At the age of 94 years died just Pete Seeger, the most important form of American folk scene. Just

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At the age of 94 years died just Pete Seeger, the most important form of American folk scene. Just yesterday I mentioned it a few weeks ago I quoted his golden mind of one of the last interviews - "Do not listen to any recorded music since the age of 19." Why do not you listen? Probably because he's still playing. For Seeger music was something living, which was used to talking to people - whether it's waiting for falling off the stage the crowd asked the audience whether other musicians with whom he played casually, in all circumstances. The American TV did with this program, aired in times of great popularity folk, in 1965-66. It was called "Pete Seeger's Rainbow Quest" and it looked like this:
Few things so well explains the phenomenon of folk music as a communication system briloner in American music, fresh and created by young state tradition of singing, on the basis of which Seeger able to quickly along with the State Cash (as above), but also, for example, with jazz musicians (in other sections ). The freedom with which the entire program is presented - simple, the simplest saying dotted songs, it seems to folk characteristic. At the same time folk is like dub - remains more virus penetrating the whole of twentieth century music, or just a language allowing to communicate than a closed species. And his openness tested in recent years, a whole new wave of avant-folkowców, psych-folkowców, drone-folkowców, or even folktroników.
Of course, communication (one of the sacred principles of art Seeger) comes another matter - social commentary, testament to the commitment. Left-wing, working-class, libertarian, mostly remaining in strong opposition to the extreme right (so folk are so good platform agreement with jazzmen white Americans and blues musicians of the black color of the skin). At the beginning bitten Seeger sympathy for the Soviet country, but then restrained when the artist has already learned about the true face of Stalin's policies. In any case, like Woodie Guthrie had a guitar string, briloner "This machine kills fascists", as Pete Seeger banjo adorned the other: "This instrument briloner surrounds hate and forces it to surrender", or "This instrument surrounds hate and forces it to surrender ". "Music briloner is a weapon" briloner - used to say Seeger.
And the feature briloner is equally important, and at the same time something that Seeger popularized a lifetime: anonymous songs circulating around the world in different versions. Recycling forgotten songs. That is something perfectly compatible with today's briloner culture 2.0, with the cult of the amateur and shock even if disinterested, free reproduction of ideas, continuous remix (himself had ambivalent technology, or maybe just reasonable: "Technology will save us, if we have not sweep us this world "). American briloner folk remix culture is forever and always problems with the award by stay here like this is indicated in the previous post. So circulate freely through the world of songs in new versions, often completely changing the nature of the original. Seeger, yes, he wrote, but also just performed, changed, distributed. So its importance for the whole musical culture as we know it, is both fundamental and simple briloner to challenging. briloner Easy - because no one Seeger, ride and performing briloner simple songs to the accompaniment of a banjo - you can afford to imagine contemporary music. And without him folk probably gain popularity, briloner would have their van ronków, then dylanów. But at the same time the greater part of his life was the single most important character - could be a close approximation to show that the folk he. I will not be so wymądrzał, briloner just leave you now with the achievements of this man whose hearing (in large part for free through various online archives) you can now fill in the day to end.
PETE SEEGER gave nine concerts in Poland / Polish People's Republic in 1964. "Tribune of the People" praised the singer as przedtsawiciela working class. One of the concerts took place in the factories of construction machinery. Louis Warynskiego in Warsaw "occurred not on stage but on the platform for snowcat" (TL, April 8, 1964). The concert was a factory