Original Joan Baez & Pete Seeger Folk Music Photo Vintage 8X10 Inches

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Seller: memorabilia111 ✉️ (808) 100%, Location: Ann Arbor, Michigan, US, Ships to: US & many other countries, Item: 176284773266 ORIGINAL JOAN BAEZ & PETE SEEGER FOLK MUSIC PHOTO VINTAGE 8X10 INCHES. A GREAT 8X10 INCH PHOTO BY PHOTOGRAPHER PETER BORSARI FEATURING JOAN BAEZ AND PETE SEEGER PERFORMING Peter C. Borsari (1939 in Zürich – May 29, 2006 in Los Angeles) was an American-Swiss photographer. His endearing charm and impeccable reputation permitted him exclusive access and unparalleled cooperation from his subjects. The antithesis of today’s paparazzi, he was an invited guest at Hollywood’s premier events as well as celebrities’ personal parties and gatherings. Spanning Presley to Nixon, he actively photographed people, places and events from 1965 to 1995. Peter estimated his archive contained approximately two million images; including transparencies, negatives, prints and contact sheets. Roughly 80% of these images feature celebrities in the entertainment industry. The remainder consists primarily of prominent politicians (e.g. Nixon), athletes (e.g. Ali), events (e.g. Malibu fire), sports (e.g. Formula One) and travel destinations (e.g. Switzerland). The Peter C. Borsari Photographic Archive is unequaled in its breadth, exclusivity and sheer magnitude. Most distinguishing is Peter’s singular ability to capture his subjects in their best light.
Joan Baez, in full Joan Chandos Baez, (born January 9, 1941, Staten Island, New York, U.S.), American folksinger and political activist who interested young audiences in folk music during the 1960s. Despite the inevitable fading of the folk music revival, Baez continued to be a popular performer into the 21st century. By touring with younger performers throughout the world and staying politically engaged, she reached a new audience both in the United States and abroad. Her sense of commitment and unmistakable voice continued to win acclaim. The daughter of a physicist of Mexican descent whose teaching and research took him to various communities in New York, California, and elsewhere, Baez moved often and acquired little formal musical training. Her first instrument was the ukulele, but she soon learned to accompany her clear soprano voice on the guitar. Her first solo album, Joan Baez, was released in 1960. Although some considered her voice too pretty, her youthful attractiveness and activist energy put her in the forefront of the 1960s folk music revival, popularizing traditional songs through her performances in coffeehouses, at music festivals, and on television and through her record albums, which were best sellers from 1960 through 1964 and remained popular. She was instrumental in the early career of Bob Dylan, with whom she was romantically involved for several years. (Her relationship with Dylan and with her sister and brother-in-law, the folksinging duo Mimi and Richard Fariña, is chronicled in David Hajdu’s Positively 4th Street [2001].) Two of the songs with which she is most identified are her 1971 cover of the Band’s “The Night They Drove Old Dixie Down” and her own “Diamonds and Rust,” which she recorded on her acclaimed album of the same name, issued in 1975. Joan Baez (left) and Bob Dylan at the March on Washington, August 28, 1963. Joan Baez (left) and Bob Dylan at the March on Washington, August 28, 1963. Rowland Scherman—U.S. Information Agency/NARA An active participant in the 1960s protest movement, Baez made free concert appearances for UNESCO, civil rights organizations, and anti-Vietnam War rallies. In 1964 she refused to pay federal taxes that went toward war expenses, and she was jailed twice in 1967. The following year she married David Harris, a leader in the national movement to oppose the draft who served nearly two years in prison for refusing to comply with his draft summons (they divorced in 1973). Baez was in Hanoi in December 1972, delivering Christmas presents and mail to American prisoners of war, when the United States targeted the North Vietnamese capital with the most intense bombing campaign of the war. The title track of her 1973 album Where Are You Now, My Son? chronicles the experience; it is a 23-minute spoken-word piece punctuated with sound clips that Baez recorded during the bombing. Advertisement Throughout the years, Baez remained deeply committed to social and political matters, lending her voice to many concerts for a variety of causes. Among her later noteworthy recordings are Very Early Joan (1982), Speaking of Dreams (1989), Play Me Backwards (1992), Gone from Danger (1997), Bowery Songs (2005), Day After Tomorrow (2008), and Whistle Down the Wind (2018). A CD/DVD set of her 75th Birthday Celebration concert was released in 2016, and she was inducted into the Rock and Roll Hall of Fame in 2017. Baez wrote Daybreak (1968), an autobiography, and a memoir titled And a Voice to Sing With (1987). Joan Chandos Baez (/baɪz/;[1][2] born January 9, 1941) is an American singer, songwriter, musician, and activist[3] whose contemporary folk music often includes songs of protest or social justice.[4] Baez has performed publicly for over 60 years, releasing over 30 albums. Fluent in Spanish and English, she has also recorded songs in at least six other languages. Although generally regarded as a folk singer, her music has diversified since the counterculture era of the 1960s, and encompasses genres such as folk rock, pop, country, and gospel music. Although a songwriter herself, Baez generally interprets other composers' work,[5] having recorded songs by Bob Dylan, the Allman Brothers Band, the Beatles, Jackson Browne, Leonard Cohen, Woody Guthrie, Violeta Parra, the Rolling Stones, Pete Seeger, Paul Simon, Stevie Wonder and many others. On her past several albums, she has found success interpreting songs of more recent songwriters, including Ryan Adams, Josh Ritter, Steve Earle, Natalie Merchant and Joe Henry. She began her recording career in 1960 and achieved immediate success. Her first three albums, Joan Baez, Joan Baez, Vol. 2, and Joan Baez in Concert all achieved gold record status.[6] Songs of acclaim include "Diamonds & Rust" and covers of Phil Ochs's "There but for Fortune" and The Band's "The Night They Drove Old Dixie Down". She is also known for "Farewell, Angelina", "Love Is Just a Four-Letter Word", "Forever Young", "Here's to You", "Joe Hill", "Sweet Sir Galahad" and "We Shall Overcome". She was one of the first major artists to record the songs of Bob Dylan in the early 1960s; Baez was already an internationally celebrated artist and did much to popularize his early songwriting efforts.[7][8] Baez also performed fourteen songs at the 1969 Woodstock Festival and has displayed a lifelong commitment to political and social activism in the fields of nonviolence, civil rights, human rights and the environment.[9] Baez was inducted into the Rock and Roll Hall of Fame on April 7, 2017.