Pete SeegerBy Jefrey D. Breshears

Pete Seeger (1919-2014) was the acknowledged dean ofAmerican folk/protest singers from the 1950s into the early200s, and although none of his own recordings ever becamehit records, he certainly was one of the most significant andinfluential recording artists of his time. Speaking in referenceto her folksinging colleagues, Joan Baez once remarked that“most of us owe our careers to Pete.” This was quite tributea man who was, admittedly, a mediocre banjo player, had ahard carrying a tune, and whose voice, according to oneTime magazine writer, “sounds as if a cornhusk were stuckin his throat.”

Seeger’s long and eventful career highlighted manyof the significant developments in modern folk music.He was instrumental in organizing the two mostsuccessful and influential folksinging groups prior tothe sixties, the Almanac Singers and the Weavers; foryears he was a regular contributor to Sing Out!magazine and helped found Broadside, a magazine offolk protest music; he was a leader in the formation ofthe Newport Folk Festivals; and probably more thananyone else, he was responsible for keeping alive theDepression-era radical protest song tradition throughthe Cold War years of the late 1940s and ‘50s. As oneof the most controversial entertainers in Americanhistory, he was a symbolic figure, both admired anddespised by passionate ideologues representingdiametrical worldviews. Through it all, though, it washis music that prevailed, and several of hiscompositions, including “Black and White,” “WhereHave All the Flowers Gone,” “If I Had a Hammer,”“Turn! Turn! Turn!” and “The Bells of Rhymney,”became modern folk and folk/rock classics and hitsongs for other recording artists with a morecontemporary sound. Seeger’s worldview was shaped from an early ageby the political and musical passions of his parents, andas such he was among the first generation of American“red-diaper” babies. His father, Dr. Charles Seeger,was a Harvard-trained composer and musicologist whoestablished the first musicology curriculum in the U.S.at the University of California in 1913. In 1918 he wasforced to resign due to his pacifist views on Americaninvolvement in World War I and his refusal to beinducted into the army. (Interestingly, his brother, AlanSeeger, was a poet whose poem, “I Have a Rendezvous

With Death,” was widely published after he became one of the first American soldiers to be killed in thewar.) Later, Charles moved the family to GreenwichVillage where he taught part-time at the leftwing NewSchool for Social Research. A Marxist true-believerand a member of the American Communist Party’sComposer’s Collective, Charles wrote columns formany years for the Daily Worker. Nonetheless, he heldseveral administrative positions during the FDRadministration, most notably in the WPA’s FederalMusic Project, and after World War II he taughtethnomusicology at the University of California andYale University.

Seeger’s mother, Constance Seeger, was a violinvirtuoso who once taught at the Julliard School ofMusic. More practical and less ideological than herhusband, Constance encouraged young Pete to pursuean interest in “fine” (i.e., classical) music, and wasdisappointed when, as a teen, he gravitated towardcommon, unsophisticated folk music. Constance andCharles Seeger divorced in 1919. Charles remarried in1932, and two of his four subsequent children, PeggySeeger and Mike Seeger, became notable folksingers intheir own right.

Charles Seeger imbued young Pete with a left-wingproletarian conscience, and by the time he was 13 Petealready had a subscription to New Masses, theCommunist literary magazine. Four years later hejoined the Young Communist League, and in 1942 hebecame a card-carrying member of the CommunistParty USA (CPUSA). He resigned from the party in1949 but retained many of his former friendships andassociations in the party. remained ambivalent and

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equivocal regarding Communism and the Soviet Unionfor most of the rest of his life. Even in the wake ofrevelations concerning Stalin’s atrocities and the Sovietsuppression of the Hungarian Revolt in 1956, about allthat Seeger could admit was that Stalin had been “ahard-driver” – a comment analogous to conceding thatHitler had a bit of a personality disorder.

