There is a fundamental element in folk music. The reason the "revival" got started in the first place is because there was a need to identify with the cause of humanity. This was the raison d'etre of the left-wing movement who wanted to improve the lives of people through compassion in government and politics. There was an idea, here, that motivated those in this area to see folk music as a means to this end. Many of the academics who were folksong experts such as Archie Green, Alan Lomax, Ken Goldstein, Irwin Silber, Botkin, etc. came out of this environment. This lead naturally to an interest in working-class music, protest and topical songs and cultural interest in agrarian communities. Woody Guthrie, Leadbelly, Big Bill Broonzy, Pete Seeger, the Almanac Singers, the Weavers, Josh White, Paul Robeson and other artists spearheaded this "revival" which had almost an evangelical fervor. Even the CPUSA went through a period under Browder that encouraged the promotion of the working-class through music. (Although during that time, swing music eclipsed folk music as an expression of laboring classes).

When rock and roll, R and B, and related music became popular, the need for physical
expression took root. ("Dirty Dancing" as a movie mentions this). The African-American contribution to music highlighted the need for music to dance as well as just sing. The visual aspects of music came in with MTV and the need to "see" the music as well as hear it. The participation was not just singing any more but moving to the music. When "academics" decried rock and related music, the "kids" rebelled. They didn't want to sit quietly and passively listen to many-versed ballads and story-songs. They didn't want to be told that this was somehow "good for them".

International music came to the fore blending political commentary, humanitarian values,
exotic and complex rhythms and singing styles as well as dance. African, Carribbean and Bahamian groups, Bob Marley, Paul Simon's "Graceland" etc. left it's mark on the evolution of the folk "revival". Gospel groups from the Staple Singers to Sweet Honey In the Rock informed folk music that you can move to also.

There has always been a rapprochement between folk and pop music. This is certainly true today. "Rap" in its alternative (anti-radio) form takes on a folk song character.
The stuff you don't hear on the radio is about injustice, inequality, working-class problems in the inner city, and a criticism of the value system of an elitist economy run by corporations and corrupt politicians.

The future of folk music in my opinion is the return to the humanitarian values that informed the rise of the "revival" of folk. Ayn Rand doesn't work with folk music.
Concern for the "other" is an important aspect of it. Social conscience is rooted in the
"revival" aspect. Without that, you have a vague stylistic show-biz image of the folksinger
who attempts to connect with an audience on an individualistic level not unlike the concert artists of classical music where the wall of separation between performer and audience is encouraged. The singer/songwriter becomes a surrogate for the concert artist expressing individual psychological, emotional and philosophical content in their songs. Hence, the coffee house.

I think we will see a time where folk music again reclaims a role in introducing through songs and participation social values of a humanitarian nature. Protest and topical songs will come back in a new form. A new audience for this kind of expression is on the horizon. It will again fuse a regard for "tradition" with contemporary awareness. I
can't wait!

Frank Hamilton