Folk Music Revival In The 1930's

The Jazz Age was a cultural movement that took place in America during the 1920 's (also known as "the Roaring Twenties") from which both jazz music and dance emerged. This movement matched with both the equally phenomenal introduction of mainstream radio and the conclusion of World War I. The 1920s was the decade that marked the beginning of the modern music era. Some of the popular music genres were Jazz, Dance Bands, Blues, and Broadway. The decade marked the beginning of independent record companies, smaller operations that weren’t afraid to take a chance on music and artists that the bigger companies shied away from.

The 1960’s was an era of revolution and social change in the United States. Painters, dancers, actors, musicians and many more artists all wanted to portray societies immoral issues through their art. Musicians played a very prominent role in providing society with an outlet on the importance of this change. Within these musicians was a folk rock singer and songwriter by the name of Robert Allen Zimmerman, or as America knows him, Bob Dylan. He is known and honored around the world for his influence on popular music and culture, however, he is much more than that (Wood 313). The beginning of Bob Dylan’s career as a singer and songwriter was marked by his repetitive emphasis on social change throughout his protest songs which include “A Hard Rain’s a-Gonna Fall,” “Masters of War,” and “The Times They Are a-Changin’”; with each song, Dylan exposes many issues that affected, not one, but many lives as he aimed to spread social and political consciousness to society.

The 1930’s was a decade of extremely hard times, following the stock market crash and an extreme depression. In spite of the tremendous hardships in America during this decade, it also became a time of great music that is still remembered today. Jazz music was highly popular in this time, and Billie Holiday was a famous jazz performer. She stood out from many other musicians because of her intense and passionate performances. Jazz arose from “unacceptable” segments of society, but quickly grew like wildfire. We often think of the 1930’s as the decade that jazz became civilized, and famous throughout popular culture through the work of pioneering artists like Billie Holiday. People did not own televisions or cable, so radio was their main source of entertainment, and music during this decade was both up beat and a source of relaxation. “Strange Fruit” defied musical category because it was considered too artsy to be folk, and too explicitly political to fit into jazz. This is why “Strange Fruit” became such a powerful phenomenon. Many other artists later took on this song, changing the genre but still portraying the same message. Nina Simone dramatized “Strange Fruit” in the context of the Civil Rights Movement. More important artists like Jeff Buckley, Rene Marie, Labor Camp Orchestra, and many others made their own rendition on the song, still leaving all of their audiences moved by the powerful imagery of the lyrics.

Since the Constitution of the United States was written, Americans have practiced their right to freedom of speech as a way to express their point of view on issues facing the country. Over time, voicing one’s opinion went from outspoken newspaper articles to large rallies, and during the Vietnam War, music was a prevalent tool in aiding the protests. Allowing political messages to be shared nationally, the music had touched the lives of the younger generation. Author Jerome L. Rodnitzky explains in his journal, “The Sixties between the Microgrooves: Using Folk and Protest Music to Understand American History, 1963-1973”, how music was “trying to be all things

Popular music is often one of the best lenses we have through which to view our own cultural orientation. Many of the artistic and experimental shifts in popular music have mirrored changes in our own society. For instance, the emergence of Elvis Presley as a public figure would signal the start of a sexual revolution and the growth in visibility of a rebellious youth culture. Similarly, the folk and psychedelic music of the 1960s was closely entangled with the Civil Rights, anti-war and social protest movements. In this regard, we can view popular music as an artifact through which to better understand the time and place in which it is produced. In light of this, the state of popular music today may suggest troubling things about our society.

“The rise of rock ‘n’ roll and the reception of it, in fact, can tell us a lot about the culture and values of the United States in the 1950s. According to historians James Gilbert, there was a struggle throughout the decade ‘over the uses of popular culture to determine who would speak to what audience, and for what purpose”. At the center of that struggle, rock ‘n’ roll unsettled a nation had been “living in an ‘age of anxiety’” since 1945” (p.15). Altschuler talks about how music and race interlock with one another. Rock had become a “highly visible and contested arena for struggles over racial identity and cultural and economic empowerment in the United States” (p.35). Other chapters within the book state the battles involving sexuality, generational conflicts, as well as other social issues. The author states ideas that are somewhat problematic. For example, he states that there is a myth that rock ‘n’ roll went into a “lull” following the payola hearings (the practice of record promoters paying DJs or radio programmers to play their labels ' songs) of 1959 and did not come about again until the arrival of the Beatles in 1964.