Despite his parents’ political pretensions, Petereceived a first-rate bourgeois education in eliteboarding schools, and in 1936 he enrolled at Harvardto study sociology and prepare for a career injournalism. Two years later, bored and frustrated withhis studies, he dropped out to discover the real Americafor himself, and eventually wound up working withmusicologist Alan Lomax at the Library of Congress’Archive of American Folk Song. Through Lomax hemet and performed with folk music luminaries such asBurl Ives, Josh White, Aunt Molly Jackson, andHuddie Ledbetter (“Leadbelly”). In 1940, at a “Grapesof Wrath” benefit concert for migrant farm workers,Seeger first met Woody Guthrie, with whom he latertraveled the backroads of America as a vagabondtroubadour. (Initially, the spontaneous and free-spiritedWoody found the Puritanical Seeger to be strangelyenigmatic for a Communist folksinger: “That guySeeger,” he told a friend, “I can’t make him out. Hedoesn’t look at girls, he doesn’t drink, he doesn’tsmoke. The fellow’s weird!”). The following yearSeeger was invited to perform along with other folkiesat a White House concert organized by EleanorRoosevelt. Late in 1940 Seeger organized his first group, theAlmanac Singers, along with Lee Hays, MillardLampell and Pete Hawes. Later, various and sundryothers drifted in-and-out of the group’s ever-changinglineup including Woody Guthrie, Josh White, BessLomax, Sis Cunningham, Sonny Terry and BrownieMcGhee. Based on the notion that folk music wasAmerica’s true music (i.e., the music of “The People,”as defined by the American Communist Party) and thepopular left-wing slogan,“Music is a weapon of theclass struggle,” the groupattracted considerableattention for its radicalpolitical propagandizing.Seeger, however, performedunder a pseudonym, “PeteBowers,” presumably toprotect his father’s positionin the federal government.

In the spring of 1941 the Almanac Singers recordedSongs for John Doe, which advocated neutrality andcriticized FDR for instituting the draft. In response, theHarvard professor Carl Joachim Friedrich attacked thegroup in an Atlantic Monthly magazine article entitled,“Poison In Our System.” According to Friedrich,“These recordings are distributed under the innocuousappeal: ‘Sing out for peace.’ Yet they are strictly

subversive and illegal.” Others took note, as well,including J. Edgar Hoover’s FBI.

However, when Hitler's Wermacht invaded MotherRussia later that summer, the Almanac Singerschanged their tune. In keeping with the CommunistParty line, they immediately clamored for Americanintervention in the war to defeat “Fascist imperialism.”The group’s record company, Keynote, recalled Songsfor John Doe from retail outlets, deleted it from thecatalogue, and destroyed any remaining inventory.Meanwhile, their subsequent album, Dear Mr. President(1942), featuring one of Woody Guthrie’s finestcompositions, “The Sinking of the Reuben James,”was as patriotic and militaristic as anything crankedout by Tin Pan Alley or the Hollywood music industryduring the war years. The Almanac Singers’ popularitysoared until the New York Post blew their cover byrevealing their isolationistic past and pro-Communistsympathies. It was a devastating blow, and as wordspread throughout the entertainment business thegroup became veritable untouchables. Concerts andpromotions were cancelled, and with no prospects insight the group dissolved and scattered. Guthrie andfellow-folksinger Cisco Houston joined the MerchantMarine to avoid serving in the army, and in June of ‘42Seeger was drafted. He balked at volunteering forcombat duty for fear, as he later wrote his wife, “ofgetting my head shot off,” and he used his father’scontacts in Washington to get into the Army’s SpecialServices branch, where he entertained the troops in thePacific theater.

After his discharge from the service Seeger foundedPeople’s Songs, Inc., a consortium of radicalsongwriters and activist performers who specialized inunion organizing and promoted a left-wingsocio/political. In 1948 he campaigned ardently forHenry Wallace and the Progressive Party, and thefollowing year he formed a new folk group, theWeavers, with Ronnie Gilbert, Fred Hellerman andLee Hays. The Weavers were intentionally morecommercial and less political than the old AlmanacSingers, and over the next three years they had hitsongs with “Good Night, Irene,” “Kisses Sweeter ThanWine,” “Tzena, Tzena,” “On Top of Old Smokey,”and Woody Guthrie’s“Dusty old Dust”(“So Long, It’s BeenGood to KnowYou”). But it was atthis point that historyrepeated itself: theWeavers were soaringhigh with theprospects of their owntelevision programwhen, like theAlmanacs severalyears earlier, they gotcaught in an anti-

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Communist dragnet that effectively short-circuited theircareer. Seeger was cited in Red Channels: CommunistInfluences on Radio and Television, the publication thatsabotaged the careers of many in the entertainmentbusiness, and the Weavers were (unofficially)blacklisted and banned from network TV. The greatirony, of course, was that the Weavers were merely acommercial singing group, essentially apolitical, andSeeger already had quit the Communist Party toconcentrate solely on his music career.

