A blog to encourage creation of non-commercially-motivated homemade, public domain, topical, politically left protest folk songs by non-professional working-class songwriters and musicians, that express a different consciousness than that expressed by most of the commercially-motivated songs that get aired in 21st-century on corporate or foundation-sponsored or government-funded radio stations..
Showing posts with label Negro protest folk songs. Show all posts
Showing posts with label Negro protest folk songs. Show all posts
Monday, August 2, 2021
Sunday, April 21, 2019
`We Shall Overcome! Songs of the Southern Freedom Movement' 1963 Introduction: An Excerpt
In 1963, the introduction to the We Shall Overcome! Songs of the Southern Freedom Movement songbook (that was compiled by Guy and Candie Carawan for SNCC and published by Moe Asch's Oak Publications) indicated how non-commercially-motivated Freedom Movement protest folk songs, that working-class people of various racial backgrounds and Movement activist/organizers collectively created in 20th century, differ from most of the commercially-motivated pop songs that get played on corporate media conglomerate radio and television station programs in 21st-century, in the following way:
"Freedom songs today are sung in many kinds of situations: at mass meetings, prayer vigils, demonstrations, before Freedom Rides and Sit-Ins, in paddy wagons and jails, at conferences, work-shops and informal gatherings. They are sung to bolster spirits, to gain new courage and to increase the sense of unity...
"The freedom songs are of many kinds and range through many moods. The important ones are the old, slow-paced spirituals and hymns (some in the minor mode) that sing of hope and determination, and, the rhythmic jubilee spirituals and bright gospel songs that protest boldly and celebrate eventual victory. These are in the majority and usually have new or revised words to old tunes...Finally, there is a small miscellany of songs imported from the north, including a couple of revised union songs and a handful of newly adapted folk songs. These have come from exchange students, freedom riders, folk singers and hit records...The students have been responsible for making up most of the new lyrics and singing new life into the old songs...
"...No other songs have been able to express so closely the feelings of the participants or have been so easily adapted to fit current situations as some of the old spirituals. When sung with anything approximating the old time style and spirit, they are unbeatable..."
Thursday, November 9, 2017
Tuesday, November 7, 2017
Thursday, December 22, 2016
Paul Robeson's July 1949 `Songs of My People" Article Revisited
In a July 1949 article, titled "Songs of My People, U.S. civil rights movement and anti-war movement activist and protest folk singer Paul Robeson wrote the following:
"...Recent investigations have for the first time revealed a whole new field of Negro songs--songs of protest, songs directly calling the Negroes to the struggle for their rights, and against lynch-law, against their exploiters, against capitalists...
"A special place in the corpus of Negro songs is occupied by songs of protest, which were first collected in the southern states in the 1920s by the American journalist, L. Gellert. These songs manifest in full measure the Negro workers' heroic revolutionary spirit, their hatred of their exploiters, and their yearning for the struggle for their human rights and freedom...
"...Let me just say that under capitalist conditions, where all forms and expressions of American art must subordinate themselves to the demands of the market, our native Negro music has been subjected to the very worst of exploitation. Commercial jazz has prostituted and ruthlessly perverted many splendid models of Negro folk music and has corrupted and debased many talented Negro musicians in order to satisfy the desires of capitalist society..."
"...Recent investigations have for the first time revealed a whole new field of Negro songs--songs of protest, songs directly calling the Negroes to the struggle for their rights, and against lynch-law, against their exploiters, against capitalists...
"A special place in the corpus of Negro songs is occupied by songs of protest, which were first collected in the southern states in the 1920s by the American journalist, L. Gellert. These songs manifest in full measure the Negro workers' heroic revolutionary spirit, their hatred of their exploiters, and their yearning for the struggle for their human rights and freedom...
"...Let me just say that under capitalist conditions, where all forms and expressions of American art must subordinate themselves to the demands of the market, our native Negro music has been subjected to the very worst of exploitation. Commercial jazz has prostituted and ruthlessly perverted many splendid models of Negro folk music and has corrupted and debased many talented Negro musicians in order to satisfy the desires of capitalist society..."
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