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Folk





Listen to 
Bob Dylan
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Listen to Folk on Playa Cofi Jukebox. Click on Jukebox
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In the Western World, Folk music has 

been said to be the 'white man’s Blues' -

political music originating from the poor

whites in the rural areas in the 

United States.


Woodie Guthrie

 RM Radio
  Coming Soon
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But It Is Much More Than That!

Folk Music - Early One Morning
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Pete Seeger - Quite Early Morning

Folk music has long been generally classified as traditional music of the masses or the 

lower classes. It is a public music reflecting the culture and history of a people. 

Sometimes also called World Music, Folk is global in countless forms reflecting 

different peoples’ cultures, lifeways, everyday issues, feelings and dealings. It 

sometimes has also been termed ‘indigenous’ music. In many ways, in the Western 

World, variants and strains of modern Folk have filtered their way into, and therefore 

constitutes a major ingredient in, Pop Music. Modern Western Folk includes both 

traditional music and the British and US genres that evolved from it during the ‘20th 

Century Folk Revival’. While the term ‘Folk’ originated in the 19th century it is often 

applied to music  older than that and is often so old the composer is unknown. Not only

was it often the vehicle for passing on traditions and rituals orally, it also was the

vehicle for local news and 'current affairs'.


A consistent definition of traditional

Folk music is hard to come by. One 

widely used definition is simply "Folk 

music is what the people sing" as well as 

being an authentic expression of a way 

of life now disappearing in many 

countries. Folk is also often called 

traditional music, and as such is widely 

different in many countries.
Traditional Irish Music
In the old days much Folk music was transmitted orally, and used to commemorate 

celebrations, major events, current affairs and others, it was also used by workers to

help pass their time and assist in communal work activities. In the United States, much

of it was drawn by its many immigrant groups and  much on Afro-American music.
Rosie - African American Work Song


Variants Of Early American Folk Music

American Folk has also been considered roots music. Roots music is a broad category 

of music including Bluegrass, Country music, Gospel, Jug bands, and many others 

including Native American music. It is  considered American either because it is

indigenous to the US or it developed there, out of foreign origins, to such an extent it 

was seen as something distinctly new. Observers consider it "roots music" because 

it was central to the development of music later developed in the United States, 

including Rock and Roll, contemporary Folk music, and the many other ingredients of 

Modern Pop Music. 

Folk Politicised

In the 1930s particularly in the US, Folk began adopting newer themes often related 

to the Great Depression. Regionalism and cultural pluralism grew as influences and 

themes. During this time Folk music became enmeshed with political and social 

activism and movements. Two related developments were the U.S. Communist Party's

interest in Folk as a way to reach out and influence Americans, and politically active

prominent Folk musicians such as Woody Guthrie and intellectuals seeing communism 

as a possibly better system, after the social devastation of the Great Depression.


Woody Guthrie
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Woodie Guthrie - This Land Is Your Land


The Beginnings of A New Movement

Much folk music growth during the 1930s came about through live performances,

particularly in Folk festivals.  Left-wingers such as Charles Seeger and Lawrence

Gellerte believed Folk music was a 'grass-roots cultural form' from the people which

could be used as motivation in 'people's' struggles for social and political rights. Despite

the revivalists' various political views by the end of the 1930s, American Folk music 

had turned into a social movement.



The US Folk Revival

In the US in the mid-20th century, a new form of folk morphed from traditional Folk

music as it had evolved. As such a period called the 'folk Revival' ensued and reached 

its height of popularity in the mid 1960s. This form of folk became known as

contemporary US Folk and from it later morphed other styles sometimes labelled as 

Folk Rock, Electric Folk and others.
Simon & Garfunkel- Scarborough Fair
Peter, Paul & Mary - Early Morning Rain
Joan Baez - Diamonds And Rust

The 1950s-60s Folk revival in America and in 

Britain started a new genre, known  as 

‘contemporary folk music’. Its enormous 

popularity saw 'Folk' become a category in 

the Grammy Awards of 1959.


By the beginning of the 21st century the term

'folk' covered singer song-writers, such as 

Donovan from Scotland and American Bob 

Dylan, who had emerged in the 1960s and 

along with others saw 'Folk Music ' no longer 

being seen as 'traditional Folk music'. It had 

truly become an ingredient of Western 

Pop Music.
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Donovan
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Bob Dylan









From Folk To Pop 


In The U.S.






Billy Bragg - Between The Wars

Most American historians trace  contemporary popular music to roots in distinctive

American Folk music, both which emerged in the South. Music from the heart and soul,

music that described their situations. And Blues of course what can be considered to be

Black Folk. Another strain was of course 'Hillbilly Music'. 


Hillbilly Music 

This authentic American folk music form,

hillbilly music, flowed from the lives of

the Appalachian and Southern Whites.

Early hillbilly music had a strong 

colonial heritage in English ballads and 

ditties, but over time hillbilly music 

evolved into a genre in its own right.

(Hillbilly music= Folk genre from rural 

Appalachian, southern white 
experience.)
The Hillbillies - Cluck Old Hen

Like Black music, hillbilly fiddles and twangy lyrics reflected the poverty and 

hopelessness of rural folk, ‘hillbillies’ as they called themselves. Also like black music,

hillbilly music reflected the joys, frustrations and sorrows of love and family. Hillbilly

music, however, failed to develop more than a regional following - that is, until the 

1950s when a great confluence of the black and hillbilly traditions occurred. This

distinctive new form of American music, called Rockabilly early on, became Rock 

and Roll.

