soldiers because they’re the ones who play reveille every morning, never mind whether or not it’s a hip version of it. As classic a military tale as there is.
2. “Billy, Don’t be a Hero,” Bo Donaldson and the Heywoods (1974)
A young patriot goes to war against his fiancees’ wishes and gets killed because he didn’t follow her sage guidance. And in the end she tears up the letter that documents his heroism because she feels like his service and sacrifice were a waste. This classic by these one-hit wonders may qualify as “bubblegum pop,” but its subject matter is super intense.
3. “Ballad of the Green Beret,” Staff Sergeant Barry Sadler, U.S. Army (1966)
“Silver wings, upon his chest . . .” This song was written by author Robin Moore and SSgt. Sadler while Sadler was recovering from wounds he sustained while serving as a medic in Vietnam, a fact that kept him from getting grief from fellow soldiers for going on TV in full uniform and singing with kind of a high voice. “Ballad of the Green Beret” became a no. 1 hit — amazing considering how the American public was rapidly going south about the war in Vietnam and pro-military sentiments were already hard to find.
4. I-Feel-Like-I’m-Fixin’-to-Die Rag, Country Joe McDonald (1968)
Country Joe was a counterculture crooner from the Bay Area who walked on stage at Woodstock after Richie Havens’ opening set basically to kill some time. He played two songs with little response from the massive crowd and walked off. He thought better of it and walked back on and did what was commonly known as “the FISH cheer” (that actually spells something else). The crowd came alive, so he launched into “Fixin’ to Die Rag,” a satire of the military-industrial complex and the impact of the war on suburbia, which was included in the “Woodstock” movie and, as a result, became a classic hit of the Vietnam era.
Perhaps John Fogarty’s best recorded vocal performance, “Fortunate Son” hit the airwaves at a time when the Vietnam-era draft was starting to feel like class warfare and the hypocrisy of the ruling elite was revealing itself. With a driving beat, a searing guitar riff, and Forgarty singing lyrics like “I ain’t no senator’s son, no no,” the song resonated with those doing their duty while their richer and better-placed peers didn’t. “Fortunate Son” made it to no. 3 on the charts.
6. “The Star Spangled Banner (live at Woodstock),” Jimi Hendrix (1969)
Jimi Hendrix was not that well known in America when he took the stage at Woodstock on the morning of August 18, 1969. It was a Monday morning and all but several thousand of the nearly 1 million attendees had left the festival. Hendrix, an Army vet, surprised the audience (and his band) by launching into his rendition of the National Anthem, a version that many conservatives at the time criticized as unpatriotic. But history has shown it to be perhaps the most accurate musical portrayal of the state of America at the time and, beyond that, a timeless reading of the chaos of war. In 2011, the editors of Guitar World placed his rendition at number one in their list of his 100 greatest performances.
7. “War Pigs,” Black Sabbath (1970)
With an ominous air raid siren opening and lyrics like “generals gathered in their masses, just like witches at black masses,” this track from Sabbath’s classic second album “Paranoid” was heavy metal before anyone even knew there was such a thing. And in Ozzy’s shallow metaphor lives the sentiments of millions who have gone in harm’s way since man first took up arms.
8. “99 Luftballoons,” Nena (1983)
The oldest military story ever told: 99 balloons are mistaken for UFOs, causing a general to send pilots to investigate. Finding nothing but child’s balloons, the pilots decide to put on a show and shoot them down. The display of force worries the nations along the borders and the war ministers on each side bang the drums of conflict to grab power for themselves. In the end, a 99-year war results from the otherwise harmless flight of balloons, causing devastation on all sides without a victor. (Wikipedia)
9. “Bodies,” Drowning Pool (2001)
The song that launched thousands of patrols out of the FOBs and into the dirty streets of Iraq and Afghanistan. “Bodies” may not have been written with the military in mind, but it’s urgent beat and overall atmosphere of brutality worked for those who answered the call after 9-11, and they adopted it as their own. Also of note is that the song was used by interrogators at the Guantanamo Bay detention camps in 2003, including over a 10-day period during the “questioning” of terror suspect Mohamedou Ould Slahi.
The U.S. military hasn’t executed a prisoner since the 1961 hanging of Pvt. John Bennett at Fort Leavenworth. Prior to 1959, prisoners sent to the gallows by the U.S. military were afforded certain last rights demanded by regulations that included an escort, a chaplain, a last meal, unlimited letters to loved ones, and a military band.
Listeners might be familiar with aa few bars of legendary Polish composer Frederic Chopin’s Funeral March, either through military film or television – or through the WWE’s Undertaker entrance music. The Army’s regulations called for every execution (or series of executions) have a military band accompany the prisoner(s) to the gallows playing the classical tune.
The updated guidance for military executions as of 1959 did not call for the band, but still included the meal, letters, and religious paraphernalia. Only ten military members have been executed for crimes outside of wartime, and only two of those were executed after Apr. 7, 1959, and they did not walk to the gallows to the “Dead March.” Private Bennett and John E. Day, both convicted killers, were hanged in the boiler room of the U.S. Disciplinary Barracks at Fort Leavenworth to no fanfare.
How Chopin’s “Funeral March” became the official U.S. military death march is another story. The song comes from the composer’s Sonata No. 2 in B Flat Minor. Chopin was celebrated for his piano miniatures, and the Funeral March (the sonata’s third movement) was written much earlier than any of his sonatas. Chopin is said to have penned the work commemorating the 1830-1831 November Uprising, where ethnic Poles attempted to shake off the yoke of the Russian Empire.
The hopeful uprising was soon put down by the Russian Army, and the Tsar tightened Russia’s grip on Poland. Chopin’s original manuscript featured the date of the uprising’s start, Nov. 28, 1830. The piece’s dark tone and minor keys immediately associated it with death and it was played at the composer’s funeral – as well as those of John F. Kennedy, Winston Churchill, and even Soviet Premier Leonid Brezhnev.
The song would come to ingratiate itself in pop culture around the world as a song (rightly) associated with death and dying, from Saturday morning cartoons to Deadmau5.
The U.S. military’s (and many other armed forces around the world) bands, drums, and buglers all played an important battlefield communications function for centuries. Troops, unable to hear the orders of their officers over the din of fighting, would hear and could respond to general orders as played through songs.
In the years following Chopin’s Sonata No. 2, it became increasingly popular. The Funeral March was the most popular part of an already-popular musical hit. Soon after, the song’s popularity took on a life of its own and the song came full-circle from one of seriousness and piety toward the dead to one of parody. The music that called to mind death and the fragility of life was now being used to make fun of the same concepts.
The piece hasn’t always been just for executions. It accompanied the American Unknown Soldier from World War I as he made his way aboard ship to cross the Atlantic Ocean one night in Le Havre, France. It has been used for many a prominent U.S. official as they lie in state in the Capitol Rotunda.
No matter how parodied it was or why it was used, the Funeral March would endure as a powerful piece of music, not just for the U.S. military, but for the world at large. Even to this day, it evokes the foreboding we associate with death and dying.
And that could be why it didn’t endure in military execution regulations. At this point, it just seems overly macabre and slightly cruel.