Many of the resources dedicated to explaining filk music on the internet have one thing in common: they all begin with a disclaimer that there is no universally accepted definition for it. Filk music is its own happening, a grassroots phenomenon fueled grassroots enthusiasm and improvised spontaneity. However, some facts are unmistakable. This music began at conventions among sci-fi fans, possibly as early as the 1920s, and included both original music and song parodies of all things sci-fi — as well as other subjects.
The term filk is derived from a 1950s typo of Lee Jacobs’ essay, which was incorrectly titled “The Influence of Science Fiction on Modern American Filk Music.” Many early science fiction fans were folk music fans who used music as a form of social protest and commentary. As a result, this music is classified as expressive folk music that has been modified. It is so popular that it has its own traveling conventions, as well as groups and fans all over the world.
While the music’s roots are firmly planted in the sci-fi community, it has come a long way as a song parody from the farthest reaches of space. Many people are aware that filk is song parody, but they are unaware that it also includes original music and originated in sci-fi fandom. To that end, the internet is awash with debates and discussions attempting to determine whether or not Weird Al Yankovic is a filker.
This music has frequently appeared on television as a parody. In the hit television series Xena: Warrior Princess, there are numerous examples (1995-1999). In the third season’s Fins, Femmes, and Gems, Aphrodite, the goddess of love, blows love-dust into Gabrielle’s face as she looks in the mirror. Gabrielle develops an unhealthy obsession with herself and soon finds herself happily singing her virtues to the tune of The Beverly Hillbillies Theme.
Despite the fact that most filk is about science fiction or fantasy, it can be about anything — a beloved pet, a car, or even a computer. It’s mostly acoustic, in keeping with its folk roots, but there are also electronic and rockier versions. It’s most commonly shared in a group setting at late-night singing sessions following standard conventions or at conventions. While the structure that drives this music today is predominantly technology-based interactive networks like the Internet, mailing lists, email rings, Web forums, and so on, it is low-tech in its simplicity.