White Folk

When we consider white Folk in general. It was and is always political, it had a rural 

romanticism, and values and ways which rejected urban corruption, expanding soulless 

commerce, and mass music. But apart from vague utopianism in folk - singers like 

Woody Guthrie and Pete Seeger championed working class values and problems 

through their music. This latent politics in Folk, and its association with radical politics

became almost formalised in the 1930s, and continued to be significant in the 1950s.

According to some observers, in the 1950s, in Folk young whites found a music that

resonated with their political concerns and, in this respect, it Folk paralleled the role of 

black music (such as Blues) for its users. As such, both concerns and both forms of 

music came together in the struggle for civil rights. Folk as protest music soon also

became central in the life of  'permanent Folk institutions  - such as clubs, coffee 

houses, festivals, etc. - in which the Folk community defined itself and its distance 

from the development of mainstream Pop music. According to one observer, 'in the

Folk clubs there was little distinction between performer and listener; anybody could,

and did, get up and sing. The emphasis was less on technique or skill, and more  on 

authenticity and honesty. Autobiographical truth and political correctness were more 

important than musical talent or individual performing styles. In fact, the  emphasis, in 

true Folk fashion, remained firmly on the song rather than the singer.' And these songs 

were political.


Folk As Underground

Throughout the 1950s, Folk developed as

an underground movement in the US,

consisting of obscure artists recording for

small independent labels. Folk was the

people's music, especially those politically

disaffected. Folk kept the tradition of 

telling a political story alive, a tradition

that formed earlier during the depression

years - with such songs as Woody 

Guthrie's, `Buddy Can you Spare a Dime’.
Woodie Guthrie - Vigilante Man

To Quote Simon Frith - `The Folk song movement was self-consciously opposed to

mass music making and its values were developed in isolation from the usual practices

of commercial pop. By the late 1950s this alternative was becoming attractive to an

increasing number of young white listeners, as the energy and aggression of Rock n

Roll were diffused in the banalities of teenage pop. Folk was a particularly attractive

alternative for musicians unwilling to commit themselves to a life of apparent

manipulation and exploitation by the pop moguls...`As well as it musical challenge, folk

offered something else - a sense of commitment political or otherwise, and a whole way

of life apparently diametrically opposed to the world of American Bandstand, the 

leading pop television show of the era.' (Sources)


Folk For The Musicians:

In Folk as it evolved, many musicians found an attraction in that such songs could

concern themselves with many topics far removed from conventional love themes, and

musicians could express themselves and their views far more readily in Folk, rather 

than `giving the people’ what they want.' In the 1960s these ideas were introduced `into

the heart of mainstream popular music’'as the Folk emphasis on songs and lyrics, on the

performers, honesty and insight, were adapted to the commercial needs of Rock, and as

the Rock songwriter became the poet, the singer/songwriter the archetypal Rock artist'-

witness first Bob Dylan and later John Lennon.


According to one observer: 'There were ironies in this use of Folk forms to support

artistic claims. Part of Rock’s  appeal as teenage culture had been that anyone could

do it - anyone could make such simple music, could write such straightforward songs, 

no expertise was needed to play Rock n Roll or to dig it.'

 
Rock’s listeners were active as well as passive - record sales were correlated with

instrument sales - and skiffle was only the most publicised example of the continuing

inspiration that young people had to make for themselves. Initially, Folk ideology not 

only confirmed this culture but politicised it: folkies were anti-commercial pop, 

rejected the star system, and were proud of their integration of performer and audience.

But as the Folk movement slowly was 

absorbed into mainstream Popular Music 

by those artists who had something

political to say, this argument subtly

changed. If anyone could play Folk Rock

- the guitar and harmonica techniques, 

the lyrics and harsh vocals, could easily

be learned. However not anyone could 

play such music with originality, say for 

example. Bob Dylan who symbolised 

this new argument. As it was, Dylan was 

praised for his individual genius, insights, 
Bob Dylan - The Times They Are A-Changin
poetry, and his unique voice and style.As such, to suggest  that not anyone could make

good music paralleled the suggestion that not anyone could appreciate it. Expertise was

thus considered needed by the listener as well as the musician. This suitably flattered

those of the `new intelligent Folk Rock market' as steadily those in the Pop Industry

who felt they had something to say began to adopt it. Such 'musical, lyrical and

emotional complexity', in terms of 'qualities' of art and genius that were taken to

differentiate rock from the banalities of mass teenage pop. Folk music thus became an

important ingredient in the evolution of Pop music as it contributed to 'Rock ideology'

as it emerged as Folk Rock. Folk Rock had an emphasis in words, 'on performing

sincerity - poetry as Rock - the ideology of 'Rock as art'. A final quote from one

observer: 'For the musicians who found in Folk Rock a means to artistic identity the

most important feature of the music was its independence of the usual practices of

commercial Pop. Rock n Roll rebellion had been vaguely directed against adults but not

against adult record companies; only now could a Rock culture be developed which

explicitly opposed the ideology of mass music making' (see Sources).




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