Pete Seeger

American singer
Also known as: Peter Seeger
Quick Facts
Byname of:
Peter Seeger
Born:
May 3, 1919, New York City, New York, U.S.
Died:
January 27, 2014, New York City (aged 94)

Pete Seeger (born May 3, 1919, New York City, New York, U.S.—died January 27, 2014, New York City) was a singer-songwriter and activist who sustained the American folk music tradition and who was one of the principal inspirations for younger performers in the folk revival of the 1960s. He wrote numerous songs that became folk standards and was a lifelong champion of many left-wing causes.

Early life and career

Seeger was born to a musically gifted family. His father was the influential musicologist Charles Seeger, and his mother, Constance de Clyver Edson Seeger, was a violin instructor at Juilliard. But it was perhaps the introspective poems of his uncle, Alan Seeger, that most inspired Pete’s songwriting. Leaving Harvard University after two years in 1938, Seeger hitchhiked and rode freight trains around the country, gathering country ballads, work songs, and hymns and developing a remarkable virtuosity on the five-string banjo. In 1940 he organized the Almanac Singers, a quartet that also featured the folksinger and composer Woody Guthrie, and appeared at union halls, farm meetings, and wherever his populist political sentiments were welcome. The group disbanded soon after World War II.

The Weavers

In 1948 he formed another group, the Weavers—with Lee Hays, Ronnie Gilbert, and Fred Hellerman—which achieved considerable success on college campuses, in concert, and on several records. Shortly after the group achieved national fame, however, a great deal of controversy was stirred up concerning Seeger’s previous activities in left-wing and labor politics, and the Weavers suddenly found themselves blacklisted by much of the entertainment industry. Finding it increasingly difficult to make concert bookings or to sell records, the group broke up in 1952 but reunited three years later when a Christmas concert at Carnegie Hall sparked new interest in their music and message. Seeger left the group in 1958, and it disbanded in 1963. (The Weavers gave two reunion concerts in 1980, and a motion picture documentary about the group, Wasn’t That a Time!, was released in 1982.)

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Blacklisted

After the 1950s Seeger usually worked alone or with his family. (His brother, Mike Seeger, was a member of New Lost City Ramblers; sister Peggy Seeger, a singer and multi-instrumentalist, became one of the driving forces behind the British folk music revival with Ewan McColl, her partner in life and in music making.) As a solo performer, he was still a victim of blacklisting, especially after his 1961 conviction for contempt of Congress stemming from his refusal in 1955 to answer questions posed to him by the House Un-American Activities Committee concerning his political activities. Although Seeger’s conviction was overturned the following year in an appeal, for several years afterward the major networks refused to allow him to make television appearances. In later years the controversy surrounding the performer gradually subsided.

Songwriting and activism

A beloved fixture at folk festivals, Seeger was given major credit for fostering the growth of the hootenanny (a gathering of performers playing and singing for each other, often with audience participation) as a characteristically informal and personal style of entertainment. Seeger was influential in launching the song “We Shall Overcome” into an anthem of the civil rights movement. He first heard it in 1948 from Zilphia Horton, who was affiliated with the Highlander Folk School, where Seeger would later perform the song for Martin Luther King Jr. in 1957.

Seeger was also a mentor to many younger folk artists, including Bob Dylan and Joan Baez. Among the many songs that he wrote himself or in collaboration with others were “Where Have All the Flowers Gone,” “If I Had a Hammer,” “Kisses Sweeter Than Wine,” and “Turn, Turn, Turn.” His The Incompleat Folksinger (1972) is a collection of his writings on the history of folk songs, civil rights, and performers in his lifetime.

In the 1970s and ’80s he was active in a program to remove pollution from the Hudson River, building the Hudson River sloop Clearwater, promoting festivals for its maintenance, and engaging in environmental demonstrations, particularly antinuclear ones. During this period Seeger also performed regularly with singer-songwriter Arlo Guthrie, Woody Guthrie’s son.