[10] Contents 1 Early life 2 Music career 2.1 College music scene in Massachusetts 2.2 First albums and 1960s breakthrough 2.3 1970s and the end of Vanguard years 2.4 1980s and 1990s 2.5 2000s 2.6 2010s 3 Social and political involvement 3.1 1950s 3.2 Civil rights 3.3 Vietnam War 3.4 Human rights 3.4.1 Opposing the death penalty 3.4.2 LGBT rights 3.4.3 Iran 3.5 Environmental causes 3.6 War in Iraq 3.7 Tree sit-in 3.8 2008 presidential election 3.9 Joan Baez Award 3.10 Occupy Wall Street 4 Personal life 4.1 Early relationships 4.2 Bob Dylan 4.3 David Harris 4.4 Steve Jobs 4.5 2000s–2010s 5 In popular culture 6 Discography 7 See also 8 References 9 Further reading 10 External links Early life Baez was born on Staten Island, New York, on January 9, 1941.[11] Joan's grandfather, the Reverend Alberto Baez, left the Catholic Church to become a Methodist minister and moved to the U.S. when her father was two years old. Her father, Albert Baez (1912–2007), was born in Puebla, Mexico[12] and grew up in Brooklyn, New York, where his father preached to—and advocated for—a Spanish-speaking congregation.[13] Albert first considered becoming a minister but instead turned to the study of mathematics and physics and received his PhD degree at Stanford University in 1950. Albert was later credited as a co-inventor of the x-ray microscope.[14][15][16] Joan's cousin, John C. Baez, is a mathematical physicist.[17] Her mother, Joan Baez (née Bridge), referred to as Joan Senior or "Big Joan", was born in Edinburgh, Scotland, in 1913 as the second daughter of an English Anglican priest who claimed to be descended from the Dukes of Chandos.[18][19] Born in April 1913, she died on April 20, 2013, days after her one hundredth birthday.[20] Baez had two sisters – Pauline Thalia Baez Bryan (1938–2016), who was sometimes professionally known as Pauline Marden; and Margarita Mimi Baez Fariña (1945–2001) who was generally better known as Mimi Fariña. To varying degrees, both women were also political activists and musicians like their sister. They are also notable for having been married to other American artists – Pauline (briefly) to painter Brice Marden and Mimi to author and musician Richard Fariña with whom she collaborated for several years. The Baez family converted to Quakerism during Joan's early childhood, and she has continued to identify with the tradition, particularly in her commitment to pacifism and social issues.[21] While growing up, Baez was subjected to racial slurs and discrimination due to her Mexican heritage. Consequently, she became involved with a variety of social causes early in her career. She declined to play in any white student venues that were segregated, which meant that when she toured the Southern states, she would play only at black colleges.[22] Joan graduated from Palo Alto High School in 1958.[23] Due to her father's work with UNESCO, their family moved many times, living in towns across the U.S, as well as in England, France, Switzerland, Spain, Canada, and the Middle East, including Iraq. Joan Baez became involved with a variety of social causes early in her career, including civil rights and non-violence.[24] Social justice, she stated in the PBS series American Masters, is the true core of her life, "looming larger than music".[25] Music career The opening line of Baez's memoir And a Voice to Sing With is "I was born gifted" (referencing her singing voice, which she explained was given to her and for which she can take no credit).[26] A friend of Joan's father gave her a ukulele. She learned four chords, which enabled her to play rhythm and blues, the music she was listening to at the time. Her parents, however, were fearful that the music would lead her into a life of drug addiction.[27] When Baez was 13, her aunt and her aunt's boyfriend took her to a concert by folk musician Pete Seeger, and Baez found herself strongly moved by his music.[28] She soon began practicing the songs of his repertoire and performing them publicly. One of her very earliest public performances was at a retreat in Saratoga, California for a youth group from Temple Beth Jacob, a Redwood City, California Jewish congregation. A few years later in 1957, Baez bought her first Gibson acoustic guitar. College music scene in Massachusetts In 1958, her father accepted a faculty position at MIT, and moved his family to Massachusetts. At that time, it was in the center of the up-and-coming folk-music scene, and Baez began performing near home in Boston and nearby Cambridge. She also performed in clubs, and attended Boston University for about six weeks.[25] In 1958, at the Club 47 in Cambridge, she gave her first concert. When designing the poster for the performance, Baez considered changing her performing name to either Rachel Sandperl, the surname of her long-time mentor, Ira Sandperl, or Maria from the song "They Call the Wind Maria". She later opted against doing so, fearing that people would accuse her of changing her last name because it was Spanish. The audience consisted of her parents, her sister Mimi, her boyfriend, and a few friends, resulting in a total of eight patrons. She was paid ten dollars. Baez was later asked back and began performing twice a week for $25 per show.[29] A few months later, Baez and two other folk enthusiasts made plans to record an album in the cellar of a friend's house. The three sang solos and duets, a family friend designed the album cover, and it was released on Veritas Records that same year as Folksingers 'Round Harvard Square. Baez later met Bob Gibson and Odetta, who were at the time two of the most prominent vocalists singing folk and gospel music. Baez cites Odetta as a primary influence along with Marian Anderson and Pete Seeger.[30] Gibson invited Baez to perform with him at the 1959 Newport Folk Festival, where the two sang two duets, "Virgin Mary Had One Son" and "We Are Crossing Jordan River".[31] The performance generated substantial praise for the "barefoot Madonna" with the otherworldly voice, and it was this appearance that led to Baez signing with Vanguard Records the following year[32] although Columbia Records tried to sign her first.[33] Baez later claimed that she felt she would be given more artistic license at a more "low key" label.[34] Baez's nickname at the time, "Madonna", has been attributed to her clear voice, long hair, and natural beauty,[35] and to her role as "Earth Mother".[36] First albums and 1960s breakthrough Baez stands behind a too-tall podium bristling with microphones, wearing a plaid sleeveless top, longish hair in a feather cut Baez playing at the March on Washington in August 1963 Her true professional career began at the 1959 Newport Folk Festival. Following that appearance, she recorded her first album for Vanguard, Joan Baez (1960), produced by Fred Hellerman of The Weavers, who produced many albums by folk artists. The collection of traditional folk ballads, blues, and laments sung to her own guitar accompaniment sold moderately well. It featured many popular Child Ballads of the day and was recorded in only four days in the ballroom of New York City's Manhattan Towers Hotel. The album also included "El Preso Numero Nueve", a song sung entirely in Spanish, which she would re-record in 1974 for inclusion on her Spanish-language album, Gracias a la Vida. She made her New York concert debut on November 5, 1960, at the 92nd Street Y[37] and on November 11, 1961, Baez played her first major New York concert at a sold-out performance at Town Hall. Robert Shelton, folk critic of the New York Times, praised the concert, saying, "That superb soprano voice, as lustrous and rich as old gold, flowed purely all evening with a wondrous ease. Her singing (unwound) like a spool of satin."