Seeger left the Weavers in the mid-50's when theother members wanted to record a commercial jinglefor a cigarette company, but he continued recordingsongs for Moses Asch’s Folkways Records, the onlycompany at the time that would touch him. Over thenext few years he performed regularly at various left-wing events, and he developed an extensive concertnetwork on the college circuit, building a base ofsupport that would crest in the early ‘60s.

In 1955 Seeger was called before the HouseCommittee on Un-American Activities (HUAC) toanswer charges of Communist involvements, but unlikehundreds of previous witnesses who had pled the FifthAmendment and were summarily excused, Seegerchallenged the legitimacy of the Committee itself.Asserting his rights under the First Amendment, herefused to name those with whom he had associated inthe past, and responding to questions concerningwhether he had performed at Communist Partygatherings, he directly challenged the authority of hisinterrogators:

I am not going to answer any questions as to my association, my philosophical or religious beliefs or my political beliefs, or how I voted in any election or any of these private affairs. I think these are very

improper questions for any American to be asked, especially under such compulsion as this....

I feel that in my whole life I have never doneanything of any conspiratorial nature, and I resent very much and very deeply the implication of being

called before this Committee that in some way because my opinions may be different from yours... that I am any less an American than anybody else.

I love my country very deeply, sir.

Seeger was indicted on ten counts of contempt ofCongress and sentenced to a year in prison on eachcount, to be served concurrently, but an Appeals Courtlater overturned the conviction. His stand againstHUAC notwithstanding, Seeger’s reluctance to dealhonestly and directly with his past continued todamage his credibility. He steadfastly refused to applythe same standards of justice to Communist regimesthat he used to criticize non-Communist governments.Whether intellectually dishonest, a witless captive ofhis own ideology, or just remarkably naive, the mancould hardly bring himself to criticize the Soviet Unionfor anything – although, as mentioned previously, heonce admitted to a friend that Stalin had in fact been “ahard driver.” One can only imagine the comfort andrelief this comment must have brought to the millions

of victims who had suffered under Stalin’s brutaltyranny.

In the late ‘50sSeeger busiedhimself recordingalbums of traditionalfolk songs andchildren’s songs forFolkways, andcontributed columnson a regular basis toIrwin Silber's SingOut! magazine. Thenin 1959 he helpedorganize the first

Newport Folk Festival, and two years later he wasinstrumental in the founding of Broadside, a musicperiodical devoted to folk protest songs. By this pointin his career, with Woody Guthrie incapacitated withHuntingdon's disease, Seeger was the acknowledgedelder statesman in the folk music boom of the early‘60s, a Pied Piper with a political agenda whoenvisioned radicalizing a critical mass of the BabyBoom generation for a socialist revolution.

Always the ardent activist, Seeger took theleadership in organizing other musicians for civil rightscauses. (His wife, Toshi Ohta Seeger, was half-Japanese, which undoubtedly sharpened his racialsensitivities.) He was present at the outset of themodern civil rights movement in 1956 during theMontgomery Bus Boycott, and in his June 1963 concertat Carnegie Hall he helped popularize the civil rightsanthem, “We Shall Overcome.” Two months later, hewas one of the featured performers at the March onWashington concert and rally. The following year heled a caravan of musicians through rural Mississippiduring the Freedom Summer campaign, and in thewake of the murder of James Chaney, AndrewGoodman and Michael Schwerner he wrote a movingtribute to them entitled “Those Three Are on MyMind.” In 1965 he marched in Selma with MartinLuther King, and in 1966 he recorded God Bless theGrass, the first record album dedicated toenvironmentalism. Throughout the mid-to-late ‘60s heoften organized the musicians’ brigades in numerousanti-war demonstrations, and at the VietnamMoratorium March in Washington, D.C. in Novemberof ‘69 he led half-a-million protesters in singing JohnLennon’s anti-war anthem, “Give Peace a Chance.”

