Why Woody Guthrie Endures

In this summer of discontent, a century after his birth, the great folk singer's message still matters.

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Eric Schaal, courtesy of Time & Life Pictures/Getty Images

It gets right to the heart of the promise of what our country was supposed to be about. And I guess, I don't know, if you talk to some of the unemployed steel workers from East L.A., or Pittsburgh, or Gary. There are a lot of people out there whose jobs are disappearing. I don't know if they feel that this song is true any more. And, uh, I'm not sure that it is but I know, I know that it ought to be. So I'd like to do this for you, reminding you that with countries, just like with people, it's easy to let the best of yourself slip away.

–Bruce Springsteen, 1985, in concert in California, introducing This Land is Your Land.

I didn't start out the year planning to spend hours listening to scratchy, old folk music recordings or imaging the glorious life and hard times of Woodrow Wilson Guthrie. Things just seem to have worked out that way. Guthrie, named after a man who was not yet president, was born 100 years ago this Saturday, on July 14, 1912, in Okemah, Oklahoma. His fans and followers have been gearing up for the centennial celebration, but it seems as though Guthrie has never really left.

"Our job is the Here & now, Today. This week. This month. This year. But we've got to include a Timeless element in our songs." – Guthrie in 1941

Forty-five years after his death, Guthrie's principal lament about America is still obvious and irrefutable: The nation is divided into haves and have-nots—and the have-nots are always the ones in pain. Born of the Great Depression, hardened by war, Kerouac before there was Kerouac, Guthrie's music was sung by war protestors in the 1960s and by "Occupy" protestors in 2012. "This Land is Your Land"—haunting, teasing, eternally illusive—is as relevant today as it was when Guthrie first wrote it nearly three quarters of a century ago. No wonder Springsteen called it "about the greatest song ever written about America."

That's the thing about folk music, right? When it takes hold of us, it doesn't let go. When it invokes our memories, it also pitches us a future. We look back to look forward, to look ahead. What an unexpected gift it has been then, these past few months, to begin to discover music my father sang in Canada 60 years ago. What a gift to know those songs are the very same ones my mother learned in Pennsylvania in the 1930s and 1940s. Here I am, in a whole other part of North America, in a whole other century, listening to the same music and trying to pass it along to my son.


Fathers and sons. Last month, Guthrie's son, Arlo, himself a folk legend, offered up some beautiful words about his famous father and that song of songs. In the meantime, to mark this week's big milestone, Arlo Guthrie will perform Wednesday at the Crystal Theatre, right there in Okemah, the son honoring the father on the first night of the town's annual Woodyfest celebration. When Arlo plays Woody that night, and when the crowd singes Woody that night, there will be no better music venue, and no more emotionally powerful performance, anywhere in the world.

Guthrie's performance will precede by one day the release of another unique musical tribute to Woody Guthrie. This week, Smithsonian Folkways Recordings releases Little Seed, a 13-song CD of "kid-friendly Guthrie classics" sung by Elizabeth Mitchell, the renown folk singer (and Kindie music hero). What is the Smithsonian Folkways? It is "the nonprofit record label of the Smithsonian Institution" dedicated to "supporting cultural diversity and increased understanding among peoples through the documentation, preservation, and dissemination of sound." Click here for Mitchell, singing two entirely adorable covers of Guthrie songs.

Another welcome contribution to the Guthrie shelf is a coffee table-sized book of extraordinary breadth and depth titled Woody at 100, The Woody Guthrie Centennial Collection. Everything about this piece of art is brilliant, from the music on the CDs, to the reprints of Guthrie's drawings, to the liner notes, to the narrative of Guthrie's life offered up by Robert Santelli. It's all here. All the album covers and music. All the sketches and edits. Here's a photo of Guthrie singing on a New York subway train. Here's an oil on canvas painting of Abraham Lincoln he painted. Here's how the Smithsonian pitches the book—what a complete undersell:

Woody at 100: The Woody Guthrie Centennial Collection is a 150-page large-format book with 3 CDs containing 57 tracks, including Woody's most important recordings such as the complete version of "This Land Is Your Land," "Pretty Boy Floyd," "I Ain't Got No Home in This World Anymore," and "Riding in My Car." The set also contains 21 previously unreleased performances and six never-before-heard original songs, including Woody's first known—and recently discovered—recordings from 1937.


The Smithsonian calls Guthrie "ordinary, yet extraordinary—a traveler, itinerant worker, radio performer, military enlistee, thinking man, talented visual artist, husband and father, and prolific writer" who "struggled with family tragedies, poverty and personal demons." What the Smithsonian means is that Guthrie was quintessentially American—hopeful yet frustrated, talented yet mercurial, both restless and rooted. Everyone listens to music differently, but when I listen to Guthrie I feel like I'm listening to radio news broadcasts from a different era. It transports me back in time. Again, it's a welcomed gift.

Presented by

Andrew Cohen is a contributing editor at The Atlantic. He is a legal analyst for 60 Minutes and CBS Radio News, a fellow at the Brennan Center for Justice, and Commentary Editor at The Marshall Project

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