[38] Years later when Baez thought back to that concert, she laughed, saying: "I remember in 1961 my manager sending me this newspaper (clipping) in the mail (which) read, 'Joan Baez Town Hall Concert, SRO.' I thought SRO meant 'sold right out.' I was so innocent of it all."[39] Her second release, Joan Baez, Vol. 2 (1961), went "gold", as did Joan Baez in Concert, Part 1 (1962) and Joan Baez in Concert, Part 2 (1963). Like its immediate predecessor, Joan Baez, Vol. 2 contained strictly traditional material. Her two albums of live material, Joan Baez in Concert, Part 1 and its second counterpart, were unique in that unlike most live albums they contained only new songs rather than established favorites. It was Joan Baez in Concert, Part 2 that featured Baez's first-ever Dylan cover. From the early-to-mid-1960s, Baez emerged at the forefront of the American roots revival, where she introduced her audiences to the then-unknown Bob Dylan, and was emulated by artists such as Judy Collins, Emmylou Harris, Joni Mitchell, and Bonnie Raitt. On November 23, 1962, Baez appeared on the cover of Time Magazine—a rare honor then for a musician. Though primarily an album artist, several of Baez' singles have charted, the first being her 1965 cover of Phil Ochs' "There but for Fortune", which became a mid-level chart hit in the U.S. and a top-ten single in the United Kingdom. Baez added other instruments to her recordings on Farewell, Angelina (1965), which features several Dylan songs interspersed with more traditional fare. Deciding to experiment with different styles, Baez turned to Peter Schickele, a classical music composer, who provided classical orchestration for her next three albums: Noël (1966), Joan (1967), and Baptism: A Journey Through Our Time (1968). Noël was a Christmas album of traditional material, while Baptism was akin to a concept album, featuring Baez reading and singing poems written by celebrated poets such as James Joyce, Federico García Lorca, and Walt Whitman. Joan featured interpretations of work by then-contemporary composers, including John Lennon and Paul McCartney, Tim Hardin, Paul Simon, and Donovan. In 1968, Baez traveled to Nashville, Tennessee, where a marathon recording session resulted in two albums. The first, Any Day Now (1968), consists exclusively of Dylan covers. The other, the country-music-infused David's Album (1969), was recorded for then-husband David Harris, a prominent anti-Vietnam War protester eventually imprisoned for draft resistance. Harris, a country-music fan, turned Baez toward more complex country-rock influences beginning with David's Album. Later in 1968, she published her first memoir, Daybreak (by Dial Press). In 1969, her appearance at Woodstock in upstate New York afforded her an international musical and political podium, particularly upon the successful release of the documentary film Woodstock (1970). Beginning in the late 1960s, Baez began writing many of her own songs, beginning with "Sweet Sir Galahad" and "A Song For David", both songs appearing on her 1970 (I Live) One Day at a Time album; "Sweet Sir Galahad" was written about her sister Mimi's second marriage, while "A Song For David" was a tribute to Harris. One Day at a Time, like David's Album, featured a decidedly country sound. Baez's distinctive vocal style and political activism had a significant impact on American popular music. She was one of the first musicians to use her popularity as a vehicle for social protest, singing and marching for human rights and peace. Pete Seeger, Odetta, and decades-long friend Harry Belafonte were her early social justice advocate influences.[40] Baez came to be considered the "most accomplished interpretive folksinger/songwriter of the 1960s".[41] Her appeal extended far beyond the folk-music audience.[41] Of her fourteen Vanguard albums, thirteen made the top 100 of Billboard's mainstream pop chart, eleven made the top forty, eight made the top twenty, and four made the top ten.[42] 1970s and the end of Vanguard years Joan Baez playing on stage in a Hamburg TV studio, 1973 Baez playing in Hamburg, 1973 After eleven years with Vanguard, Baez decided in 1971 to cut ties with the label that had released her albums since 1960. She delivered them one last success with the gold-selling album Blessed Are... (1971) which included a top-ten hit in "The Night They Drove Old Dixie Down", her cover of The Band's signature song. With Come from the Shadows (1972), Baez switched to A&M Records, where she remained for four years and six albums. Joan Baez wrote "The Story of Bangladesh" in 1971. This song was based on the Pakistani army crackdown on unarmed sleeping Bengali students at Dhaka University on March 25, 1971, which ignited the prolonged nine-month Bangladesh Liberation War.[43] The song was later entitled "The Song of Bangladesh" and released in a 1972 album from Chandos Music.[44] During this period in late 1971, she reunited with composer Peter Schickele to record two tracks, "Rejoice in the Sun" and "Silent Running" for the science-fiction film Silent Running. The two songs were issued as a single on Decca (32890). In addition to this, another LP was released on Decca (DL 7-9188) and was later reissued by Varèse Sarabande on black (STV-81072) and green (VC-81072) vinyl. In 1998, a limited release on CD by the "Valley Forge Record Groupe" was released. Baez's first album for A&M, Come from the Shadows, was recorded in Nashville, and included a number of more personal compositions, including "Love Song to a Stranger" and "Myths", as well as work by Mimi Farina, John Lennon, and Anna Marly. Where Are You Now, My Son? (1973) featured a 23-minute title song which took up all of the B-side of the album. Half spoken word poem and half tape-recorded sounds, the song documented Baez's visit to Hanoi, North Vietnam, in December 1972 during which she and her traveling companions survived the 11-day-long Christmas Bombings campaign over Hanoi and Haiphong.[45] (See Vietnam War in Civil rights section below.) Gracias a la Vida (1974) (the title song written and first performed by Chilean folk singer Violeta Parra) followed and was a success in both the U.S. and Latin America. It included the song "Cucurrucucú paloma". Flirting with mainstream pop music as well as writing her own songs for Diamonds & Rust (1975), the album became the highest selling of Baez's career and included a second top-ten single in the form of the title track. After Gulf Winds (1976), an album of entirely self-composed songs and From Every Stage (1976), a live album that had Baez performing songs "from every stage" of her career, Baez again parted ways with a record label when she moved to CBS Records for Blowin' Away (1977) and Honest Lullaby (1979). 