In the summer of 1970, Bill Danoff and Taffy Nivert were driving down Clopper Road to a family reunion in Gaithersburg, Maryland. Montgomery County was a much more rural place in those days, and the scenery inspired Danoff to repetitively sing “country roads, country roads, country roads.”
Under normal circumstances, this burst of creativity might have gone nowhere, but the couple happened to be a duo of professional musicians. So, with the help of John Denver, they soon turned the phrase into the earworm we know today.
Pete Seeger was a performer whose art was intertwined in close harmony with a slew of social causes, ranging from civil rights and the organized labor movement to environmentalism. As he once wrote, "Music, as any art, is not an end in itself, but is a means for achieving larger ends." While Seeger lived most of his life in upstate New York, Seeger's twin passions for music and activism often brought him to Washington, where his calm eloquence and forthrightness gave him influence in the White House — and also subjected him to peril.
Sure, it seems a bit counter-intuitive. How could the favorite subject of protest music also be its greatest protector? Well, believe it. If it wasn't for Alan Lomax and the Archive of American Folk Song at the Library of Congress there might not be a Woody Guthrie — and thus by extension — a Bob Dylan or a Bruce Springsteen, and well … you get the rest. In March 1940, Lomax arranged for Guthrie to travel to Washington, D.C. to record traditional ballads and his original songs at the Department of the Interior recording lab. What emerged from three days of sessions is one of the purest documents of Americana ever released.
