Pete Seeger
Pete Seeger
Peter "Pete" Seegerwas an American folk singer and social activist. A fixture on nationwide radio in the 1940s, he also had a string of hit records during the early 1950s as a member of the Weavers, most notably their recording of Lead Belly's "Goodnight, Irene", which topped the charts for 13 weeks in 1950. Members of the Weavers were blacklisted during the McCarthy Era. In the 1960s, he re-emerged on the public scene as a prominent singer of protest music...
NationalityAmerican
ProfessionFolk Singer
Date of Birth3 May 1919
CityNew York City, NY
CountryUnited States of America
I was about 16 years old years when my father took me to a square dance festival in North Carolina. For the first time in my life, I found there was music in my country that you never heard on the radio, and you didn't hear on the juke boxes, and in theaters. I fell in love with it, especially the long-necked banjos.
The first country conquered by any dictator is his own country.
I was working for Alan Lomax in the Library of Congress folk song archive, and starting to realize what a wealth of different kinds of music there was in this country that you never heard on the radio.
One of the things I'm most proud of about my country is the fact that we did lick McCarthyism back in the fifties.
I love my country very dearly, and I greatly resent the implication that some of the places that I have sung and some of the people that I have known, and some of my opinions, whether they are religious or philosophical, make me less of an American.
I am saying voluntarily that I have sung for almost every religious group in the country, from Jewish and Catholic, and Presbyterian and Holy Rollers and Revival Churches.
My father urged Alan [Lomax] not to repeat the mistakes of the European folklorists who, a century ago, had collected these peasant songs and then arranged them for part choir and accompanied them on piano, and then told the young people of their country, "Don't change a note, this is our sacred heritage." Father said, whether it's a fiddle tune or a gospel song, learn it right off the record from the people who grew up with it. Don't just learn it from a piece of paper.
Throughout history the leaders of the countries have been very particular about what songs should be sung. We know the power of songs.
I live in the country, so I get a fair amount of exercise. We heat our house with wood, so I split wood. We also live on a steep hill, and I have to rake and put in cross-stitches to keep the road from washing out when there's a big rain.
But if by some freak of history communism had caught up with this country, I would have been one of the first people thrown in jail.
He [Alan Lomax] started right off trying to find people who could introduce folk songs to city people. He found a young actor named Burl Ives and said, "Burl, you know a lot of great country songs learned from your grandmother, don't you know people would love to hear them?" He put on radio programs. He persuaded CBS to dedicate "The School of the Air" for one year to American folk music. He'd get some old sailor to sing an old sea shanty with a cracked voice. Then he'd get me to sing it with my banjo.
After visits to several Communist countries (USSR, Poland, Czechoslovakia, Slovenia, East Germany, Vietnam, China, Cuba), I feel strongly that most "revolutionary" types around the world don't realize the importance of freedom of the press and the air, a right to peaceably assemble and discuss anything, including the dangers of such discussions.
Folks out in the country couldn't afford to pay for anybody else to make music. They had to make their own. So the peasantry had their music, and it was about a hundred years ago given the name "Folk music".
We have more freedom of the press than any other country in a similar position. Even way back in the frightened '50s, Communists, for example, could publish their magazine. The KKK published their own books. But face it, the mass media is controlled by money.