15 – FOLK MUSIC

FolkFolk music is exactly that - the music of the common man, usually handed down from generation to generation. Songs are often traditional, updated with contemporary lyric content to suit new circumstances or locales (often termed "folk process"), sometimes serving a purpose as in protest. The term, "folk" can be interchangeable with country or blues since they are ethnic in origin. Folk is definitely not a term associated with any specific race or culture. Every area of the world has its own folk music.

One specific form of black folk music is the blues. Later, the white man discovered that he had his own blues, every bit as eloquent and subtle as black blues, only expressed in an entirely different fashion.

In the twentieth century, folk songs flourished during the Great Depression among coal miners, migrant workers and the dispossessed Okies. Many folk singers were branded communists because of their support of unions. Since they generally adopted a liberal viewpoint and often took a radical stance in their causes, many performers soon became the logical spokespersons for the wellbeing of the working class. Their material tackled regional, social and natural occurrences. Lyrics could be political or environmental in commentary.

Sometimes the songs served no specific purpose other than pure entertainment value. The most common form of folk song was the traditional narrative ballad. Another was the simple sentimental song focussing on the performer's origins or homeland.

The style of music we have come to address as folk music is basically Anglo-Saxon in origin, brought to North America by early settlers. Considerably sparse in accompaniment, it is most often executed by one or two performers. It is an acoustic music, the most common instrumentation consisting of guitars, banjos, mandolins and autoharps. Early rhythmic instruments such as spoons, jugs and washboards have long since been abandoned.

Modern folk music spread quickly after the emergence of radio in the 1920's, although controversial lyrics were immediately censored. By the late 1950's and early 1960's, the popularity of folk music had reached its peak.

JOHN AVERY LOMAX

EARLY FOLK PIONEERS

THE CARTER FAMILY

WOODY GUTHRIE

LEADBELLY

PETE SEEGER/THE WEAVERS

BURL IVES

PROTEST SONGS

In 1917, a group of union workers formed The Industrial Workers Of The World (more commonly known as The Wobblies) and by 1929, they were a major force. Their motto was "workers of the world unite." Radical Swedish born unionizer Joe Hill (Joel Emmanuel Hagglund) (1872 - Nov. 19, 1915), author of "Casey Jones -The Union Scab" and composer of "The Preacher And The Slave (Pie In The Sky)," wrote several protest songs adopted by the movement. He was later executed at Utah State Prison on alleged murder charges. His life inspired a multitude of young admirers like Pete Seeger and Joan Baez and the song, "Joe Hill," written by Earl Robinson in 1938. Baez later performed the song at the 1969 Woodstock festival. According to the first amendment, all citizens are allowed freedom of speech. As an important facet of folk music, protest songs were a an effective method of communicating the concerns of the working class to the government or anyone willing to listen. They were a way of spreading the word and making social commentary. Protest dared to infer that modern society was mixed up.

The melodies of several well known battle hymns became the basis for several popular protest anthems. "We Shall Overcome," reworked and popularized by Pete Seeger was originally an old religious piece written in 1909 by C. Albert Tindley titled "I'll Overcome Some Day."

Reasons for protest songs run the gamut from racism, bigotry, government inadequacies, job related complaints and environmental concerns to the most common of all protest topics - anti-war. During The Vietnam War, much of the popular music of the day, unlike previous wartime songs, expressed the public's total disenchantment with America's involvement. The turbulent 1960's provided countless avenues for protest music. The topics were endless - draft resistance, civil rights, women's rights, gay rights, animal rights, tax resistance, The American Indian Movement, support for returning vets etc. America had never been affronted with so much criticism from within at one time. Many controversial songs were banned, making them that much more attractive to the young. Several radical TV programs such as "The Smothers Brothers Comedy Hour" were cancelled due to their anti-war sentiment and out and out criticism of the establishment in general. Country Joe MacDonald's scathing "Fixin' To Die Rag," which he performed uncensored at Woodstock caused an incredible backlash from flag waving factions. Later in the 1970's, Paul McCartney's "Give Ireland Back To The Irish" had a similar effect in Great Britain.

THE FOLK BOOM

During the 1920's, singer/songwriter Frank Crumit was one of the first popular entertainers to record sympathetic versions of traditional folk songs, triggering commercial interest in the genre. In 1949, the first International Folk Festival was held in Venice and attention to folk music was furthered in the 1950's by the publication of "Let's Sing Out" magazine, which had evolved from an earlier format called "People's Songs."

During the 1950's, a brand new term appeared which described a freeform sing-along - the hootenanny. Basically, it was a relaxed social gathering featuring folk music as entertainment. The term was derived from a northwest regional expression meaning "thingymajig" or "whatchamacallit."

Between 1957 and 1965, folk music hit its commercial peak. It had threatened to become a major pop trend via live concerts and TV shows. ABC TV devised a program aptly titled "Hootenanny," featuring prominent folk groups of the period such as The Kingston Trio, The Tarriers and Peter, Paul And Mary. Combined with this, calypso and traditional Caribbean music flourished, making an international star of Harry Belafonte.

By the early 1960's, coffee houses had sprung up on college campuses all over North America. The universal capitol of folk music and the seat of the protest movement was Greenwich Village, New York. In March of 1957, Izzy Young and Tom Prendergast had opened The Fifth Peg folk club based out of Gerdes Folk City Restaurant on West 4th Street. Hootenannies or "hoots" as they were called became a regular occurrence. Anyone could come onstage to jam and the events were often free. The club scene grew in popularity, major venues being The Bitter End and The Gaslight. It was probably the most exciting spot of its time where musicians, poets, artists, beatniks, composers, writers and every type of radical converged.

As folk music became a marketable music trend, many of its most influential artists became somewhat disillusioned with the watered down material which was being passed off as genuine folk music. Pete Seeger was unimpressed with the trendiness. He stated that "white kids clapped their hands and sang along inanely with commercialized rubbish passed off as folk because it was fashionable." The great majority of the kids never really grasped the true depth of folk music until they were effected by The Vietnam War. Then and only then did the lyrics seem to have any impact and a whole new generation discovered the relevance of folk music.

As a fad, the whole thing faded momentarily in 1964 with the emergence of The Beatles and The British Invasion. But the legacy of folk was reborn with a new wave of folk oriented artists such as The Byrds, The Mamas And The Papas, Neil Young and Joni Mitchell. Actually, the entire progression from folk to folk rock can be summed up in one name - Bob Dylan.

Throughout the century, folk music has become urbanized electrified, fused with pop, rock and jazz, yet it continues to survive in pockets in its purest form. It has never aspired to commerciality. It is constant - often coming back into prominence during hard times.

FOLK GROUPS

THE HILLTOPPERS

THE KINGSTON TRIO

THE BROTHERS FOUR

THE CHAD MITCHELL TRIO

THE LIMELITERS

THE HIGHWAYMEN

PETER, PAUL & MARY

THE NEW CHRISTY MINSTRELS

THE SEEKERS

SOLO FOLK ARTISTS

DOC WATSON

HARRY BELAFONTE

JOAN BAEZ

BOB DYLAN

BUFFY SAINTE-MARIE

GORDON LIGHTFOOT

IAN & SYLVIA

ARLO GUTHRIE

CAROLYN HESTER

JUDY COLLINS

TIM BUCKLEY

PHIL OCHS

DONOVAN

JONI MITCHELL

TIM HARDIN

TOM PAXTON

TIM ROSE

RICHIE HAVENS

TRACY CHAPMAN

ALSO SEE

BIBLIOGRAPHY