Franklin D. Roosevelt and the New Deal both get mixed reviews in song. The Dust Bowl hits the middle of the country, bringing to the fore not only Woody Guthrie and “Sis” Cunningham but also a stable of lesser-known “Dust Bowl Balladeers.” The Harlan County Wars continue in Kentucky, and the balladry proliferates. Sit-down strikes rock Detroit, and their songs resound. “We Shall Not Be Moved” becomes a Spanish-language anthem, and Rafael Hernández Marín sings of Puerto Rico’s Ponce Massacre. Abel Meeropol takes on lynching with his masterpiece, “Strange Fruit,” and Lead Belly damns the racism of the nation’s capital with his “Bourgeois Blues.” The Popular Front resurrects Lincoln as a working-class hero in song, and the fighters of the Lincoln Battalion in Spain march to their own battle tunes. The arenas of musical theater, dance, classical music, and jazz also become battlegrounds with Blitzstein’s The Cradle Will Rock, Harold Rome’s Pins and Needles, William Grant Still’s Lenox Avenue, Helen Tamiris’s How Long, Brethren?, Langston Hughes’s Don’t You Want to Be Free?, and John Hammond’s From Spirituals to Swing concerts. Marian Anderson transforms “America” from the steps of the Lincoln Memorial, and Paul Robeson sings a “Ballad for Americans” from coast to coast.