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Folk hero

By the 1990s Seeger had transcended the accusations of the McCarthy era, and he was regarded as a cherished American institution. The motto inscribed on his banjo—“This machine surrounds hate and forces it to surrender”—seemed to have been proven correct. In 1994 he was awarded a National Medal of Arts, the first of many honors that he received as the century approached its turn. Seeger was inducted into the Rock and Roll Hall of Fame in 1996, and the following year he received his first Grammy Award, for Pete (1996). In 2009 he won a second Grammy, for At 89 (2008), a collection that found the artist approaching his 90th birthday with undiminished spirit and hope. In 2010 he released Tomorrow’s Children, an album dedicated to environmental awareness that Seeger recorded with the Rivertown Kids, a group of students who attended middle school near Seeger’s home. The album won a Grammy for best musical album for children in 2011. Seeger’s “musical autobiography” Where Have All the Flowers Gone: A Singer’s Stories, Songs, Seeds, Robberies was published in 1993.

The Editors of Encyclopaedia BritannicaThis article was most recently revised and updated by Charles Preston.

folk music, type of traditional and generally rural music that originally was passed down through families and other small social groups. Typically, folk music, like folk literature, lives in oral tradition; it is learned through hearing rather than reading. It is functional in the sense that it is associated with other activities, and it is primarily rural in origin. The usefulness of the concept varies from culture to culture, but it is most convenient as a designation of a type of music of Europe and the Americas.

The concept of folk music

The term folk music and its equivalents in other languages denote many different kinds of music; the meaning of the term varies according to the part of the world, social class, and period of history. In determining whether a song or piece of music is folk music, most performers, participants, and enthusiasts would probably agree on certain criteria derived from patterns of transmission, social function, origins, and performance.

The central traditions of folk music are transmitted orally or aurally, that is, they are learned through hearing rather than the reading of words or music, ordinarily in informal, small social networks of relatives or friends rather than in institutions such as school or church. In the 20th century, transmission through recordings and mass media began to replace much of the face-to-face learning. In comparison with art music, which brings aesthetic enjoyment, and popular music, which (often along with social dancing) functions as entertainment, folk music is more often associated with other activities, such as calendric or life-cycle rituals, work, games, enculturation, and folk religion; folk music is also more likely to be participatory than presentational.

The concept applies to cultures in which there is also an urban, technically more sophisticated musical tradition maintained by and for a smaller social, economic, and intellectual elite in cities, courts, or urbanized cultures. Generally, “folk music” refers to music that broad segments of the population—particularly the lower socioeconomic classes—understand, and with which they identify. In this respect it is the rural counterpart to urban popular music, although that music depends mainly on the mass media—recordings, radio, television, and to some degree the Internet—for dissemination.

Traditionally, folk music performers were amateurs, and some folk songs were literally known to all members of a community; but specialists—instrumentalists and singers of narratives—were important to folk communities. In the 20th century, the role of professionals as performers and carriers of folk traditions expanded dramatically. Folk music as it is believed to have existed in earlier times may be discussed separately from periods of revival such as that of 19th-century European nationalism and the 20th-century revivals, shortly before and after World War II, that were motivated by political agendas. In the context of popular music, performances of “folk music” may be distinguished by the use of songs with political agendas and the use of traditional instruments and acoustic guitars. On the other side of the musical spectrum, lines between folk music and art music were blurred beginning in the 19th century, when art music composers introduced songs from folklore into urban musical culture.

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The terms used for folk music in different cultures illuminate aspects of the concept. The English term and its French and Italian analogues, musique populaire and musica popolare, indicate that this is music associated with a social class, the “folk.” The German Volksmusik (“people’s music”) combines the concept of class with the unification of an ethnic group, as does the Hindi term log git (“the people’s music”) in India. Czech, like some of the other Slavic languages, uses the term narod (“nation”) and its relatives, indicating that folk music is the musical unifier of all Czechs. Conversely, the Persian term mūsīqī-ye maḥallī (“regional music”) emphasizes the distinctions in folk music style and repertory among different areas of Iran. The term folk music has also, perhaps unwisely, been used for traditional art musics of Asian and African cultures, to distinguish them from the Western classical system.

The typical 21st-century conception of folk music comes from beliefs about the nature of music and musical life in the village cultures of Europe from the 18th into the 19th century; but this traditional folk music culture was affected greatly by the rise of industrial society and of cities, as well as by nationalist movements beginning in the 19th century. Both the threat to folk culture and the rise of nationalism spurred revival and preservation movements in which learned musicians, poets, and scholars provided leadership. In the 20th century, further revivals associated folk music with political and social movements and blurred the musical distinctions among folk, art, and popular musics. Nevertheless, vigorous remnants of the traditional culture of folk music were retained in 19th-century western Europe and in eastern Europe into the 20th century; these are the bases for the following characterization.

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