[mobglob-discuss] Pete Seeger , Symbol of Justice at 85

[RADICAL PRESS]

Pete Seeger , Symbol of Justice at 85


Submitted to Portside
by John Pietaro <leftmus at earthlink.net> <mailto:leftmus at earthlink.net>

Befittingly, just as the workers' commemoration of May Day winds down, Pete
Seeger celebrates another birthday. Perhaps the only complaint is that Pete,
the personificartion of radical politics in music, was not born but two days
earlier! Since 1940, Pete Seeger has been a tireless performer of the
protest song, focusing his strongest efforts on that music which was created
by, for and about, the so-called common man. The product of a Left-wing
composer/musicologist father and a classical violinist mother, Pete almost
singlehandedly resurrected, of all things, the 5-string banjo and its
application as a fiercely American instrument derived from African origins
and developed by the sweat and blood of workers: slaves, indentured
servants, the poor. In his wake, the 5-string banjo developed into an icon
during more than one "folk revival", first withstanding elite dogmatism from
within the Left, and then the Right-wing assault of McCarthyism. Even Bob
Bylan's decision to go electric. No matter what, Pete and his music were
always there. Are always there.

Pete Seeger early on developed a strong kinship with the political Left,
slowly moving in as
progressives began to look about them and came to understand that a US
radical art must reflect
those its trying to reach. He began performing for various events of radical
Labor unions,
Communist-aligned cultural organizations, anti-fascist collectives, American
Labor Party rallies and then later on in strong support of the civil rights,
environmental , women's and peace movements. But it was at the dawn of the
1940s, that Seeger developed a partnership with Woody Guthrie in several
ventures, including inviting the latter to join his group The Almanac
Singers. The Almanacs, credited with being the first urban folk-protest
group, begat The Weavers, a more defined ensemble. The Weavers played to
wider audiences but never lost their progressive vision or call for
activism, even during such dangerous times as the reactionary 1950s. And
then, Pete sang for college students and children, when no one else cared to
listen...or, rather, when the Blacklist deprived others of his talents. And
when he could not sing for them, he sang for the trees and forest life about
him. Seeger was hell-bent on allowing music to touch deep, whether as a
weapon or as a healing force. Uniquely, he almost always achieved both
simultaneously.

By the time folk music became an area of commercial success for the record
business during the 1960s, Seeger was seen as a founder, an elder, but still
a contemporary. If the forces of reaction shut him out of broadcast
television or commercial radio, his voice resounded loudly as a songwriter.
Pete's songs "Turn, Turn, Turn", "Where Have All the Flowers Gone?", "If I
Had A Hammer", "The Bells of Rhymney", among others, were smashing successes
for other artists, all of whom paid tribute to the composer (or co-composer,
in some cases) during their performances. As has been widely reported, it
was left to the Smothers Brothers and their silly, irreverant but cutting-
edge television program, to break the Blacklist. When the networks refused
to allow Seeger on to perform his "Waist Deep in the Big Muddy", a stinging
anti-war song driven by Pete's grinding 12-string acoustic guitar, the
Brothers fought back. It may have been a death-blow for their show, but they
ultimately prevailed; Seeger was seen by millions on that historic night and
the Blacklist, this terribly fascistic device used to silence so many, was
effectively killed off.

During the course of his career, which will not be written of in past tense,
Pete Seeger has spread
the important messages contained in his core belief system. In addition to
the above listed songs, he was composer of so many other topical works.
Perhaps more importantly, Seeger has made it a mission to keep the older
songs of struggle alive, even through adversity. In performances all over
the world, Pete presents the songs of Woody Guthrie, Labor bard (and martyr)
Joe Hill, songs of the slaves and the Native Americans, the Wobblies, the
immigrants, the farmers, the factory workers, the lost union songs and those
of many cultures. It was his performance of Jose Marte's "Guantanamera",
including a section in which he translated the beautiful poetry of the great
Cuban
writer, that led to its popularity. Pete taught us traditional songs of the
Spanish Civil War--in Spanish. He sang the praises of Leadbelly, who never
got to hear his song "Goodnight Irene" become a Weavers hit in 1951. Huddie
"Leadbelly" Ledbetter had died the year prior, but Seeger made sure that his
widow would continue to receive royalties, as he did for the family of
Solomon Linda, the originator of "Wimoweh" (NOT 'The Lion Sleeps Tonight',
Seeger always reminds us; this song was not written for the Tokens who had
the hit with it, but by and for African people awaiting the symbol of the
lion to avenge the terrible atrocities committed on that continent by
imperialists).

Pete Seeger, this man who performed with Woody Guthrie in migrant camps, who
helped organize unions via music and conviction, who sang for peace when it
was not popular to do so and then fought the fascists as a member of the US
Army; this man who founded The Almanac Singers, The
Weavers, People's Songs, People's Artists and stood onstage with Paul
Robeson during the concert which became known as "The Peekskill Riot"; this
man who braved the House Un-American Activities Committee, who marched with
Dr. King, who inspired the formation of The SNCC Freedom Singers,
who is credited as one of the composers of "We Shall Overcome", who sang
against and powerfully
protested the Viet Nam war, who made 'Broadside' magazine possible, who
acted as a guide to the
environmentalist movement, who helped to physically re-build the Sloop
Clearwater and engage in the
clean-up of the Hudson River, who laid the path for so many and whom has
never stopped fighting
for justice should be seen by all as a symbol, not just a singer.

Pete's songs are truly the story of 'the folk', and so they tell the
people's story. Long before Howard Zinn wrote his 'A People's History of the
United States', Pete Seeger sang it. Whether he's explaining just whom Casey
Jones the Union Scab was or asking the question "Which Side Are You On?" or
telling of the women workers' struggle in "Bread and Roses" or engaging in
Leadbelly's story of racism that brings about "The Bourgeous Blues", or
singing the mournful anti- war "The Crow on the Cradle", or offering an
introspective celebration of the earth in "Sailing Down My Golden River",
its all about us. All of us. During the course of 45 years, Pete has not
relented. Though his performances are few and far between these days due to
the effects of aging, his activism remains constant. Though he may refrain
from solo singing much of the time, he revels in leading groups,
particularly large audiences, in song. And when he is asked to serve as a
guest speaker for a Labor, peace or other human rights cause, he always does
so with musical instrument in hand. Pete Seeger stands then, now and always
as the very model of the cultural worker. Taking the distant advice of Joe
Hill, he recognized long ago that more can be said in one topical song than
in a hundred pamphlets. But, even in silence, Pete's philosophy can be
understood by anyone who gets close enough to read what he long ago adorned
on his banjo head: 'This Machine Surrounds Hate and Forces It To Surrender'.

Happy 85th birthday, Pete Seeger. May you continue to grace us with your
message and your presence for many years to come.

In Solidarity,

John Pietaro


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