Like many other areas of life, music has changed along with society. The period between 1959 and 1963 was transitional, and at least two distinct markets emerged in the music industry (Covach and Flory 112). The first one was defined by the new generation of teenagers who favored dance music (Covach and Flory 113). The second market consisted of former rock and rollers who preferred folk music associated with social, political, and economic issues (Covach and Flory 113). Folk had a long history of addressing problems within American society, and its music appeared to be more dedicated to the community than commercial pop (Covach and Flory 118-119).
Folk performers appealed to the audience and represented people rather than being above them (Covach and Flory 119). Almost anyone could play folk, as the music was simple and required a few easy guitar accords (Covach and Flory 119). Thus, the idea spread of folk being “for the people and by the people” (Covach and Flory 119-120). The concept was related to the music and the people’s ideologies, as the singers and the audience, united by social issues, expressed their concerns through songs.
As folk was the music of people, it was also a movement characterized by many important figures. The Weavers consisted of traditional performers such as Peete Seeger and were one of the most significant folk groups in the US (Covach and Flory 119). The Weavers focused on societal problems and prioritized the simplicity of the music, gaining an audience among college students (Covach and Flory 119). At the beginning of the 1960s, The Kingston Trio was the most popular group that started the folk revival in the mainstream pop market (Covach and Flory 119-120). The Kingston Trio’s pop-sensitive approach was favored by the public and defined folk music for many general listeners (Covach and Flory 120-121). Considerable singers have represented folk music, supporting the movement of addressing issues within society.