1980s and 1990s In 1980, Baez was given honorary Doctor of Humane Letters degrees by Antioch University and Rutgers University for her political activism and the "universality of her music". In 1983, she appeared on the Grammy Awards, performing Dylan's anthemic "Blowin' in the Wind", a song she first performed twenty years earlier. On stage outdoors, Dylan in a leather jacket and iconic porkpie hat & scarf, Baez wears a peasant skirt, sarape, tassled scarf around neck, her arm around Dylan's shoulder. Santana in workman's shirt & knit cap. Bob Dylan, Joan Baez, Carlos Santana, performing in May 1984, Hamburg Baez also played a significant role in the 1985 Live Aid concert for African famine relief, opening the U.S. segment of the show in Philadelphia, Pennsylvania. She has toured on behalf of many other causes, including Amnesty International's 1986 A Conspiracy of Hope tour and a guest spot on their subsequent Human Rights Now! tour. Baez found herself without an American label for the release of Live Europe 83 (1984), which was released in Europe and Canada but not released commercially in the U.S. She did not have an American release until the album Recently (1987) on Gold Castle Records. In 1987, Baez's second autobiography called And a Voice to Sing With was published and became a New York Times bestseller. That same year, she traveled to the Middle East to visit with and sing songs of peace for Israel and the Palestinians. In May 1989, Baez performed at a music festival in communist Czechoslovakia called Bratislavská lýra. While there, she met future Czechoslovakian president Václav Havel, whom she let carry her guitar so as to prevent his arrest by government agents. During her performance, she greeted members of Charter 77, a dissident human-rights group, which resulted in her microphone being shut off abruptly. Baez then proceeded to sing a cappella for the nearly four thousand gathered. Havel cited her as a great inspiration and influence in that country's Velvet Revolution, the revolution in which the Soviet-dominated communist government there was overthrown. Baez recorded two more albums with Gold Castle: Speaking of Dreams, (1989) and Brothers in Arms (1991). She then landed a contract with a major label, Virgin Records, recording Play Me Backwards (1992) for Virgin shortly before the company was purchased by EMI. She then switched to Guardian, with whom she produced a live album, Ring Them Bells (1995), and a studio album, Gone from Danger (1997). In 1993, at the invitation of Refugees International and sponsored by the Soros Foundation, she traveled to the war-torn Bosnia and Herzegovina region of former-Yugoslavia in an effort to help bring more attention to the suffering there. She was the first major artist to perform in Sarajevo since the outbreak of the Yugoslav civil war. In October of that year, Baez became the first major artist to perform in a professional concert presentation on Alcatraz Island (a former U.S. federal prison) in San Francisco, California, in a benefit for her sister Mimi's Bread and Roses organization. She later returned for another concert in 1996. 2000s Beginning in 2001, Baez has had several successful long-term engagements as a lead character at San Francisco's Teatro ZinZanni.[46] In August 2001, Vanguard began re-releasing Baez's first 13 albums, which she recorded for the label between 1960 and 1971. The reissues, being released through Vanguard's Original Master Series, feature digitally restored sound, unreleased bonus songs, new and original artwork, and new liner-note essays written by Arthur Levy. Likewise, her six A&M albums were reissued in 2003. Baez plays in blue jeans and orange waist jacket, against a backdrop of lush trees Hardly Strictly Bluegrass Festival 2005 at Golden Gate Park In 2003, Baez was also a judge for the third annual Independent Music Awards to support independent artists' careers.[47] Her album, Dark Chords on a Big Guitar (2003), features songs by composers half her age, while a November 2004 performance at New York City's Bowery Ballroom was recorded for a live release, Bowery Songs (2005). On October 1, 2005, she performed at the Hardly Strictly Bluegrass festival, at San Francisco's Golden Gate Park. Then, on January 13, 2006, Baez performed at the funeral of Lou Rawls, where she led Jesse Jackson, Sr., Wonder, and others in the singing of "Amazing Grace". On June 6, 2006, Baez joined Bruce Springsteen on stage at his San Francisco concert, where the two performed the rolling anthem "Pay Me My Money Down". In September 2006, Baez contributed a live, retooled version of her classic song "Sweet Sir Galahad" to a Starbucks's exclusive XM Artist Confidential album. In the new version, she changed the lyric "here's to the dawn of their days" to "here's to the dawn of her days", as a tribute to her late sister Mimi, about whom Baez wrote the song in 1969. Later on, October 8, 2006, she appeared as a special surprise guest at the opening ceremony of the Forum 2000 international conference in Prague, Czech Republic. Her performance was kept secret from former Czech Republic President Havel until the moment she appeared on stage. Havel was a great admirer of both Baez and her work. During Baez's next visit to Prague, in April 2007, the two met again when she performed in front of a sold-out house at Prague's Lucerna Hall, a building erected by Havel's grandfather. On December 2, 2006, she made a guest appearance at the Oakland Interfaith Gospel Choir's Christmas Concert at the Paramount Theatre in Oakland, California. Her participation included versions of "Let Us Break Bread Together" and "Amazing Grace". She also joined the choir in the finale of "O Holy Night". Baez plays outdoors in brown wide-leg pants, white top, brown waistcoat, blue pearls, and a long orange neck scarf. To her left, a male accompanist in a vest plays a small wooden cigar-box-style guitar Joan Baez concert in Dresden, Germany, July 2008 In February 2007, Proper Records reissued her live album Ring Them Bells (1995), which featured duets with artists ranging from Dar Williams and Mimi Fariña to the Indigo Girls and Mary Chapin Carpenter. The reissue features a 16-page booklet and six unreleased live tracks from the original recording sessions, including "Love Song To A Stranger", "You Ain't Goin' Nowhere", "Geordie", "Gracias a la Vida", "The Water Is Wide" and "Stones in the Road", bringing the total track listing to 21 songs (on two discs). In addition, Baez recorded a duet of "Jim Crow" with John Mellencamp which appears on his album Freedom's Road (2007). He has called the album a "Woody Guthrie rock album". The recording was heavily influenced by albums from the 1960s, which is why he invited an icon from that era to appear with him.[citation needed] Also in February 2007, she received the Grammy Lifetime Achievement Award. The day after receiving the honor, she appeared at the Grammy Awards ceremony and introduced a performance by the Dixie Chicks.[citation needed] Baez holds guitar, in blue jeans, brown mock turtleneck, patterned jacket, black backdrop, talking and gesturing August 13, 2009, Seattle September 9, 2008, saw the release of the studio album Day After Tomorrow, produced by Steve Earle and featuring three of his songs. The album was Baez's first charting record in nearly three decades.[48][49] On June 29, 2008, Baez performed on the acoustic stage at the Glastonbury Festival in Glastonbury, UK,[50] playing out the final set to a packed audience.