However, when it came to mainstreamentertainment venues such as television, Seegerremained persona non grata. When ABC premiered itspopular Hootenanny show in 1962, he was the onlyfolksinger blacklisted, a slight which further enhancedhis standing and credibility among his peers. Not untilfive years later did he finally make it into America'sliving rooms via TV when the Smothers Brothersinvited him to sing on their prime time CBS program.Even at that, it took months before the network

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executives and program sponsors finally consented toair Seeger singing his anti-war diatribe, "Waist Deep inthe Big Muddy," a transparent critique of LBJ'sVietnam policy. But in reality Seeger never really hadthe kind of charisma to make it via a commercialmedium like TV, and he was rarely seen on the tubeagain once the Smothers Brothers broke the 15-yearban.

Throughout the 1960s Seeger waged a futilecampaign to safeguard the purity and authenticity offolk music from the corrupting influences of capitalisticcommercial exploitation. Other, younger artists wereresponsive initially, but by mid-decade most had “soldout” to commercial rock ‘n’ roll and the forces of themarketplace, or else had turnedintrospective and left politicized protestmusic behind. The preeminent case-in-point was Bob Dylan. Early on, Seegerhad enthusiastically promoted Dylan’scareer, but by the time Dylan recordedhis fourth album, Another Side of BobDylan (1964), the young phenom hadgrown disillusioned with politicizedprotest music. According to thestandard account of the story, Dylaninfuriated Seeger and othertraditionalists at the 1965 NewportFolk Festival when he brought along arock band to accompany him on stage.As the music blared, ol’ Pete shookwith uncontrollable rage as hewitnessed this abomination of desecration, to the pointthat he had to be restrained from pulling the plug onthe sound system. Afterwards, he called Dylan’sperformance “some of the most destructive music thisside of hell.” Seeger had always contended that “thegreatest danger [to true revolution] is the GreenwichVillage type, the bohemian,” and now he was outragedthat apolitical, countercultural hedonists wereperverting his sacred folk music art form. As it was,only Seeger, Joan Baez and a few other relicscontinued on in what was quickly becoming a passemusical genre, and over time they too integratedelements of electrified rock into their musicalarrangements.

To his credit, Seeger generally practiced what hepreached. He lived a relatively simple lifestyle in hishand-made log home on the banks of the HudsonRiver; he fastidiously avoided the trappings of show-bizglamour, playing the same simple, earthy andunadorned music he first learned from Guthrie andothers back in the thirties; and he continuedcampaigning tirelessly (and often free gratis) for causeshe believed in, often insisting that his concert ticketprices be kept at a minimum. Throughout the 1950sand ‘60s he recorded more than 40 albums forFolkways, Vanguard and Columbia Records. Nonewere best-sellers, but several of his Columbia albums inparticular introduced dozens of new topical songs into

the mainstream of commercial folk music. Mostnotable among his recordings was the aforementionedWe Shall Overcome, an album of social justice and civilrights anthems recorded during a Carnegie Hall concertin June of 1963.

Though his popularity and influence faded badly bythe late ‘60s, Seeger remained an interesting, articulateand engaging personality (if somewhat naive andself-righteous) and a gifted entertainer with a uniqueknack for audience rapport. Even among those youngerproteges who had departed from the true path, Seegerremained a respected father-figure. The most commoncomplaint about ol’ Pete was that he could never quitecarry a tune.

Some of Seeger’s admirers argue thathe mellowed somewhat with age, butthe evidence is not particularlyconvincing. They point to the fact thatin 1982 he performed at a benefitconcert for Poland’s anti-Communist(but nonetheless pro-socialist) Solidaritylabor movement, and that in later yearshe disavowed violent revolution in favorof incremental change. But there is noquestion that he remained to the end aradical leftist. In a 1995 interview headmitted, “I still call myself acommunist,” arguing that the SovietUnion perverted Communism just aschurches pervert Christianity. This is, ofcourse, the line that most all

contemporary Communist apologists continue topropagate in their efforts to push their radical P.C.agenda. Furthermore, in his autobiography, Where HaveAll the Flowers Gone (1993, 1997), although Seegerconfessed, “[T]oday I’ll apologize for a number ofthings, such as thinking that Stalin was merely a ‘harddriver’ and not a ‘supremely cruel misleader’” – heimmediately felt compelled to follow with an historicallitany of crimes against humanity perpetrated byChristians, white Southerners, and white Americans ingeneral.

