Readers will notice a new “feature” of this website – Today in History. If you look at the bottom of this page you will see a box that will update daily with mention of various events that took place on this date. Some will be music related but you will find a variety of subjects in this section. I will continue to make note of anniversaries and birthdays of significant events related to folk music in this column.

Take today for instance. On this date (November 1) in 1964 Broadside Magazine’s first Topical Song Workshop was held at the Village Gate in NYC’s Greenwich Village. Today the site is a CVS Pharmacy, but in 1964 the room at 160 Bleeker Street was filled with musicians and folk fans. That evening the performers included Len Chandler, Barbara Dane, Ramblin Jack Elliot, Julius Lester, Phil Ochs, Tom Paxton, Buffy Ste. Marie and Pete Seeger.

Broadside Magazine (Not to be confused with a more recent periodical called The Broadside published by a conservative group in North Carolina) was first published in 1962 by the late Gordon Friesen and Sis Cunningham.

I think it is important to understand just what “topical” songs are, and a bit of history as to their place in the folk revival of the 20th century. If you looked up “topical” in a dictionary, you would find several definitions. “Topical” describes an object that is particular to a certain location. “Topical” can also describe a collection of objects that are related to a particular subject. “Topical” can also relate to contemporary events. With music, a “topical song” can relate to all three definitions. They are songs that deal with contemporary issues – telling stories, sharing information, protesting, and inspiring others to join the fight.

Topical songs are not a new phenomenon. They have been around for centuries. In this country, stirring examples from the 1800’s can be found that were part of the abolitionist movement. Many work songs from that era tell us of the issues and troubles faced by people such as farmers and railroad workers. In the 1900’s as unions began to take hold, the International Workers of the World (Wobblies) made effective use of topical songs on picket lines and to inspire their members. In 1909 they would publish a book of songs that would become known as the Little Red Songbook, a book that is still published to this day.

During the 1930’s and 1940’s when the seeds were being planted for the era that would become known as “the folk revival”, a number of artists realized that songs could send a message and tell a story about the human condition. Woody Guthrie would take Carter Family songs and write new words to tell the story of migrant workers and relate incidents from the history books of organized labor. John and Alan Lomax made field recordings in prisons of inmates using gospel and blues to create songs that told of their plight.

The Almanac Singers, a group with an ever-changing lineup that would include Woody Guthrie; Sis Cunningham; Cisco Houston; Pete Seeger; Lee Hays and Millard Lampell among others, would record numerous songs of protest and topical songs that would capture headlines of the day.

World War II and the following McCarthy era would change the attitudes in this country and soon topical songs took a back seat. Folk songs were dealing less with issues of the day and instead exploring our past.

By the time the folk boom hit with the Kingston Trio, the songs being sung in the United States were by and large innocent and playful. While everyone was picking up a guitar and singing songs like “Kumbaya”, it appeared that very few were taking up writing songs. Coming on the heels of the McCarthy era, perhaps there was repression and fear for creating potentially controversial songs.

It was a bit different on the other side of the Atlantic. While visiting the UK in 1961, Pete Seeger took notice of a song movement that was taking place over there. Songs were being written about nuclear disarmament as well as other social and political issues of the day. Ewan MacColl and Pete’s step-sister Peggy Seeger were creating “folk documentaries” for the BBC that used newly created “topical” songs to tell the story. While they incorporated the styles found in traditional music, their subject matter was contemporary and relevant to modern audiences.

Pete came back to the U.S. and started to explore. There were some artists who were writing contemporary songs, but they lacked a forum to spread the music. Sing Out! magazine was dealing with wider topics, and Pete felt that a magazine dedicated solely to contemporary songs in the folk tradition would help stir the movement in this country. Initially he worked with Malvina Reynolds in an attempt to start something, but it was Gordon Friesen and Sis Cunningham, former members of the Almanac Singers with Pete, who would get the ball rolling.

In February 1962 a mimeographed publication called Broadside was issued. Pete and Toshi Seeger provided financial and moral support. The first issue cost $.35 and featured six songs. One was a song called “Talking John Birch” by a kid from Minnesota who had recently come to New York to become a folksinger. He started writing songs and Gordon and Sis saw something special in his work so Broadside became the first publication to print a Bob Dylan song.