[citation needed] On July 6, 2008, she played at the Montreux Jazz Festival in Montreux, Switzerland. During the concert's finale, she spontaneously danced on stage with a band of African percussionists.[51] On August 2, 2009, Baez played at the 50th Newport Folk Festival, which also marked the 50th anniversary of her breakthrough performance at the first festival.[52] On October 14, 2009, PBS aired an episode of its documentary series American Masters, entitled Joan Baez: How Sweet the Sound. It was produced and directed by Mary Wharton. A DVD and CD of the soundtrack were released at the same time.[25] 2010s On April 4, 2017, Baez used Facebook to release her first song in twenty-seven years, "Nasty Man", a protest song against US President Donald Trump; it became a viral hit.[53][54] On April 7, 2017, she was inducted into the Rock and Roll Hall of Fame.[55] On March 2, 2018, she released a new studio album entitled Whistle Down the Wind,[56] and has been undertaking her "Fare Thee Well Tour" to support the album.[57] Social and political involvement To reward her decades of dedicated activism, Baez was honoured with the Spirit of Americana/Free Speech award at the 2008 Americana Music Honors & Awards. 1950s In 1956, Baez first heard Martin Luther King, Jr., speak about nonviolence, civil rights and social change which brought tears to her eyes.[25] Several years later, the two became friends,[25] with Baez participating in many of the Civil Rights Movement demonstrations that Dr. King helped organize. In 1958, at age 17, Baez committed her first act of civil disobedience by refusing to leave her Palo Alto High School classroom in Palo Alto, California, for an air raid drill.[58] Civil rights The early years of Baez's career saw the Civil Rights Movement in the U.S. become a prominent issue. Her performance of "We Shall Overcome", the civil rights anthem written by Pete Seeger and Guy Carawan, at the 1963 March on Washington for Jobs and Freedom permanently linked her to the song. Baez again sang "We Shall Overcome" in Sproul Plaza during the mid-1960s Free Speech Movement demonstrations at the University of California, Berkeley in Berkeley, California, and at many other rallies and protests. Her recording of the song "Birmingham Sunday" (1964), written by her brother-in-law, Richard Fariña, was used in the opening of 4 Little Girls (1997), Spike Lee's documentary film about the four young victims killed in the 1963 16th Street Baptist Church bombing. In 1965, Baez announced that she would be opening a school to teach nonviolent protest.[59] She also participated in the 1965 Selma to Montgomery marches for voting rights.[60] In November 2017 as part of a release of documents from the National Archives that were supposed to relate to the assassination of John F. Kennedy,[61] an unsubstantiated 1968 FBI report[62] alleged that Baez was involved in the 1960s in an intimate affair with Dr. Martin Luther King, an accusation described by history professor Clayborne Carson, the director of the Martin Luther King, Jr. Research and Education Institute and a Stanford University, as "part of a smear campaign" against King.[63] I went to jail for 11 days for disturbing the peace; I was trying to disturb the war. —Joan Baez, 1967 Pop Chronicles interview.[31] Vietnam War Highly visible in civil-rights marches, Baez became more vocal about her disagreement with the Vietnam War. In 1964, she publicly endorsed resisting taxes by withholding sixty percent of her 1963 income taxes. In 1964, she founded the Institute for the Study of Nonviolence (along with her mentor Sandperl) and encouraged draft resistance at her concerts. The Institute for the Study of Nonviolence would later branch into the Resource Center for Nonviolence.[64] In 1966, Baez's autobiography, Daybreak, was released. It is the most detailed report of her life through 1966 and outlined her anti-war position, dedicating the book to men facing imprisonment for resisting the draft.[65] Baez was arrested twice in 1967[66] for blocking the entrance of the Armed Forces Induction Center in Oakland, California, and spent over a month in jail. (See also David Harris section below.) She was a frequent participant in anti-war marches and rallies, including: numerous protests in New York City organized by the Fifth Avenue Vietnam Peace Parade Committee, starting with the March 1966 Fifth Avenue Peace Parade;[67] a free 1967 concert at the Washington Monument in Washington, D.C., that had been opposed by the Daughters of the American Revolution which attracted a crowd of 30,000 to hear her anti-war message;[68] the 1969 Moratorium to End the War in Vietnam protests. There were many others, culminating in Phil Ochs's The War Is Over celebration in New York City in May 1975.[69] During the Christmas season 1972, Baez joined a peace delegation traveling to North Vietnam, both to address human rights in the region, and to deliver Christmas mail to American prisoners of war. During her time there, she was caught in the U.S. military's "Christmas bombing" of Hanoi, North Vietnam, during which the city was bombed for eleven straight days. Her disquiet at the human-rights violations of communist Vietnam made her increasingly critical of its government and she organized the May 30, 1979, publication of a full-page advertisement (published in four major U.S. newspapers)[70] in which the communists were described as having created a nightmare. Her one-time anti-war ally, Jane Fonda, refused to join in Baez's criticism of Hanoi,[71][72][73] leading to what was publicly described as a feud between the two. Human rights Baez was instrumental in founding the USA section of Amnesty International in the 1970s, and has remained an active supporter of the organization. Baez's experiences regarding Vietnam's human-rights violations ultimately led her to found her own human-rights group in the late 1970s, Humanitas International, whose focus was to target oppression wherever it occurred, criticizing right and left-wing régimes equally. In 1976, she was awarded the Thomas Merton Award for her ongoing activism.[74] She toured Chile, Brazil and Argentina in 1981, but was prevented from performing in any of the three countries, for fear her criticism of their human-rights practices would reach mass audiences if she were given a podium. While there, she was kept under surveillance and subjected to death threats. A film of the ill-fated tour, There but for Fortune: Joan Baez in Latin America, was shown on PBS in 1982. In 1989, after the Tiananmen Massacre in Beijing, Baez wrote and released the song "China" to condemn the Chinese government for its violent and bloody crackdown on thousands of student protesters who called for establishment of democratic republicanism. In a second trip to Southeast Asia, Baez assisted in an effort to take food and medicine into the western regions of Cambodia, and participated in a United Nations Humanitarian Conference on Kampuchea. On July 17, 2006, Baez received the Distinguished Leadership Award from the Legal Community Against Violence. At the annual dinner event, they honored her for her lifetime of work against violence of all kinds. In 2015, Baez received the Ambassador of Conscience Award. In 2016, Baez advocated for the Innocence Project and Innocence Network. At each concert, Baez informs the audience about the organizations' efforts to exhonerate the wrongfully convicted and reform the system to prevent such incidents.