Music has always been a great unifier, a common denominator that can join the masses not only in voice, but in thought and emotion. You need only cast an eye upon the hordes flocking to festivals this summer—in the hope of communing with the other members of the crowd, as well as their heroes—for a reminder of this power. But music and song had a greater role to play during the civil rights movement of the 60s, when it was used as a communicative and political tool as well as a rallying call. Photographer Dan Budnik, whose work (which we profile today) offers a moving, personal take on the era, is quick to stress that "the singing was an essential part of it all." He recounts a story of a state trooper at the 1965 march from Selma to Montgomery, who though a "die-hard segregationist," confided to Budnik: "I'll give 'em one thing, they really can sing." Given the enormity of the issues at stake, it’s apt that the era produced some of the 20th century’s best-loved songs. Below we detail five of our favorite anthems that arose from the Civil Rights Movement.
"We Shall Overcome"
A former member of The Weavers, Pete Seeger was a force in the folk revival during the 1950s and 60, and is said to have been disgusted by Bob Dylan’s decision to go electric at the Newport folk festival in 1965. Zilphia Horton, the music director of the Highlander Folk School in Tennessee (the institute that provided training to Rosa Parks and later Martin Luther King), taught Seeger this song, derived from a gospel refrain. Seeger added it to his repertoire ensuring that the song became one of the signature tunes of the civil rights movement.
"Oh Freedom"
Often referred to as the voice of the civil rights movement, Odetta was a huge influence on fellow musicians including Janis Joplin and Mavis Staples. Her version of "Oh Freedom," a song that has roots in post-civil war African-American society is featured as part of her “Spiritual Trilogy,” while Joan Baez first sang the song during the 1963 march on Washington.
"Going Down to Mississippi"
Deeply political, Phil Ochs wrote many topical and political songs before his death in 1976, causing Dylan to refer to him as “a journalist.” This song directly addressed the struggle in the south through its lyrics.
"Blowin’ in the Wind"
Described by many as the anthem of the civil rights movement, Bob Dylan’s seminal song asks many philosophical questions about war and freedom and was included in his second studio album, The Freewheelin’ Bob Dylan. It also contributed to Dylan’s sizeable reputation as a composer of protest songs.
"Strange Fruit"
When Billie Holiday first sang this song in 1938 it was suppressed by her record company due to the incendiary lyrics that tackled the issue of lynching. It became the trademark final song of each of her performances, whereupon club lights would dim, waiters would stop serving and a single spotlight would focus all attention on the legendary singer.
"We Shall Overcome"
A former member of The Weavers, Pete Seeger was a force in the folk revival during the 1950s and 60, and is said to have been disgusted by Bob Dylan’s decision to go electric at the Newport folk festival in 1965. Zilphia Horton, the music director of the Highlander Folk School in Tennessee (the institute that provided training to Rosa Parks and later Martin Luther King), taught Seeger this song, derived from a gospel refrain. Seeger added it to his repertoire ensuring that the song became one of the signature tunes of the civil rights movement.
"Oh Freedom"
Often referred to as the voice of the civil rights movement, Odetta was a huge influence on fellow musicians including Janis Joplin and Mavis Staples. Her version of "Oh Freedom," a song that has roots in post-civil war African-American society is featured as part of her “Spiritual Trilogy,” while Joan Baez first sang the song during the 1963 march on Washington.
"Going Down to Mississippi"
Deeply political, Phil Ochs wrote many topical and political songs before his death in 1976, causing Dylan to refer to him as “a journalist.” This song directly addressed the struggle in the south through its lyrics.
"Blowin’ in the Wind"
Described by many as the anthem of the civil rights movement, Bob Dylan’s seminal song asks many philosophical questions about war and freedom and was included in his second studio album, The Freewheelin’ Bob Dylan. It also contributed to Dylan’s sizeable reputation as a composer of protest songs.
"Strange Fruit"
When Billie Holiday first sang this song in 1938 it was suppressed by her record company due to the incendiary lyrics that tackled the issue of lynching. It became the trademark final song of each of her performances, whereupon club lights would dim, waiters would stop serving and a single spotlight would focus all attention on the legendary singer.