In September 2008 Seeger made his last appearanceon American TV on the Late Show with David Letterman.Predictably, he supported Barack Obama in the 2008presidential campaign, and in January 2009 he joinedBruce Springsteen and others in singing WoodyGuthrie’s “This Land Is Your Land” at Obama’sinaugural concert in Washington, D.C. Two yearslater, in light of the fact that Obama was largely failingin his efforts to usher in a socialist utopia, Seeger joineda solidarity march in support of the Occupy Wall Streetprotest demonstrations. He remained actively engagedin radical left-wing causes until his death in January of2014.

Like most political leftists, Seeger’s view towardreligion and Christianity in particular was typicallycynical. For most of his life he was a professing atheist,but beginning in the 1980s he began associating with

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the Unitarian/Universalist Church. In his waning yearshe tended to express himself in New Age andpantheistic terms, redefining “God” according to hisown preferences. In a 2013 interview posted onBeliefnet, he commented...

I feel most spiritual when I’m out in the woods. I feel part of nature. Or looking up at the stars. [I used to say] I was an atheist. Now I say, it’s all according to your definition of God. According to my definition of God, I’m not an atheist. Because I think God is everything. Whenever I open my eyes I’m looking at God. Whenever I’m

listening to something, I’m listening to God.

One can only imagine the rude awakening Seegerexperienced when he finally met the real God inperson.

The Almanac Singers (Pete Seeger, Lee Hayes, Millard Lampell, Woody Guthrie, Bess Lomax,

Josh White, Peter Hawes, Pete Seeger) Songs For John Doe (1941)

C The Strange Death of John DoeC The Ballad of October 16C C for ConscriptionC Washington BreakdownC Liza JaneC Plow UnderC Billy Boy

Talking Union and Other Union Songs (1941)C Get Thee Behind MeC The Union MaidC All I WantC Talking UnionC The Union TrainC Which Side Are

You On?C We Shall Not Be

MovedC Roll the Union OnC Casey JonesC Miner's LifeguardC Solidarity ForeverC You've Got To Go Down and Join the UnionC Hold the Fort

The Soil and the Sea (1941)C Hard, Ain't It HardC The Dodger Song C I Ride an Old PaintC House of the Rising Sun

Dear Mr. President (1942)*C Dear Mr. PresidentC Round and Round Hitler's GraveC Deliver the GoodsC Beltline Girl

C Reuben James C Side By Side

The Union Boys (Tom Glazer, Pete Seeger, Burl Ives, Josh White)Songs For Victory (1943)

C Hold the FortC We Shall Not Be MovedC UAW-CIOC Hold OnC Dollar BillC Jim Crow

The Weavers (Pete Seeger, Lee Hays, Ronnie Gilbert, Fred Hellerman)

Folk Songs of America and Other Lands (1951)C Tzena, Tzena

We Wish You a Merry Christmas (1952)The Weavers At Carnegie Hall (1957)

C Kisses Sweeter Than WineC Rock Island LineC WimowehC Goodnight, Irene

The Weavers On Tour (1958)The Weavers At Home (1958)Best of the Weavers (1959)

C Rock Island LineC Kisses Sweeter Than WineC So Long, It's Been Good To Know YuhC Goodnight, IreneC On Top of Old Smoky

The Weavers: Reunion At Carnegie Hall (1963)The Weavers Songbag (1967)

Pete SeegerSongs For Political Action (1946)

C Voting UnionC Get Out the VoteC Dollar BillC Oh, What Congress Done To MeC Four PAC Nursery RhymesC DDTC Fare Ye Well, Bad CongressmanC No, No, No DiscriminationC Oh, Voter

Roll the Union On (1947)C This Old WorldC Roll the Union OnC I'm Looking For a Home

Love Songs For Friends and Foes (1956)C Study War No More (Down By the Riverside)C The Hammer SongC Black and White

Sing Out! Hootenanny (1959)C All I Want Is UnionC Talking Un-American BluesC In ContemptC I've Got a RightC Jefferson and LibertyC Pie In the Sky

The Essential Pete SeegerA Selected Discography

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C Popular WobblyC John Henry C We Shall Overcome

The Bitter and the Sweet (1963)C We Shall OvercomeC Where Have All the Flowers GoneC Turn! Turn! Turn!C Andorra

