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Seeger, Pete (1919– )
Born: May 03, 1919 in New York, New York, United States
Died: January 27, 2014 in New York, New York, United States
Other Names: Seeger, Peter R.; Seeger, Peter
Nationality: American
Occupation: Folk singer
St. James Encyclopedia of Popular Culture. Ed. Thomas Riggs. Vol. 4. 2nd ed. Detroit, MI: St. James Press, 2013. p490-492.
Copyright: COPYRIGHT 2013 Gale, Cengage Learning
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Page 490

Seeger, Pete (1919– )

American singer and composer Pete Seeger was quite simply the foremost popularizer of American folk music of the twentieth century. While others engaged in fieldwork or labored in dusty archives, Seeger recorded more than 100 albums over a half century of performing. An evangelizer with an inborn sensitivity to crowd techniques, Seeger excelled in concert and had few musical peers in working a crowd. An intimate, casual, and charming performer, he often successfully invited his audience to sing along with him. The stringbean performer, bent over his long-necked five-string banjo and dressed in an old work shirt and denims, completely reshaped American musical taste in folk, topical, and protest music. Seeger's banjo read, “This machine surrounds hate and forces it to surrender,” and if some segments of America reviled him as a communist sympathizer, others perceived him as standing for peace, equality, and decency in a troubled world. Seeger formed a bridge from the folk song revival of the 1940s, across the political repression of the 1950s, to the folk/protest scene of the 1960s. A gifted storyteller and musical historian, his influence on American music is incalculable.

Seeger was born in New York City in 1919, the son of a violinist mother and musicologist father, both on the faculty of the Juilliard School of Music. His uncle was the war poet Alan Seeger (who wrote “Rendezvous with Death”); his sister, Peggy, became an accomplished singer and songwriter and married British folk-legend Ewan MacColl; and his brother, Mike, made a career as one of the foremost proponents of banjo music. Seeger learned banjo, ukulele, and guitar by his teens. He received a scholarship to Harvard in 1936 (the same class as John F. Kennedy) but left in 1938 due to disinterest and poor grades. He journeyed through the United States, collecting songs, meeting Woody Guthrie and Huddie Ledbetter (Leadbelly), and working with noted folk archivist and field recorder Alan Lomax.


In 1940 Seeger organized the Almanac Singers with Lee Hays and Mill Lampell. Guthrie joined the group the next year, and they recorded an album, Talking Union. Seeger's zeal for labor organizing was nearly religious, as evidenced on the album's title track, and the group often performed antiwar songs for left-wing audiences and organizations. After Pearl Harbor, the Almanac Singers emphasized their patriotism (“The Sinking of the Reuben James”), and Seeger served in World War II entertaining American troops by singing folk songs. In 1944 he helped create People's Songs Inc. (PSI), which formed a national network of folk music that eventually boasted more than 2,000 members. In 1948 he toured with the anti–Cold War presidential candidate Henry Wallace, but PSI drew more interest from the

Pete Seeger. Pete Seeger performs at the 2011 Newport Folk Festival.

Pete Seeger. Pete Seeger performs at the 2011 Newport Folk Festival. DOUGLAS MASON/CONTRIBUTOR/GETTY IMAGES ENTER-TAINMENT/GETTY IMAGES.

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FBI than labor unions, and it eventually went bankrupt in 1949.

At the low point of his fortunes in 1948, Seeger joined with Hays, Ronnie Gilbert, and Fred Hellerman to form the Weavers. Despite their unpopular leftward leanings (they were present at the Peekskill “anticommunist” riot of September 1949), the Weavers not only helped to revive national interest in folk music, but they also enjoyed astonishing commercial success. Their second single, “Goodnight Irene” (1950), backed with Leadbelly's cover of the Israeli song “Tzena, Tzena, Tzena,” went to the top of the pop charts and sold more than two million copies, a phenomenal amount for 1950. They followed with other hits that became (re)established in the American folk tradition, including “Kisses Sweeter than Wine” (1950) and, in 1951, “On Top of Old Smoky,” “So Long It's Been Good to Know You,” “Wimoweh (The Lion Sleeps Tonight),” and “Rock Island Line.” Concert promoters and the media blacklisted the group in 1952 because of their political views and associations, and the Weavers all but disappeared. Seeger left the group to go solo in 1958 after opposing their participation in a cigarette commercial.