The folk genre has origins all the way back to the 19th century, which in many ways is mirrored by many popular genres in modern musical genres. To make it easy folk music is merely, “ballads and songs which are composed and conveyed vocally, without being written.”(Mclean 12) Though what we distinguish ‘folk’ today as stylistically very different to what ‘folk’ was during the 19th century, at its basic form, it still holds the same standards and concepts, describing the simpler times. Through vigorous research, it’s hard to overlook the past and expansion of folk music originating from the south, and how it could help understand the significance for observing and expanding the dynamics of southern race relationships. Equally, race

Subject Area: Music and American CultureTopic: Jazz: Urban and Rural Reactions in the 1920sIn parallel with the uproar of jazz during the 1920s came the commotion of different critics from various geographical settings. Many of the white people living in rural areas disliked and rejected jazz as a musical genre. However, the urban city-dwellers were more fond of it; therefore, it was more generally accepted and frequently found in city nightclubs and radio stations. Several characteristics of cities also allowed jazz to survive in urban areas over the rural ones, such as: diversity, tolerance, a more progressive attitude, technology (media, radio), more entertainment locations, and a more educated populace. Cities were known for the more

In a 1979 interview for Frets magazine Pete Seeger expressed the driving force of his music in one word--responsibility (Hood 30). In his view there are no causeless songs; each one has a message. Seeger dedicated his life to challenging the status quo and combating the establishment with his favorite weapon, the banjo. Inscribed on his banjo were the words “This machine surrounds hate and forces it to surrender”.  Pete Seeger became one of the leaders of the folk revival, rousing his audience with his mastery of the banjo (Rosenberg 75). However, his influence extended past the musical scene. He gave a voice to the overlooked, working class and he created a model of musical activism that other groups could emulate.

Music has always affected the society in which the notes are played. Times of class contained dignified pieces pleasing to the ear while times of upheaval produced performers with a bit of an edge. The arrival of rock and roll in the 1950s, at a time often deemed as a decade of concerns, does not fit the long thought pattern. This class will delve into the arrival of rock and roll and the decade that did not know what to do with the new sound.

The emergence of Rock and Roll was one of the most pivotal moments of our nation’s history. The impact that this genre of music made is still evident in our culture. However, before this genre was able to gain momentum, it faced many cultural conflicts. The book, All Shook Up: How Rock ‘N’ Roll Changed America by Glenn C. Altschuler analyzes the impact that rock and roll music has made on American culture. It explores how the Rock and Roll culture was able to roughly integrate and later conflict with preceding cultural values. This is especially apparent in chapters regarding race and sexuality. Overall, Rock and Roll was extremely controversial amongst parents and educators. This new music genre was condemned by the previous generation as

Other cultural changes she experienced during her lifetime were deemed as ‘counterculture’. The counterculture was a significant factor in the fall of the American consensus as new ethos of rebellion and individuality caused youth to embrace the flawed Volkswagen and for Rock-and-Roll rebels to become more mainstream (American Yawp Ch. 27, 2017). While Ms. Hampton did not participate in the change due to her new marriage and raising children, she stated that she tolerated the new cultural wave because moving forward was the only option. However, not everyone shared her tolerance as the 1970’s witnessed the struggle to once again compartmentalize society by evoking simpler times with songs like “Okie from Muskogee” (American Yawp Ch. 28, 2017).

The 1960’s in America was often referred to as an age of protest because of not only the social protests that have taken place, but also for the upbringing of protest music, which became very popular during that era. The roots of protest music were largely from folk music of American musicians during 1950’. Folk musicians, such as Joe Hill, composed labor union protest songs and distributed song booklets, hoping to “fan the flames of discontent.” (Rodnitzky pg. 6) Symbolically, this meant that the songs, the fan, would reduce the uncontrollable social protests that the United States government caused with the misleading information that they did not keep their word on, or the flames of discontent. Other folk musicians, such as Woody Guthrie and Pete Seeger, traveled around the United States spreading their “message music” and becoming involved in political movements. Guthrie and Seeger were the pioneers of protest music, bringing their folk music to New York City and merging it with urban music. Woody’s songs were about the masses, often identifying problems and offering solutions. While Seeger was cautious about referring to his music as folk music, preferring the term “people’s music,” meaning that not everyone may had the same thoughts, but they all expressed it in their own unique musical sense. For both Woody and Seeger, folk music was a necessity in these protests, when the needs

The 1960s is considered to be one of the worst decade in American and world history. The whole world was going through adversities, with wars taking place in several countries, civil rights protests taking place in southern states, and a president assassination taking place in Dallas, Texas. While the world was facing these tragic, horrifying events, the music world was developing a new type of music genre: folk music. Music artists from the American Folk Music Revival in the 1960s would improvise a song, while trying to establish a way to deliver important messages to the people everywhere. The ballad “Day-O” by Harry Belafonte, played a huge role in the American Folk Music Revival of the 1960s.

Bands and Vocalists during the 1920s, Paul Whiteman Band, Coon-Sanders Band, and Al Jolson among others, saw the most massive spate of songs of that any era of popular music, and pop culture had ever embraced the new form of music and rhythm. It also called for emotional passages given out by both soloists as well as large brass bands that encompassed instruments like strings as well as drums. Ragtime jazz also paved way to the emergence of a new vocal expressions that made use of dynamic rhythms and communicative vocals that is evocative of the blues music of Southern plantation (The Songwriters Hall of Fame).