Political songs don't get played on the radio or appear in the hit parade very often, but they are widely appreciated and enjoyed when heard in a movement context. For the past five years I have been directing a street chorus in New Jersey called The Solidarity Singers, under the sponsorship of the New Jersey Industrial Union Council. We sing on picket lines and at rallies of various sorts and we get more invitations to appear than we can handle. There are about twenty-five of us and as many show up as possible for each event.

While it is true that most of our members are old enough to remember the sixties, we often perform for younger audiences during strikes or at demonstrations. What we find works best are the "zipper" songs that are easy for the assemblage to learn and to sing. People engaged in struggle often have trouble listening to a lot of words, no matter how witty, but they enjoy and appreciate the feeling of solidarity and power that comes from being part of a large group singing together for a cause. When people thank us for coming out to their lines they usually tell us that our songs helped to increase the militance of the crowd and to lift the morale in what are frequently difficult struggles against long odds.

In other words, real politics in music is derived from its context. Music used in struggle to aid that struggle is political. Music that seeks to raise listeners' consciousness regarding issues of the day (many of which, like Peace and disarmament, have been around for a long time) is political. Music that principally represents a performer's efforts to gain the approval of a listening audience is not political, it is simply entertainment no matter the lyrical content.

When I refer to "zipper" songs, I mean songs where new lyrics can be "zipped" in to suit the occasion. Examples include "We Shall Not Be Moved," "We're Gonna Roll the Union (or Movement) On," and many well-known "spirituals" like "This Little Light of Mine." Nothing succeeds like a song adapted to the particular struggle.

Parodies are also popular, although often ephemeral and for the particular moment or movement. Some old parodies, however, such as many by Joe Hill, continue to be crowd pleasers. Anthems, when they are known by the crowd or when they have choruses that are easily learned, also draw enthusiastic participation. You really have not experienced political folk music if you have never sung "Solidarity Forever" with a group of angry strikers.

There are certainly good topical songs that are still being written and that seem to have plenty of appeal for young (and old) people who get to hear them. Anne Feeney and David Rovics come to mind as less-known songwriters turning out powerful topical songs, and established writers like Peggy Seeger also continue to turn out good political material.

There is a problem that derives from the general popular media control over what we generally hear. Even folkies tend to limit themselves to that which is popular in their particular genre. Those of us who follow political music tend to find what is out there, but the rest of us frequently don't bother. It would do us all a lot of good to challenge media and self-imposed boundaries as to what we listen to.

When the cause is worthy there are always good songs to be found or modified to suit the cause. More of us need to get out there and sing them, not as featured artists and budding stars, but as demonstrators building the numbers and spirits of those supporting the cause. Hopefully, there will also be occasions where our songs will help to change a few minds. A witty, well-written song can often persuade where speeches and pamphlets fail.

In sum, while politics may currently be in sad shape (a 92% approval rating for Bush and the bombing of the starving population of Afghanistan!), political song lives. Political songs will thrive when the political movement(s) they serve thrives.