We Shall Overcome (1963)C Mrs. McGrathC What Did You Learn in School Today?C Little Boxes C Who Killed Norma Jean?C Who Killed Davey Moore? C A Hard Rain's A-Gonna FallC Keep Your Eyes on the Prize C If You Miss Me at the Back of the Bus C I Ain't Scared of Your Jail C Oh Freedom!C This Land Is Your LandC From Way Up HereC We Shall Overcome

Newport Broadside (1963)C Ye Playboys and Playgirls (with Bob Dylan)

Little Boxes and Other Broadsides (1963)C Little BoxesC The ThresherC Who Killed Norma Jean?C A Hard Rain's A-Gonna FallC Blowin' In the WindC Lou MarshC The Willing ConscriptC Paths of VictoryC Ol' Jim CrowC If You Want To Go To Freedom

Broadsides (1964)C The DoveC The Flowers of PeaceC Mack the BombC From Way Up HereC Tomorrow's ChildrenC Get Up and GoC The New York J-D BluesC We Shall OvercomeC To My Old Brown Earth

Broadside Ballads, Vol. 2 (1965)C Little BoxesC The Willing ConscriptC Who Killed Davey Moore?C I Ain't A-Scared of Your JailC What Did You Learn In School Today?C A Hard Rain's A-Gonna FallC The ThresherC BusinessC Song of the Punch Press OperatorC Ballad of Lou Marsh

I Can See a New Day (1965)C This Land Is Your LandC Healing RiverC The Bells of RhymneyC How Can I Keep From SingingC Mrs. McGrathC I Can See a New DayC I Come and Stand at Every Door

Strangers and Cousins (1965) C If I Had a HammerC Masters of WarC Peat Bog Soldiers C Talking Atom Blues

God Bless the Grass (1966)C The Power and the GloryC 70 MilesC The Faucets Are DrippingC Cement OctopusC God Bless the GrassC The Quiet Joys of BrotherhoodC I Have a Rabbit / The People Are ScratchingC My Dirty StreamC From Way Up HereC My Land Is a Good Land

Dangerous Songs!? (1966)C King HenryC The PillC Draft-Dodger RagC Mao Tse-TungC Walking Down Death Row

Waist Deep in the Big Muddy (1967)C Down by the RiversideC Last Night I Had the Strangest DreamC My Name Is Liza KalvelageC The Sinking of the Reuben James C Waist Deep in the Big Muddy C Those Three Are On My Mind

Pete Seeger's Greatest Hits (1967)C Talking UnionC Which Side Are You On?C Where Have All the Flowers Gone?C Turn! Turn! Turn!C The Bells of RhymneyC We Shall OvercomeC Little Boxes

Songs of Struggle and Protest (1968)C Aimee McPhersonC I Don't Want Your Millions, MisterC Joe HillC Bourgeois BluesC Talking UnionC The D-Day DodgersC Hymn To NationsC What a Friend We Have in Congress

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Pete Seeger: Now! (1968) C Talking Ben Tre C The Torn FlagC Everybody's Got a Right To LiveC The Cities Are Burning

Young Vs. Old (1971)C Ballad of the Fort Hood ThreeC Bring Them HomeC Poisoning the Students' MindsC Both Sides Now

Rainbow Race (1973)C My Rainbow RaceC The ClearwaterC Hobo's LullabyC Last Train To Nuremberg

The World of Pete Seeger (1974)C We Shall Overcome C Where Have All the Flowers Gone?

C Turn! Turn! Turn! C Little BoxesC Who Killed Davey Moore?C A Hard Rain's Agonna FallC This Land Is Your LandC The Bells of RhymneyC Masters of WarC If I Had a HammerC Both Sides NowC Last Train to Nuremburg C The Sinking of the Reuben JamesC Last Night I Had the Strangest DreamC Hobo's LullabyC My Rainbow Race

Pete Seeger and Arlo Guthrie Together in Concert (1975)C Declaration of IndependenceC Joe HillC GuantanameraC Well May the World GoC Deportee

Clearwater Classics (1990)C If I Had a HammerC We Shall OvercomeC Little BoxesC Where Have All the Flowers Gone?C Turn! Turn! Turn!C This Land Is Your LandC Hobo's LullabyC Down By the Riverside

Copyright 2005, 2014 by Jefrey D. Breshears. All rights reserved.