Lightning Splits the Tree: Further Issues of Identity in New York City’s 1990 Folk Scenes
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This is the third in a series of three articles dealing with folk music and the various means by which the genre has been perpetuated. The first article explicated the breadth of definitions and parameters of the term “folk music” as used by both scholars and performers. The second article explored more deeply two distinct folk music scenes in New York City in the mid-1990s, namely Fast Folk and the Anti-Folk. This article is a continuation of both, with an emphasis on the ways in which issues of identity and authenticity were promulgated through open stage performances and song at the Fast Folk Café and The Fort, the respective performance venues of the above mentioned groups. Whether directly related to the folk music of the past or not, scenes that people labeled as “folk” were vibrant in the 1990s in the West and East Villages. Although there is only a weak, invisible barrier between those two parts of the City few ever crossed the line. On the West Side folk music remained melodic, and the performers relatively placid. In the East Village the performers constantly vied for new ways to express themselves and were ever challenging the face of folk. But together, the venues and the scenes encompassed all who desired to enter the stage as a folk musician.
Abstract
This is the third in a series of three articles dealing with folk music and the various means by which the genre has been perpetuated. The first article explicated the breadth of definitions and parameters of the term “folk music” as used by both scholars and performers. The second article explored more deeply two distinct folk music scenes in New York City in the mid-1990s, namely Fast Folk and the Anti-Folk. This article is a continuation of both, with an emphasis on the ways in which issues of identity and authenticity were promulgated through open stage performances and song at the Fast Folk Café and The Fort, the respective performance venues of the above mentioned groups. Whether directly related to the folk music of the past or not, scenes that people labeled as “folk” were vibrant in the 1990s in the West and East Villages. Although there is only a weak, invisible barrier between those two parts of the City few ever crossed the line. On the West Side folk music remained melodic, and the performers relatively placid. In the East Village the performers constantly vied for new ways to express themselves and were ever challenging the face of folk. But together, the venues and the scenes encompassed all who desired to enter the stage as a folk musician.
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