ABSTRACT
The idea that folk music should be available for free manipulation by the progressive musician seems to follow logically from there and certainly the presumption that Dylan was fully justified in embracing electric-blues and stylization has only intensified in recent times. A folk song might vary in meaning and it might not appear the same from one moment to the next. It depends on who's playing and who's listening. Punk and folk are similar structurally, in the sense that both are primarily based on functional tonality and traditional verse/chorus segments. This idea that punk is a type of folk music is not especially uncommon. It is the latter, protest-oriented aspect of post-war folk music that is of particular interest for comparison with the punk movement. Folk followed by a closer analysis of the extent to which punk broke with the politics of 1960s traditions and extent to which it may in fact have provided a continuation of earlier protest traditions.