Always active in left-wing politics, Seeger refused to answer questions when investigated by the House Un-American Activities Committee (HUAC) in 1955, although he never invoked the Fifth Amendment. He was indicted in 1956, convicted in 1961 on ten counts of contempt of Congress, and sentenced to an astounding ten years in jail. The U.S. Court of Appeals dismissed all charges against Seeger on a technicality, the very same week in 1962 that the cover version of his song “Where Have All the Flowers Gone” hit the Top 40.


In 1958 the success of the Kingston Trio touched off an enormous five-year folk music revival. Seeger's music was “rediscovered,” and his career once again ascended. In 1962 the group Peter, Paul, and Mary made a hit out of “If I Had a Hammer,” a song Seeger cowrote during his Weavers' days. The Byrds covered “The Bells of Rhymney” and eventually had a huge number one hit with “Turn! Turn! Turn!” (1965), a biblical passage from Ecclesiastes that Seeger had set to music. In 1964 commercial radio listeners heard Seeger's voice for the first time in more than a decade when his version of Malvina Reynolds's “Little Boxes” became a minor hit.

Since the 1940s Seeger had been one of the guiding lights of the folk magazine Sing Out! (still in circulation, with nearly 20,000 subscribers), and in 1961 he helped Sis Cunningham and Gordon Friesen found Broadside, a bulletin of topical songs that helped stimulate the careers of singer-songwriters such as Bob Dylan, Phil Ochs, Tom Paxton, and Eric Andersen.

Paradoxically, Seeger had become a semipopular success despite being one of the most picketed and blacklisted singers in American history. In 1962 ABC television refused to let him perform on the folk music show Hootenanny, resulting in a boycott that tore the folk community in half. The incident hurt him commercially but only served to reinforce his standing as a martyr for freedom of speech. By the mid-1960s Seeger had become a cultural hero through his outspoken commitment to the antiwar and civil rights struggles. He was involved in several civil rights campaigns from 1962 through 1965, and he helped popularize the anthem “We Shall Overcome” with mainstream audiences. Even supporters had felt that Seeger's belief that music could transform society was hopelessly naive, but—for a moment—it all seemed to be coming true. This period of his greatest influence is wonderfully captured on the recording of his concert at Carnegie Hall in June 1963.


Then it all fell apart. The folk-topical song revival came to a crashing halt at the Newport Folk Festival in 1965, when Dylan appeared with electric accompaniment. Seeger, who distrusted electric music as inauthentic, was crestfallen, and he literally tried to pull the plug on the amplifiers. He fought on, however, despite Dylan's defection, the crumbling of the civil rights movement, and the escalation of the war in Asia. His anti–Vietnam War ballad, “Waist Deep in the Big Muddy” (1967), became a classic of the 1960s, and he dusted off a series of antiwar ballads he had performed with the Almanac Singers a generation before. His disdain for wealth and worldly vanities seemed hopelessly outdated in an indulgent age, but his moral rectitude still inspired, or infuriated, vast numbers of Americans.

In the 1970s Seeger mirrored the cultural movement away from mass politics to localism and community control. He became particularly interested in ecology, cofounding the organization Clearwater, dedicated to the cleanup and revival of the Hudson River. Through sheer tenacity, he had become a living legend, more frequently parodied than banned. Critics from all over the spectrum praised his life's work, and the grandchildren of his original listeners attended his concerts.

Seeger widely influenced countless performers, and his instructional books and records inspired generations of self-taught musicians and folksingers. He always believed there was something in the best music to inform, stir, rally, direct, or cause social and personal interaction. His moral earnestness often overflowed into self-righteousness, but both friends and foes conceded his indomitability. Perhaps his optimism was often naive, but his music helped unionize workers, inspired Americans to revere their own musical traditions, encouraged civil rights and antiwar activists, and helped clean up a river. In his case, at least, one person could make a difference, and the United States became a better place for his having lived in it.

