1

Sarah Williams

Topics 405

December 6, 2016

Chybowski

Folk Music and Environmental Protest

As Kesha Morant discusses in her article “Language in Action: Funk Music as the

Critical Voice of a Post-Civil Rights Movement Counterculture,” successful protests are

comprised of four key aspects: transforming perceptions of history and society, prescribing a

course of action, mobilizing for action, and sustaining the movement.1 Much of protest music

from the 1960s and 70s did not contain these necessary traits, which lessened its impact. It was

also during this time that the growth of an environmental movement began to take form, which

had leaders successfully using music for protest. By highlighting Pete Seeger, works of Malvina

Reynolds, and Jack Johnson, I argue that music, specifically within the folk genre, is a powerful

medium to raise awareness of environmental issues and to produce change. I first discuss the

lyrical and sonic aspects of four songs from Seeger’s album God Bless the Grass to showcase

how his music transformed perceptions of society and prescribed a course of action. Next, I

explain how his music led to mobilization for action through the organization Hudson River

Sloop Clearwater and The Great Hudson River Revival. Lastly, I focus on the contemporary

environmental protester, Jack Johnson, and how his music is producing positive environmental

change today thus showcasing how the movement has been sustained.

1
Kesha M. Morant, "Language in Action: Funk Music as the Critical Voice of a Post-Civil Rights Movement
Counterculture," Journal of Black Studies (2011): 74.
 2

The well-known song “My Dirty Stream” by Seeger is an example of how music can

transform perceptions and raise awareness. Musically, the song is quite simple, only using vocals

accompanied by banjo. Each verse maintains the same or similar melody with slight variations in

the strumming technique of the banjo. The banjo plays steadily throughout the piece almost as if

mimicking the constant flow of the river. Because of the repetition of the melody and the simple

4/4 meter, the song could be easily learned by most listeners. The simplicity also causes the

listener to focus on the lyrics of the song. Lyrically and musically, it has a hopeful tone because

of the major key and playful syncopation between the vocal line and banjo. In the song, Seeger is

specifically singing about the Hudson River, which during this time was often used to deposit

waste because of a lack of regulations.2 In the first three verses he sings about his “dirty stream”

and the many reasons why it has become this way:

At Glens Falls, five thousand honest hands work at the consolidated paper plant (five
million gallons of waste a day.) Why should we do it any other way? Down the valley
one million toilet chains find my Hudson so convenient place to drain. And each little
city says, "Who, me? Do you think that sewage plants come free?3

Seeger is educating the listener and raising awareness of the harm these practices can cause. He

ends the song with a hopeful tone by putting forth a picture of what the river could look like if

preventative measures were taken: “still I love it and I'll dream that someday, though maybe not

this year, my Hudson and my country will run clear.”4 Overall, the song not only educates, but

creates a picture of how the stream would look if preventative measures were taken.

Another song that transforms perceptions of society is “Cement Octopus” written by

Malvina Reynolds but popularized by Seeger. This song creates a vivid and negative image of

2
David Ingram, ““My Dirty Stream”: Pete Seeger, American Folk Music, and Environmental Protest,” Popular Music
and Society 31, no. 1 (2008): 23.
3
Pete Seeger, “My Dirty Stream,” Pete Seeger (1966; New York: Columbia Records.), CD.
4
Ibid.,
 3

the development of a freeway system adjacent to the Golden Gate Park in San Francisco.

Seeger’s musical interpretation of this piece greatly adds to the message. Similar to “My Dirty

Stream,” Seeger uses merely vocals with banjo accompaniment, but within this particular song

the banjo plays a larger role. In between stanzas of the verse, the banjo comments, interjects, or

emphasizes Seeger’s vocal line. This interplay between the instrument and voice mimics a call

and response which perfectly fits the message of the lyrics. At the beginning of each verse, a

vivid image is created of the different machines used for construction. Verse one begins with,

“There's a cement octopus sits in Sacramento, I think. Gets red tape to eat, gasoline taxes to

drink. And it grows by day and it grows by night, and it rolls over ev'rything in sight.”5 It is clear

to the listener that whatever he is describing is dangerous and harmful. Each verse describing the

destructiveness of the freeway ends with the refrain “Oh, stand by me and protect that tree from

the freeway misery.”6 Not only does he raise awareness of this freeway development and the

possible harm it could have on the environment, but he also calls for action from the listener as

referenced in the music between the vocals and banjo.7

The last song I will discuss, “God Bless the Grass,” differs in style, but still dramatically

affects a listener’s perception of society. Malvina Reynolds is once again the writer of the song,

but her meaning for the song appears to have differed from the message Seeger wanted to

communicate. She wrote the song after the assassination of John F. Kennedy, which gives a

possible double meaning to the lyrics. Seeger might have still utilized this double meaning, but