[40] Opposing the death penalty In December 2005, Baez appeared and sang "Swing Low, Sweet Chariot" at the California protest at the San Quentin State Prison against the execution of Tookie Williams.[75][76] She had previously performed the same song at San Quentin at the 1992 vigil protesting the execution of Robert Alton Harris, the first man to be executed in California after the death penalty was reinstated. She subsequently lent her prestige to the campaign opposing the execution of Troy Davis by the State of Georgia.[77][78] LGBT rights Baez has also been prominent in the struggle for gay and lesbian rights. In 1978, she performed at several benefit concerts to defeat the Briggs Initiative, which proposed banning all gay people from teaching in the public schools of California. Later that same year, she participated in memorial marches for the assassinated San Francisco city supervisor, Harvey Milk, who was openly gay. In the 1990s, she appeared with her friend Janis Ian at a benefit for the National Gay and Lesbian Task Force, a gay lobbying organization, and performed at the San Francisco Lesbian, Gay, Bisexual and Transgender Pride March. Her song "Altar Boy and the Thief" from Blowin' Away (1977) was written as a dedication to her gay fanbase.[79] Iran On June 25, 2009, Baez created a special version of "We Shall Overcome"[80] with a few lines of Persian lyrics in support of peaceful protests by Iranian people. She recorded it in her home and posted the video on YouTube[81] and on her personal website. She dedicated the song "Joe Hill" to the people of Iran during her concert at Merrill Auditorium, Portland, Maine on July 31, 2009. Environmental causes On Earth Day 1999, Baez and Bonnie Raitt honored environmental activist Julia "Butterfly" Hill with Raitt's Arthur M. Sohcot Award in person on her 180-foot (55 m)-high redwood treetop platform, where Hill had camped to protect ancient redwoods in the Headwaters Forest from logging.[82] War in Iraq In early 2003, Baez performed at two rallies of hundreds of thousands of people in San Francisco protesting the U.S. invasion of Iraq (as she had earlier done before smaller crowds in 1991 to protest the Gulf War). In August 2003, she was invited by Emmylou Harris and Steve Earle to join them in London, UK, at the Concert For a Landmine-Free World. In the summer of 2004, Baez joined Michael Moore's "Slacker uprising Tour" on American college campuses, encouraging young people to get out and vote for peace candidates in the upcoming national election. In August 2005, Baez appeared at the Texas anti-war protest that had been started by Cindy Sheehan. Tree sit-in On May 23, 2006, Baez once again joined Julia "Butterfly" Hill, this time in a "tree sit" in a giant tree on the site of the South Central Farm in a poor neighborhood of downtown Los Angeles, California. Baez and Hill were hoisted into the tree, where they remained overnight. The women, in addition to many other activists and celebrities, were protesting the imminent eviction of the community farmers and demolition of the site, which is the largest urban farm in the state. Because many of the South Central Farmers are immigrants from Central America, Baez sang several songs from her 1974 Spanish-language album, Gracias a la Vida, including the title track and "No Nos Moverán" ("We Shall Not Be Moved"). 2008 presidential election Throughout most of her career, Baez remained apprehensive about involving herself in party politics. However, on February 3, 2008, Baez wrote a letter to the editor at the San Francisco Chronicle endorsing Barack Obama in the 2008 U.S. presidential election. She noted: "Through all those years, I chose not to engage in party politics. ... At this time, however, changing that posture feels like the responsible thing to do. If anyone can navigate the contaminated waters of Washington, lift up the poor, and appeal to the rich to share their wealth, it is Sen. Barack Obama."[83] Playing at the Glastonbury Festival in June, Baez said during the introduction of a song that one reason she likes Obama is because he reminds her of another old friend of hers: Martin Luther King, Jr.[84] Although a highly political figure throughout most of her career, Baez had never publicly endorsed a major political party candidate prior to Obama. However, after Obama was elected, she expressed that she would likely never do so again, saying in a 2013 interview in The Huffington Post that "In some ways I'm disappointed, but in some ways it was silly to expect more. If he had taken his brilliance, his eloquence, his toughness and not run for office he could have led a movement. Once he got in the Oval Office he couldn't do anything.".[85] She performed at the White House on February 10, 2010, as part of an evening celebrating the music associated with the civil rights movement, performing "We Shall Overcome".[86] Joan Baez Award On March 18, 2011, Baez was honored by Amnesty International at its 50th Anniversary Annual General Meeting in San Francisco. The tribute to Baez was the inaugural event for the Amnesty International Joan Baez Award[87] for Outstanding Inspirational Service in the Global Fight for Human Rights. Baez was presented with the first award in recognition of her human rights work with Amnesty International and beyond, and the inspiration she has given activists around the world. In future years, the award is to be presented to an artist – music, film, sculpture, paint or other medium – who has similarly helped advance human rights. Occupy Wall Street On November 11, 2011, Baez played as part of a musical concert for the protestors at Occupy Wall Street.[88] Her three-song set included "Joe Hill", a cover of the Rolling Stones' "Salt of the Earth" and her own composition "Where's My Apple Pie?" Personal life Early relationships Baez's first real boyfriend was Michael New, a young man whom she met at her college. Years later in 1979, he inspired her song "Michael". New was a fellow student from Trinidad, who, like Baez, attended classes only occasionally. The two spent a considerable amount of time together, but Baez was unable to balance her blossoming career and her relationship. The two bickered and made up repeatedly, but it was apparent to Baez that New was beginning to resent her success and new-found local celebrity. One night she saw him kissing another woman on a street corner. Despite this, the relationship remained intact for several years after the two moved to California together in 1960. Bob Dylan Sitting very close, Baez singing, Dylan with guitar and harmonica Baez with Bob Dylan at the civil rights March on Washington, August 28, 1963 Baez first met Dylan in 1961 at Gerde's Folk City in New York City's Greenwich Village. At the time, Baez had already released her debut album and her popularity as the emerging "Queen of Folk" was on the rise. Baez was initially unimpressed with the "urban hillbilly", but was impressed with one of Dylan's first compositions, "Song to Woody" and remarked that she would like to record it. At the start, Dylan was more interested in Baez's younger sister Mimi, but under the glare of media scrutiny that began to surround Baez and Dylan, their relationship began to develop into something more. By 1963, Baez had already released three albums, two of which had been certified gold, and she invited Dylan on stage to perform alongside her at the Newport Folk Festival. The two performed the Dylan composition "With God on Our Side", a performance that set the stage for many more duets like it in the months and years to come. Typically while on tour, Baez would invite Dylan to sing on stage partly by himself and partly with her, much to the chagrin of her fans.