Seeger has won innumerable musical awards over the decades, including two Grammy Awards (1996 and 2008), a Grammy Lifetime Achievement Award (1993), and a National Medal of Arts (1994), as well as several honors for his social justice work, including the Eugene V. Debs Award (1979) and the Letelier-Moffitt Human Rights Award (1986). He was inducted into the Rock and Roll Hall of Fame in 1996. In 2006 Bruce Springsteen released We Shall Overcome: The Seeger Sessions, an album on which Springsteen covers thirteen of Seeger's songs. Seeger's influence on modern American musical and activism is perhaps best illustrated by his appearance at the end of Barack Obama's inauguration celebration in 2009, where he, Springsteen, and Seeger's grandson performed “This Land Is Your Land” while a crowd of thousands sang along.

Jon Sterngass

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Cantwell, Robert. When We Were Good: The Folk Revival. Cambridge, MA: Harvard University Press, 1996.

Dunaway, David King. How Can I Keep from Singing: Pete Seeger. New York: McGraw-Hill, 1981.

Seeger, Pete. Where Have All the Flowers Gone: A Singer's Stories, Songs, Seeds, Robberies. Bethlehem, PA: Sing Out, 1993.

Seeger, Pete, and Jo Metcalf Schwartz. The Incompleat Folksinger. New York: Simon & Schuster, 1972.

Source Citation   (MLA 8th Edition) 
Sterngass, Jon. "Seeger, Pete (1919– )." St. James Encyclopedia of Popular Culture, edited by Thomas Riggs, 2nd ed., vol. 4, St. James Press, 2013, pp. 490-492. Gale Virtual Reference Library, Accessed 25 Mar. 2019.

Gale Document Number: GALE|CX2735802418

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  • Almanac Singers
  • Blacklisting
  • Broadside (bulletin)
    • 4: 491
  • The Byrds (band)
    • Seeger, Pete, covers
      • 4: 491
  • Civil rights movement
    • Seeger, Pete, involvement
      • 4: 491
  • Cunningham, Sis
    • 4: 491
  • Dylan, Bob
    • Newport Folk Festival performances
  • Friesen, Gordon
    • 4: 491
  • Gilbert, Ronnie
  • “Goodnight Irene” (song)
  • Guthrie, Woody
    • Seeger, Pete, collaboration
  • Hays, Lee
  • Hellerman, Fred
  • Hootenanny (television show)
    • 4: 491
  • House Un-American Activities Committee (HUAC)
    • Seeger, Pete, investigation
      • 4: 491
  • “If I Had a Hammer” (song)
  • Labor unions
    • Seeger, Pete, support
      • 4: 490-491
  • Lampell, Mill
    • 4: 490
  • Leadbelly
  • “Little Boxes” (song)
    • 4: 491
  • Lomax, Alan
  • MacColl, Ewan
    • 4: 490
  • Newport Jazz and Folk Festivals
  • Obama, Barack
  • People's Songs Inc.
    • 4: 490
  • Peter, Paul and Mary (musical group)
  • Seeger, Alan
    • 4: 490
  • Seeger, Mike
  • Seeger, Peggy
    • 4: 490
  • Seeger, Pete
  • Sing Out! (magazine)
    • 4: 491
  • Springsteen, Bruce
    • Seeger, Pete, tribute
      • 4: 491
  • Talking Union (album/song)
    • 4: 490
  • “This Land Is Your Land” (song)
  • Turn! Turn! Turn! (album/song)
  • “Tzena, Tzena, Tzena” (song)
  • Vietnam
    • Seeger, Pete, criticism
      • 4: 491
  • “Waist Deep in the Big Muddy” (song)
  • Wallace, Henry A.
  • “We Shall Overcome” (song)
    • 4: 491
  • We Shall Overcome: The Seeger Sessions (album)
  • Weavers (musical group)
  • “Where Have All the Flowers Gone” (song)
    • 4: 491