Editing Folk rock (section)

===Folk revival===
{{Main|American folk music revival}}
[[File:PeteSeeger2.jpg|thumb|left|Pete Seeger entertaining [[Eleanor Roosevelt]] (center), at a racially integrated Valentine's Day party, 1944<ref>Photograph by Joseph Horne for the Office of War Information, 1944. From the ''Washington Post'', 12 February 1944: "The Labor Canteen, sponsored by the United Federal Workers of America, CIO, will be opened at 8 p.m. tomorrow at 1212 18th st. nw. Mrs. Roosevelt is expected to attend at 8:30 p.m."</ref>]]

The American folk-music revival began during the 1940s; building on the interest in protest folk singers such as [[Woody Guthrie]] and [[Pete Seeger]], it reached a peak in popularity in the mid-1960s with artists such as Bob Dylan and [[Joan Baez]].<ref name="oswego">{{cite web|title=1962–66: American Folk-Rock vs. The British Invasion|publisher=[[State University of New York at Oswego]]|url=http://www.oswego.edu/academics/colleges_and_departments/departments/music/classes/MUS_117/amer_folk-rock.pdf|access-date=19 March 2010|archive-url=https://web.archive.org/web/20110611111009/http://www.oswego.edu/academics/colleges_and_departments/departments/music/classes/MUS_117/amer_folk-rock.pdf|archive-date=11 June 2011|url-status=dead}}</ref><ref>{{Cite journal|author=Graeme Smith|title='Wasn't That a Time!' Firsthand Accounts of the Folk Music Revival. Edited by Ronald D. Cohen. Metuchen, N.J. and London: The Scarecrow Press, 1995. 232 pp.Ethnomimesis. Folklife and the Representation of Culture. By Robert Cantwell. Chapel Hill and London: The University of North Carolina Press, 1993. 323 pp.Thirty Years of the Cambridge Folk Festival. Compiled and Edited by Dave Laing and Richard Newman. Ely: Music Maker Books, 1994. 162 pp.|journal=Popular Music|volume=16|issue=1|page=127|publisher=[[Cambridge University Press]]|date=January 1997|doi=10.1017/s0261143000000787 |s2cid=190761441 }}</ref> In 1948, Seeger formed [[the Weavers]], whose mainstream popularity set the stage for the folk revival of the 1950s and early 1960s and also served to bridge the gap between folk, popular music, and [[topical song]].<ref name="allmusic4">{{cite web|url={{AllMusic|class=artist|id=p2165|pure_url=yes}}|title=The Weavers Biography|website=[[AllMusic]]|access-date=20 March 2010}}</ref> The Weavers' sound and repertoire of traditional folk material and topical songs directly inspired [[the Kingston Trio]], a three-piece folk group who came to prominence in 1958 with their hit recording of "[[Tom Dooley (song)|Tom Dooley]]".<ref name="allmusic4"/><ref>{{AllMusic |title=The Kingston Trio Billboard Singles |class=artist|id=p2038 |access-date=21 March 2010}}</ref> The Kingston Trio provided the template for a flood of "collegiate folk" groups between 1958 and 1962.<ref name="weissman">{{cite book|author=Weissman, Dick.|pages=74–78|year=2006|title=Which Side Are You On?: An Inside History of the Folk Music Revival in America|publisher=Continuum International Publishing Group|isbn=0-8264-1914-3}}</ref><ref>{{cite book|author=Mitchell, Gillian.|pages=70–71|year=2007|title=The North American Folk Music Revival: Nation and Identity in the United States and Canada, 1945–1980|publisher=Ashgate Publishing|isbn=978-0-7546-5756-9}}</ref>{{Listen |filename=KingstonTrioTomDooley.ogg|title=Tom Dooley|description=An excerpt from the Kingston Trio's hit recording of the traditional folk song "[[Tom Dooley (song)|Tom Dooley]]". The song reached #1 on the ''Billboard'' Hot 100 chart in 1958 and provided a template for the nascent "collegiate folk" movement, which itself was one of the foundation stones of the mid-1960s folk rock boom.}}