within the context of his album, he most likely used it to focus on environmental protest. Unlike

his interpretation of “Cement Octopus,” Seeger’s version of “God Bless the Grass” is very

similar to Reynolds. The song is in a minor key with vocals and simple accompaniment and only
5
Malvina Reynolds, “Cement Octopus,” Pete Seeger (1964; San Francisco: Schroder Music Company.), CD.
6
Ibid,.
7
Ibid
 4

differs by the use of banjo instead of guitar. This is the only song on the album that maintains a

slower tempo, soft dynamics, and a small vocal range. The delicateness of vocal style and

dynamics may be highlighting the fragility of nature as Seeger sings about, “the grass that grows

through cement. It's green and it's tender and it's easily bent.”8 Besides reminding the listener of

the fragility of nature and the harmfulness of human tampering with “They roll the concrete over

it to try and keep it back,”9 Seeger portrays nature as the goodness in the world or “truth.”10

Again, in its original context, “grass” had a double meaning, but through Seeger’s interpretation,

nature becomes the focus. As seen in this portion of the verse, “But after a while it lifts up its

head, for the grass is living and the stone is dead, and God bless the grass,”11 Seeger paints a

picture of nature triumphing over the cold and lifeless cement or industrialization affecting the

way a listener might view society.12

Besides changing the way one views society through music, Pete Seeger used folk songs

to prescribe a course of action. His rendition of the song “Preserven el Parque Elysian”

highlights this call for action as well as a specific way one could promote change. "Preserven el

Parque" was written in Spanish by the actor, Mike Kellin, during a demonstration to save

Elysian Park in Los Angeles, used annually by one million people, many of them Mexican-

Americans. It was first printed in West Coast Songmakers Almanac and made popular by Pete

Seeger on his album "God Bless the Grass."13 Interestingly, although this song was used for a

specific protest event, Seeger still included it on his album. One reason for this inclusion is

because even when removed from context, the song highlights ways one can get involved in
8
Malvina Reynolds, “God Bless the Grass,” Pete Seeger (1964; San Francisco: Schroder Music Company.), CD.
9
Ibid,.
10
Ibid,.
11
Malvina Reynolds, “God Bless the Grass,” Pete Seeger (1964; San Francisco: Schroder Music Company.), CD.
12
Ibid,.
13
Allan M. Winkler, "To Everything There is a Season": Pete Seeger and the Power of Song (Oxford: Oxford
University Press, 2009), 42.
 5

protecting the environment. In this particular song, one can support the environment by

protecting the “beautiful parks.” In this song, he utilizes a very simple, almost child-like melody,

with guitar accompaniment. Each stanza translated from Spanish to English puts forth simple

ideas:

Elysian Park is beautiful. Elysian park is my kind of park. The air is free my friends. We
don’t want buildings in the park. We want green grass. The park is yours and mine.
Children need it. Stop the bulldozers.14
Each stanza is repeated fully three times, but right before the last full repeat he takes a fragment

of the verse (“que lindo”), and repeats it with an echo affect by moving away from the

microphone. This references call and response and similar to “Cement Octopus” encourages and

inspires participation from the listener. Through the simple melody, repetition of material (both

musical and lyrical), and clear instruction for positive environmental change, this is a powerful

protest song.

Not only did Seeger prescribe a course of action, his music led to mobilization for action.

This vehicle for action is the organization Hudson River Sloop Clearwater. Initially, it began as a

simple project. The Hudson River in the 1960s was rank with toxic chemicals, oil pollution, and

raw sewage for many reasons, some of which discussed in his song “My Dirty Stream.” In 1966,

he announced his plans to build a boat that he believed would save the river by raising

awareness, allowing others to experience its beauty, and ultimately inspiring preservation. Three

years later in 1969, the sloop Clearwater was successfully built. At first, Seeger and his

contributors saw little affect until they began to use the sloop for educational purposes. They

contacted multiple schools in the area and began taking children on field trips within the boat.

Besides enjoying the beautiful view and experience on the boat, children would have

14
Pete Seeger, “Preserven el Parque Elysian,” Pete Seeger (1966; New York: Columbia Records.), CD.
 6

opportunities to interact with the environment performing experiments such as collecting and

analyzing plankton from the river. Through this education, the sloop gained popularity and

started to have a powerful impact. The early and simple beginning of this sloop is now

recognized as an important step in the environmental movement:

The sloop Clearwater is recognized as America’s Environmental Flagship and is among

the first vessels in the United States to conduct science-based environmental education
aboard a sailing ship, creating the template for environmental education programs around
the world. More than half a million people have experienced their first real look at the
Hudson River estuary’s ecosystem aboard Clearwater.15
The small project of building a boat to raise awareness and provoke change grew into a full

fledge organization called the Hudson River Sloop Clearwater, Inc. The organization developed

multiple environment educations programs, youth empowerment programs, environmental action

campaigns, and Green Cities initiatives, all with a unique approach to public outreach. The

organization is still active today encouraging environmental change through education as well as

music.16

The role of music within this organization was vital to its success. To fund the building of

the sloop, Seeger developed The Great Hudson River Revival referred to now as the Clearwater

