Meaning: This quote by Brownie McGhee, a renowned blues musician, reflects the essence of the folk music scene during the mid-20th century. The quote captures the spirit of a time when folk music experienced a surge in popularity, attracting a diverse range of individuals eager to participate in its creation and performance. McGhee's words convey a sense of both admiration and critique for the phenomenon of individuals picking up a guitar, learning a few songs, and identifying themselves as folk singers.

During the folk music revival of the 1950s and 1960s, there was a widespread embrace of folk music as a means of personal expression and social commentary. This period saw the emergence of influential figures such as Bob Dylan, Joan Baez, and Pete Seeger, who used their music to address issues of social justice, civil rights, and political activism. As the genre gained popularity, it also became more accessible to amateur musicians and enthusiasts who sought to participate in the folk music movement.

The quote suggests that the accessibility of folk music at the time led to a proliferation of self-proclaimed folk singers, as individuals were inspired to pick up a guitar and learn a few songs without necessarily delving deeper into the tradition or history of folk music. The act of "grabbing a guitar" symbolizes the informal and spontaneous nature of folk music during this era, where individuals could easily engage with the genre without formal training or extensive knowledge.

McGhee's observation about people running out of songs when they "didn't know no more" reflects a common phenomenon in folk music circles. Many amateur musicians during the folk revival may have learned a handful of popular folk songs but lacked a deeper understanding of the genre's rich and diverse repertoire. As a result, they may have struggled to expand their musical repertoire beyond the limited number of songs they knew, highlighting a potential shallowness in their engagement with folk music.

It's important to note that McGhee's quote does not dismiss the enthusiasm and passion of those who embraced folk music during this period. Instead, it sheds light on the challenges associated with a surge in popularity and the potential dilution of the genre's depth and complexity as it entered the mainstream. The quote may also serve as a reminder of the importance of respecting and honoring the traditions and history of folk music, rather than simply appropriating it for superficial or trendy purposes.

In conclusion, Brownie McGhee's quote encapsulates a pivotal moment in the history of folk music, reflecting the tensions between accessibility and depth, enthusiasm and shallowness, within the context of the folk music revival. It offers valuable insight into the dynamics of musical participation and identity during a transformative period for the genre, prompting reflection on the nature of musical engagement and the responsibilities that come with claiming a musical tradition as one's own.