Folk music has traditionally been associated with left wing politics and social reform. But why?
Folk musicians must strike a delicate balance between artistry and their political messages. Too much artistry could obscure their message while too little may lead people not taking them seriously.
Woody Guthrie
Woody Guthrie is widely recognized as one of the greatest singer-songwriters of all time, his songs often addressing poverty, environmental degradation, racism and injustice inspiring new generations of folk musicians. However, his place within political history remains somewhat unclear: while no doubt deeply impacted by populist politics of his era he did not belong to any specific political movement or leftist alliance despite being deeply influential to both.
His early life was marred by a string of tragic personal events: following the death of his older sister, financial ruin of their Oklahoma cattle ranch, and institutionalization of his mother, Woody left home at 14. Upon arriving in California he worked at local radio stations, providing him an outlet to develop his talents for writing social commentary and criticism against corrupt politicians or businessmen, outlaw hero Pretty Boy Floyd or union organizers fighting for Dust Bowl migrants’ rights; Woody quickly distinguished himself as an astute and fierce advocate.
After his success with radio, Woody joined Pete Seeger’s Almanac Singers and embarked on a tour with them. Through this work he performed at numerous political and labor events across California; these performances caused him to develop an in-depth knowledge of labor issues as well as an anti-racist viewpoint; additionally he came to embrace popular music as an effective social activism tool.
Anti-Communism was prevalent during the late 1940’s and 1950’s in America, and as such many leftist artists were subjected to red scare tactics known as blacklisting, which barred them from practicing their chosen fields and resulted in many livelihoods being lost as a result of being banned from working within them. Woody and Pete Seeger experienced such persecution.
By this time, Guthrie had established a unique political sensibility and joined the Popular Front coalition of socialists, communists, and organized workers that was sometimes aligned with President Franklin Roosevelt’s New Deal agenda. Additionally, this collective shared an artistic sensibility informed by documentary arts exemplified by works like Dorthea Lange’s photographs.
Pete Seeger
Pete Seeger was the son of classical musician and found himself immersed in both leftist politics and folk music archives alike. Touring rural South with his father, he learned five-string banjo from traditional musicians like ex-con Huddie Ledbetter (known as Leadbelly) Appalachian mineworker organizer Aunt Molly Jackson and Woody Guthrie before taking this knowledge and sharing it with audiences worldwide.
Guthrie joined Seeger for a benefit concert for migrant workers in 1940 and that event became his calling card; from then on he traveled extensively, hitchhiking and hopping freight trains while singing union songs combining ancient folk melodies with contemporary events while traveling around America. Additionally he created a close bond with Alan Lomax who worked at the Library of Congress’ music archives.
Seeger was active into his ninth decade, appearing at marches and rallies to advance civil rights and antiwar causes. He signed a contract with Appleseed Records and released several albums: Tomorrow’s Children (an interactive collaboration with fourth graders at Forrestal School in Beacon, New York in 2010); A More Perfect Union (collection of classic songs arranged with guitarist Lorre Wyatt in 2012); At 89 (which won the 2008 Grammy Award for Best Traditional Folk Album);
At every turn in his long and distinguished career, Seeger was both an activist and performer, tirelessly fighting to preserve and distribute folk music despite intense opposition – which earned him both fans and detractors (including imprisonment for contempt of Congress in 1951 under McCarthyism). Furthermore, Seeger voiced strong criticism against imperial war in Vietnam as well as supporting Occupy movement protestors in 2013.
His legacy of activism, political involvement and musical skill continues today. Seeger’s passion for humanism and vernacular American music have inspired generations of younger artists; drawing strength from both his activism and ability to reach wide audiences.
The Weavers
At a time of sharp political division, few folk singers and listeners can fail to acknowledge The Weavers as influential figures. Established by Pete Seeger, Ronnie Gilbert, Lee Hays and Fred Hellerman in 1948 as The Weavers Collective, their global class-conscious vision remains profoundly relevant today. Their legacy includes eclectic songs with joyful participatory harmonies crafted over decades that inspired countless movements whose full potential may never fully materialize themselves.
Their links with leftist groups and pro-labor sentiments made them too political for some on the right, who made accusations of communist sympathies against the Weavers. Due to these allegations, the group was blacklisted, banned from appearing on television and radio, their records removed from Decca in 1951, eventually leading them to disband in 1953.
Jarnow draws upon previously unpublished journals and letters, unreleased recordings and previously classified government documents to explore both the hopes and pressures that built in each member of The Weavers. He shows how four diverse, sometimes conflicting personalities came together to produce one of America’s most beloved musical sounds – still revered today.
The Weavers continued their musical excellence after their experience at HUAC, but their internal tensions intensified due to their inability to escape politics that were shaping them. Pete Seeger became particularly upset that some Weavers seemed willing to sell out their message and music for commercial gain – an impression which only increased with military stalemate in Korea.
Wasn’t That a Time is an insightful examination of the Weavers’ unique position during and after the Red Scare in American culture. Through Wasn’t That a Time, Jarnow shows how their understanding for working class struggle and refusal to capitalize on their fame or make statements of any kind enabled them to remain relevant and lasting in American culture; while their avoidance of controversy — something which made them outcasts to both leftists and rightists alike — gave their songs timeless quality that still resonates today.
Bob Dylan
Bob Dylan had an enormous influence on folk music and politics during the 60s, singing about social issues such as war, civil rights, racism and more. His songs inspired people to rebel against authority while inspiring young people towards alternative lifestyles.
Dylan began his musical career as a folk singer in New York City’s Greenwich Village coffee houses and clubs, inspired by Woody Guthrie and other folk singers such as Pete Seeger. A gifted singer/songwriter capable of writing lyrics about any subject matter; many of Dylan’s songs depict real world events as they happened.
At the outset of his career, Dylan proved a controversial figure on the folk scene. He was vocally critical of American political system and social injustices; often questioning its authority and writing songs which challenged existing beliefs. By the 1960s he opened up to injustice suffered by African Americans in America, leading him to write such songs as Blowin’ in the Wind and The Times They Are A-Changin’.
Bob Dylan’s open criticism of American society inspired many to rebel against it and revolt against its establishment. Civil rights movement participants found comfort in his songs and used his words to fight for their causes. They especially appreciated having musicians such as himself supporting their cause by helping bring it more into focus and increase visibility.
Dylan started to draw on personal experiences and stories from his own life during this period, as well as poetry by Bertolt Brecht and Arthur Rimbaud to give his songs an authentic sound. He began writing songs around these themes which would incorporate these experiences.
In the late 1960s, Dylan became widely known as a protest singer. He toured extensively and often played to sold-out, agitated crowds. Dylan’s unique poetic style and musical craft revitalized protest music while opening it up to new audiences; his songs addressed pressing social issues while sparking revolution among youth culture.