At roughly the same time as these "collegiate folk" vocal groups came to national prominence, a second group of urban folk revivalists, influenced by the music and [[guitar picking]] styles of folk and blues artist such as [[Woody Guthrie]], [[Lead Belly]], [[Brownie McGhee]], and [[Josh White]], also came to the fore.<ref name="unterberger2">{{cite book|author=Unterberger, Richie.|pages=[https://archive.org/details/musicusaroughgui0000unte/page/22 22–23]|year=1999|title=The Rough Guide to Music USA|publisher=[[Rough Guides]]|isbn=1-85828-421-X|url=https://archive.org/details/musicusaroughgui0000unte/page/22}}</ref> Many of these urban revivalists were influenced by recordings of traditional American music from the 1920s and 1930s, which had been reissued by [[Folkways Records]]; [[Harry Everett Smith|Harry Smith]]'s ''[[Anthology of American Folk Music]]'' was particularly influential.<ref name="unterberger2"/><ref name="weissman2">{{cite book|author=Weissman, Dick.|pages=86–88|year=2006|title=Which Side Are You On?: An Inside History of the Folk Music Revival in America|publisher=Continuum International Publishing Group|isbn=0-8264-1914-3}}</ref> While this urban folk revival flourished in many cities, New York City, with its burgeoning [[Greenwich Village]] [[coffeehouse]] scene and population of topical folk singers, was widely regarded as the centre of the movement.<ref name="unterberger2"/><ref>{{cite book|author=Weissman, Dick.|pages=91–95|year=2006|title=Which Side Are You On?: An Inside History of the Folk Music Revival in America|publisher=Continuum International Publishing Group|isbn=0-8264-1914-3}}</ref> Out of this fertile environment came such folk-protest luminaries as Bob Dylan,{{sfn|Gilliland|1969|loc=show 31}} [[Tom Paxton]], [[Phil Ochs]], and [[Peter, Paul and Mary]],{{sfn |Gilliland| 1969|loc=show 19}} many of whom would transition into folk rock performers as the 1960s progressed.<ref name="unterberger2"/>

[[File:Joan Baez Bob Dylan crop.jpg|thumb|upright=0.8|[[Bob Dylan]] was the most influential of all the urban folk-protest songwriters.]]
The vast majority of the urban folk revivalists shared a disdain for the values of mainstream American mass culture<ref>{{cite book|author=Weissman, Dick.|page=97|year=2006|title=Which Side Are You On?: An Inside History of the Folk Music Revival in America|publisher=Continuum International Publishing Group|isbn=0-8264-1914-3}}</ref> and led many folk singers to begin composing their own "protest" material.<ref>{{cite book|author=Unterberger, Richie.|pages=[https://archive.org/details/turnturnturn00rich/page/32 32–33]|year=2002|title=Turn! Turn! Turn!: The '60s Folk-Rock Revolution|publisher=Backbeat Books|isbn=0-87930-703-X|url=https://archive.org/details/turnturnturn00rich/page/32}}</ref><ref name="weissman3">{{cite book|author=Weissman, Dick.|page=159|year=2006|title=Which Side Are You On?: An Inside History of the Folk Music Revival in America|publisher=Continuum International Publishing Group|isbn=0-8264-1914-3}}</ref> The influence of this folk-protest movement would later manifest itself in the sociopolitical lyrics and mildly [[anti-establishment]] sentiments of many folk rock songs, including [[hit single]]s such as "[[Eve of Destruction (song)|Eve of Destruction]]", "[[Like a Rolling Stone]]", "[[For What It's Worth]]", and "[[Let's Live for Today (song)|Let's Live for Today]]".

During the 1950s and early 1960s in the UK, a parallel folk revival referred to as the [[British folk revival|second British folk revival]], was led by folk singers [[Ewan MacColl]] and [[A. L. Lloyd|Bert Lloyd]].<ref name="sweers">{{cite book|author=Sweers, Britta.|pages=31–39|year=2005|title=Electric Folk: The Changing Face of English Traditional Music|publisher=Oxford University Press|isbn=0-19-515878-4}}</ref> Both viewed British folk music as a vehicle for [[Left-wing politics|leftist]] political concepts and an antidote to the American-dominated popular music of the time.<ref name="sweers"/><ref>{{cite book|author=Brocken, Michael.|pages=25–39|year=2003|title=The British Folk Revival 1944–2002|publisher=Ashgate Publishing Limited |isbn=0-7546-3282-2}}</ref> However, it was not until 1956 and the advent of the [[skiffle]] craze that the British folk revival crossed over into the mainstream and connected with British youth culture.<ref name="sweers"/><ref name="brocken2">{{cite book|author=Brocken, Michael.|pages=67–77|year=2003|title=The British Folk Revival 1944–2002|publisher=Ashgate Publishing Limited |isbn=0-7546-3282-2}}</ref> Skiffle renewed popularity of folk music forms in Britain and led directly to the [[progressive folk]] movement and the attendant [[Folk club|British folk club scene]].<ref name="sweers"/> Among the leading lights of the progressive folk movement were [[Bert Jansch]] and [[John Renbourn]], who would later form the folk rock band [[Pentangle (band)|Pentangle]] in the late 1960s.<ref name="sweers2">{{cite book|author=Sweers, Britta.|pages=81–85|year=2005|title=Electric Folk: The Changing Face of English Traditional Music|publisher=Oxford University Press|isbn=0-19-515878-4}}</ref> Other notable folk rock artists with roots in the progressive folk scene were [[Donovan]], [[Al Stewart]], [[John Martyn]] and [[Paul Simon]].<ref>{{cite book|author=Brocken, Michael.|page=84|year=2003|title=The British Folk Revival 1944–2002|publisher=Ashgate Publishing Limited |isbn=0-7546-3282-2}}</ref><ref>{{cite book|author=Barry, Lee.|pages=18–22|year=2006|title=John Martyn: Grace & Danger|publisher=Lulu.com|isbn=1-84728-988-6}}{{self-published source|date=February 2020}}</ref>{{self-published inline|date=February 2020}}