[25] Before meeting Dylan, Baez's topical songs were very few: "Last Night I Had the Strangest Dream", "We Shall Overcome", and an assortment of Negro spirituals. Baez would later say that Dylan's songs seemed to update the topics of protest and justice. By the time of Dylan's 1965 tour of the UK, their relationship had slowly begun to fizzle out after they had been romantically involved off and on for nearly two years. The tour and simultaneous disintegration of their relationship was documented in D. A. Pennebaker's documentary film Dont Look Back (1967). Baez toured with Dylan as a performer on his Rolling Thunder Revue in 1975–76. She sang four songs with Dylan on the live album of the tour, The Bootleg Series Vol. 5: Bob Dylan Live 1975, The Rolling Thunder Revue, released in 2002. Baez appeared with Dylan in the one-hour TV special Hard Rain, filmed at Fort Collins, Colorado, in May 1976. Baez also starred as 'The Woman in White' in the film Renaldo and Clara (1978), directed by Bob Dylan and filmed during the Rolling Thunder Revue. Dylan and Baez toured together again in 1984 along with Carlos Santana. Baez discussed her relationship with Dylan in Martin Scorsese's documentary film No Direction Home (2005), and in the PBS American Masters biography of Baez, How Sweet the Sound (2009). Baez wrote and composed at least three songs that were specifically about Dylan. In "To Bobby", written in 1972, she urged Dylan to return to political activism, while in "Diamonds & Rust", the title track from her 1975 album, she revisited her feelings for him in warm, yet direct terms.[89] "Winds of the Old Days", also on the Diamonds & Rust album, is a bittersweet reminiscence about her time with "Bobby". The references to Baez in Dylan's songs are far less clear. Baez herself has suggested that she was the subject of both "Visions of Johanna" and "Mama, You Been on My Mind", although the latter was more likely about his relationship with Suze Rotolo.[90][91] Baez implied when speaking about the connection to Diamonds and Rust that "Lily, Rosemary and the Jack of Hearts" is, at least in part, a metaphor for Dylan's view of his relationship with her. As for "Visions of Johanna", "She Belongs to Me", and other songs alleged to have been written about Baez, neither Dylan nor biographers such as Clinton Heylin and Michael Gray have had anything definitive to say, either way, regarding the subject of these songs. David Harris In October 1967, Baez and her mother, along with nearly 70 other women, were arrested at the Oakland, California, Armed Forces Induction Center for blocking its doorways to prevent entrance by young inductees, and in support of young men who refused military induction. They were incarcerated in the Santa Rita Jail, and it was here that Baez met David Harris, who was kept on the men's side but who still managed to visit with Baez regularly. The two formed a close bond upon their release and Baez moved into his draft-resistance commune in the hills above Stanford, California. The pair had known each other for three months when they decided to wed. After confirming the news to Associated Press, media outlets began dedicating ample press to the impending nuptials (at one point, Time magazine referred to the event as the "Wedding of the Century"). After finding a pacifist preacher and a church outfitted with peace signs and writing a blend of Episcopalian and Quaker wedding vows, Baez and Harris married in New York City on March 26, 1968. Her friend Judy Collins sang at the ceremony. After the wedding, Baez and Harris moved into a home in the Los Altos Hills on 10 acres (4.0 hectares) of land called Struggle Mountain, part of a commune, where they tended gardens and were strict vegetarians. A short time later, Harris refused induction into the armed forces and was indicted. On July 16, 1969, Harris was taken by federal marshals to prison.[92] Baez was visibly pregnant in public in the months that followed, most notably at the Woodstock Festival, where she performed a handful of songs in the early morning. The documentary film Carry It On was produced during this period, and was released in 1970.[93] The film's behind-the-scenes looks at Harris's views and arrest and Baez on her subsequent performance tour was positively reviewed in Time magazine and The New York Times.[94][95] Among the songs Baez wrote about this period of her life are "A Song for David", "Myths", "Prison Trilogy (Billy Rose)" and "Fifteen Months" (the amount of time Harris was imprisoned). Their son Gabriel was born on December 2, 1969. Harris was released from Texas prison after 15 months, but the relationship began to dissolve and the couple divorced amicably in 1973. They shared custody of Gabriel, who lived primarily with Baez.[96] Explaining the split, Baez wrote in her autobiography: "I am made to live alone."[97] Baez and Harris remained on friendly terms throughout the years; they reunited on-camera for the 2009 American Masters documentary for the USA's PBS. Their son Gabriel is a drummer and occasionally tours with his mother. He has a daughter Jasmine who also sang with Joan Baez at Kidztock in 2010.[98][99] Steve Jobs Baez dated Apple Computer cofounder Steve Jobs during the early 1980s.[100] A number of sources have stated that Jobs—then in his mid-20s—had considered asking Baez to marry him, except that her age at the time (early 40s) made the possibility of their having children unlikely.[101] Baez mentioned Jobs in the acknowledgments in her 1987 memoir And a Voice to Sing With and performed at the memorial for him in 2011. After Jobs' death, Baez spoke fondly about him, stating that even after the relationship had ended, the two remained friends, with Jobs having visited Baez shortly before his death, and stating that "Steve had a very sweet side, even if he was as ... erratic as he was famous for being".[102] Joan Baez at The Egg (Albany, NY), March 2016 2000s–2010s Baez is a resident of Woodside, California, where she lived with her mother until the latter's death.[20] She has revealed that her house has a backyard tree house in which she spends time meditating, writing, and "being close to nature".[103] She remained close to her younger sister Mimi up until Mimi's death in 2001, and mentioned in the 2009 American Masters documentary about her life that she had grown closer to her older sister Pauline in later years. In popular culture Cartoonist Al Capp, creator of the comic strip Li'l Abner, satirized Baez as "Joanie Phoanie" during the 1960s. Joanie was an unabashed communist radical who sang songs of class warfare while hypocritically traveling in a limousine and charging outrageous performance fees to impoverished orphans.