Festival. Initially, it was a series of small fundraising concerts with performances by Seeger and

his friends and fellow musicians such as Arlo Guthrie. During these small concerts in Hudson

River Valley, they would pass a banjo around the crowd to collect donations.17 At first the

festival and the music was only used for fiscal support of the organization, but as the

organization developed the music festival was used to raise awareness and promote change for

15
Dave Conover, “The Clearwater Story,” Clearwater.org, Accessed November 10, 2016
16
Ibid,.
17
David Ingram, ““My Dirty Stream”: Pete Seeger, American Folk Music, and Environmental Protest,” Popular
Music and Society 31, no. 1 (2008): 34.
 7

the environment. The event celebrates the Hudson River through the performance of folk song

and American Roots music. In addition to the music, there are environmental education sites and

numerous riverfront opportunities such as kayaking and boat rides to emphasize the importance

of the Hudson River.18 This music festival is a perfect example of using music to mobilize for

action through both the raising of funds and environmental awareness.

The tradition of using music for environmental protest still exists today through folk

singers such as Jack Johnson. Growing up in Hawaii, the singer-songwriter professes a deep

appreciation for the beautiful beaches and environment of his home. In the early 2000s, Johnson

noticed the increase of developments such as resort-buildings in Oahu and the negative

ramifications caused by this overdevelopment. Just as Seeger used his music to fund the growth

of his environmental organization, Johnson holds benefit concerts to fund his established charity,

the Kokua Hawaii Foundation. Within this foundation, Johnson aims to promote protection of

the islands environment through offering educational programs in schools. Not only do these

programs raise the students’ awareness of environmental issues, it instructs them on how they

can make positive change. As Seeger used hands-on learning through utilization of the sloop

Clearwater, Johnson also focuses on projects that allow for active participation from students

such as school recycling drives. Besides using his music to provide fiscal support for the Kokua

Hawaii Foundation, he uses it as a tool to increase environmental awareness and education.19

One such song with this purpose is “The Three R’s.” Similar to Seeger’s songs discussed

previously, the main focus is placed on the lyrics by using a simple musical texture. Although

18
Ibid,. 35.
19
Seth Abhishek, "Exclusive: Jack Johnson Talks Eco-Activism, Solar Power And Charity," Look to the Stars, Accessed
November 10, 2016.
 8

there are more instruments (percussion, guitar, and keyboard), each part merely maintains the

playful syncopated rhythm and major harmonies. The song is meant for children to sing along

with, which is why the music is simple and repetitive and the vocal range is easily accessible.

Within the lyrics, Johnson introduces the idea of reducing, reusing, and recycling. Beyond

educating the students, he gives simple and easily applicable examples for each one. One such

example of presenting possible action is when he discusses reducing and reusing in verse two

and three:

If you're going to the market to buy some juice, you've got to bring your own bags and
you learn to reduce your waste. And if your brother or your sister's got some cool clothes,
you could try them on before you buy some more of those. Reuse, we've got to learn to
reuse.20

By using music for education and to encourage active participation, Johnson is carrying on the

successful folk music tradition of environmental protest.

Music used within movements for protest often is lacking in the four areas discussed

previously including changing perceptions of society, prescribing a course of action, mobilizing

for action, and sustaining the movement. As seen through the music of Pete Seeger, Malvina

Reynolds, and Jack Johnson, folk music used for environmental protest successfully exhibits

each of these characteristics, making it a powerful medium for change. These affects were seen

when the Hudson River was eventually cleaned. It was also exhibited in 1966 when the

Crosstown Tunnel, the Golden Gate Freeway, and the Panhandle Freeway were all rejected by

the people of San Francisco. Folk musicians were not the only factors that contributed to

environmental change, but their music played a key role in raising awareness, prescribing action,

and providing resources for active participation.

20
Jack Johnson, "The 3 R's," Jack Johnson (2006; Hawaii: Brushfire Records.), CD.
 9

Bibliography
 10

Abhisheck, Seth. "Exclusive: Jack Johnson Talks Eco-Activism, Solar Power And Charity."

Look to the Stars. Accessed November 16, 2016.

Conover, Dave. “The Clearwater Story,” Clearwater.org. Accessed November 10, 2016.

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Protest." Popular Music and Society 31, no. 1 (January 22, 2008): 21-36.

Johnson, Jack. "The 3 R's." Jack Johnson. 2006. Hawaii: Brushfire Records, CD.

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 11

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