greenwich village was the primary new york destination for the folk scene beginning in the 1940s.
greenwich village was the primary new york destination for the folk scene beginning in the 1940s.
the primary new york destination for the folk scene beginning in the 1940s?
greenwich village
beginning in the 1940s, new york city was the center of a roots revival in american folk music. many new yorkers developed a renewed interest in blues, appalachian folk music and other roots styles. greenwich village, in lower manhattan, became a hotbed of american folk music as well as leftist political activism. the performers associated with the greenwich village scene had sporadic mainstream success in the 1940s and 50s; some, like pete seeger and the almanac singers, did well, but most were confined to local coffeehouses and other venues. performers like dave van ronk and joan baez helped expand the scene by appealing to university students. in the early '60s, baez was instrumental in introducing the up-and-coming young folk artist bob dylan to her audience and he quickly achieved national prominence. by the mid-'60s, folk and rock were merging, with bob dylan taking the lead in july '65, releasing like a rolling stone, with a distinctive, revolutionary rock sound for its time, steeped in tawdry new york city imagery, followed by an electric performance in late july at the newport folk festival. dylan plugged an entire generation into the milieu of the singer-songwriter, often writing from an urban, distinctly new york point of view. by the mid to late 1960s, bands and singer-songwriters began to proliferate the underground new york art/music scene. the release of "the velvet underground & nico" in 1967, featuring singer-songerwriter lou reed and german singer and collaborator nico was described as "most prophetic rock album ever made" by "rolling stone" in 2003. other new york city based singer songerwriters began to emerge, using the urban landscape as their canvass, a backdrop for lyrics in the confessional style of poets like anne sexton and sylvia plath. in july 1969, newsweek magazine ran a feature story, "the girls-letting go," describing the groundbreaking music of joni mitchell, laura nyro, lotti golden and melanie, as a new breed of female troubadour: "what is common to them are the personalized songs they write, like voyages of self discovery, brimming with keen observation and startling in the impact of their poetry." the work of these early new york based singer-songwriters, from laura nyro's "new york tendaberry" (1969), to lotti golden's east village diaries on "motor-cycle" her 1969 debut on atlantic records, has served as inspiration to generations of female singer-songwriters in the rock, folk and jazz traditions. i
culture of new york city
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