Broadside became a success. The success of the magazine (if you can call mimeographed sheets of songs, newsclippings and tidbits a “magazine”) became inspiration for others to begin writing “topical” songs. One such notable was Phil Ochs, who Gordon & Sis would introduce at the 1963 Newport Folk Festival. A young 13 year old girl originally from New Jersey would find her way to the apartment of Gordon & Sis to give them a song that would find its way into Broadside – “Society’s Child” written by Janis Ian. Broadside would print topical songs from people like Pete Seeger, Tom Paxton, Eric Andersen, Buffy Ste. Marie, Peter LaFarge and many “unknown” writers who just happened to create worthy songs.

The magazine would soon feature articles and reviews from writers such as Josh Dunson and Julius Lester along with songs that would define the era. Although the circulation was modest by commercial publishing standards, the magazine became a huge influence as copies were shared and songs spread far and wide. In the early years, nearly every issue would feature a song or two from Phil Ochs, plus gems from Bob Dylan and other writers of the time.

The topics would cover the important movements of the day. The songwriters were doing more than just writing music – they were on the front lines reporting what they saw through their songs. Phil Ochs and Tom Paxton traveled down to Kentucky to live with impoverished miners, Malvina Reynolds was singing her songs at early peace rallies in California, Gil Turner and Len Chandler were involved in the civil rights movement and would be jailed for their activities in fighting for a just cause.

By the late 1960’s, the topical song movement had affected the world of rock music. Broadside was there to document the changes by expanding beyond what many had defined as a “folk” genre.

When you look back at the folk revival of the 1960’s, the image of the protest singer and their topical songs come quickly to mind. It might not have occurred were it not for the dedication and hard work of Gordon Friesen and Sis Cunningham. In their book “Red Dust and Broadsides“, Sis and Gordon would give credit to Woody Guthrie and Pete Seeger for being the inspiration and building block of the topical song movement.

Broadside nearly ceased operations in the late 1970’s, but in 1982 with the help of a new editor named Jeff Ritter the magazine was able to continue, on somewhat of a sporadic publishing schedule. During the 80’s the publication would feature work from artists like Michelle Shocked, Billy Bragg, Sammy Walker, Paul Kaplan, Charlie King and other contemporary artists of that era. In 1988 the final issue would be printed. Rising costs, health issues, and the advancing ages of Gordon and Sis contributed to the final decision. The legacy of Broadside would be celebrated by Smithsonian Folkways when they released a 5 CD boxed set in 2000.

So what is happening in 2006 with topical songs? Looking at the CD’s that I receive on practically a daily basis, I think it is alive and – fairly healthy. 2006 is different in many ways from 1964. The fact that you are reading this on the internet is proof of the amazing advances in technology. Songs are now distributed as MP3 files and can be found all over the internet. There are actually more radio shows playing this music today than there were 42 years ago. Shows like TRADITIONS can be found in practically every radio market in the nation.

While those differences seem to point to a greater ability to hear this music, the sad fact is that the lack of a central focal point, such as Broadside, makes it more difficult for songs to spread. If I play a song from John Flynn on TRADITIONS, we might receive a very enthusiastic response. If a radio station in Seattle does not play the song, a whole section of the country might not have a chance to be exposed. The songs still travel, but modern conveniences do not always translate to faster modes of communicating. In 2006, what we are now calling folk and topical music has become a spectator sport.

Even though Broadside did not appear at newsstands across the nation, the circulation was wide enough to help the songs to spread. I also feel that more people were MAKING music back in 1964, so when a song like “Blowin in the Wind” was published, more people would actually learn it and share it in what could be construed as a form of the oral tradition. In 2006, folk music and topical music are shared more as an exhibition rather than an invitation to participate.

The songs are out there. People are writing songs about the Iraq War, 9/11, George Bush, the environment, Israel & Palestine, and practially any subject you can think of. Topical songs are not dead, but you might need to keep your ears open a bit more in order to hear them. Broadside might not be a physical or even an internet entity these days, but the spirit and work that first graced those pages continues to be heard.

It is my hope that the songs will actually be sung and used as tools for creating much needed change. Make music, make change.