[104] Capp had this character singing bizarre songs such as "A Tale of Bagels and Bacon" and "Molotov Cocktails for Two". Although Baez was upset by the parody in 1966, she admits to being more amused in recent years. "I wish I could have laughed at this at the time", she wrote in a caption under one of the strips, reprinted in her autobiography. "Mr. Capp confused me considerably. I'm sorry he's not alive to read this, it would make him chuckle."[105] Capp stated at the time: "Joanie Phoanie is a repulsive, egomaniacal, un-American, non-taxpaying horror, I see no resemblance to Joan Baez whatsoever, but if Miss Baez wants to prove it, let her."[106] Baez's serious persona was parodied several times on the American variety show Saturday Night Live in impersonations by Nora Dunn, notably in the 1986 mock game show Make Joan Baez Laugh.[107][108] Discography Main article: Joan Baez discography Folksingers 'Round Harvard Square (1959) Joan Baez (1960) Joan Baez, Vol. 2 (1961) Joan Baez in Concert (1962) Joan Baez in Concert, Part 2 (1963) Joan Baez/5 (1964) Farewell, Angelina (1965) Noël (1966) Joan (1967) Baptism: A Journey Through Our Time (June 1968) Any Day Now (1968) David's Album (1969) One Day at a Time (1970) Sacco & Vanzetti (1971) Blessed Are... (1971) Come from the Shadows (1972) Where Are You Now, My Son? (1973) Gracias a la Vida (1974) Diamonds & Rust (1975) Gulf Winds (1976) Blowin' Away (1977) Honest Lullaby (1979) Recently (1987) Speaking of Dreams (1989) Diamonds & Rust in the Bullring (1989) Play Me Backwards (1992) No Woman No Cry (1992) Gone from Danger (1997) Dark Chords on a Big Guitar (2003) Day After Tomorrow (2008) If you’ve seen Joan Baez live you’ll know the simmering charismatic presence that draws you into her performance. It’s a powerful force that saw her cross over from her folk roots into the mainstream, achieving gold albums in the 70’s and also provided a platform for her lifetime’s work, championing civil rights and human rights, highlighting the downtrodden, standing up against discrimination and reminding us it’s not always only rock ‘n roll. Gifted with a natural singing voice and influenced by an early appreciation of opera, her career really took off following a performance at Newport Folk Festival in 1959, her first self-titled album coming out the following year. In these early days Baez was at the core of the American roots music revival where she championed a barely known at the time Bob Dylan and paved the way for other artists like Joni Mitchell and Emmylou Harris. Although a talented songwriter herself, it’s Joan Baez’s interpretation of other writer’s work that really stands out. At the age of 13 she was taken to see Pete Seeger whose performance inspired her to start learning some of his repertoire and perform publicly. It’s Baez’s version of ‘We Shall Overcome’ that became prominent during the Civil Rights Movement in the 60’s;  she marched with Dr. Martin Luther King, Jr. and performed the song at rallies. As the 70’s got started, her cover of The Band’s ‘The Night They Drove Old Dixie Down’ went to the top of the charts and is arguably the definitive version. She was awarded a Lifetime Achievement Grammy in 2007. Joan Baez opened Live Aid in the USA in 1985 and performed on two Amnesty International tours in the same decade. The organisation honored her in 2011 at its 50th Anniversary with the inaugural Joan Baez Award for outstanding inspirational service in the global fight for human rights. In a career spanning over 55 years and over 30 albums, Joan Baez is still touring and still mesmerizing audiences all over the world. Her social activism has provoked and inspired, encouraging many other performers who followed to stand up for their beliefs. Selected discography: “Babe I’m Gonna Leave You” (1962) ● “We Shall Overcome” (1963) ● “It’s All Over Now, Baby Blue” (1965) ● “The Night They Drove Old Dixie Down” (1971) ● "Blessed Are…" (1971) ● “Forever Young” (1974) ● “Diamonds & Rust” (1975)  Peter Borsari was an immensely successful Swiss born international photographer whose talent for photographing celebrities in intimate environments earned him a reputation as one of Hollywood's greatest photographers. His work consists of over 14,000 names with every notable celebrity for the last 40 years represented. Borsari's photographs have appeared in almost every issue of PEOPLE Magazine from it's inception in 1974 to the late 90's, including many of the magazine's prominent covers. His images have been used by Vanity Fair, US Magazine, E! Entertainment, National Inquirer, MTV, and hundreds of other  notable sources. He was the exclusive photographer for Hugh Hefner's Playboy Mansion events and worked for many of Hollywood's major motion picture studios including 20th Century Fox, Columbia, Orion, Paramount, Tristar,  and Warner Brothers. Peter's unique relationship with the many celebrities he photographed made him a go to photographer for celebrity events, weddings and parties.  He was a trusted source among Hollywood's elite which gained him private access to their lives and unique opportunites to capture private moments. Peter C. Borsari (1939 in Zürich – May 29, 2006 in Los Angeles) was an American-Swiss photographer. His endearing charm and impeccable reputation permitted him exclusive access and unparalleled cooperation from his subjects. The antithesis of today’s paparazzi, he was an invited guest at Hollywood’s premier events as well as celebrities’ personal parties and gatherings. Spanning Presley to Nixon, he actively photographed people, places and events from 1965 to 1995. Peter estimated his archive contained approximately two million images; including transparencies, negatives, prints and contact sheets. Roughly 80% of these images feature celebrities in the entertainment industry. The remainder consists primarily of prominent politicians (e.g. Nixon), athletes (e.g. Ali), events (e.g. Malibu fire), sports (e.g. Formula One) and travel destinations (e.g. Switzerland). The Peter C. Borsari Photographic Archive is unequaled[citation needed] in its breadth, exclusivity and sheer magnitude. Most distinguishing is Peter’s singular ability to capture his subjects in their best light. Peter Seeger (May 3, 1919 – January 27, 2014) was 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, Seeger re-emerged on the public scene as a prominent singer of protest music in support of international disarmament, civil rights, counterculture, and environmental causes. A prolific songwriter, his best-known songs include "Where Have All the Flowers Gone?" (with Joe Hickerson), "If I Had a Hammer (The Hammer Song)" (with Lee Hays of the Weavers), and "Turn! Turn! Turn!", which have been recorded by many artists both in and outside the folk revival movement and are sung throughout the world. "Flowers" was a hit recording for the Kingston Trio (1962); Marlene Dietrich, who recorded it in English, German and French (1962); and Johnny Rivers (1965). "If I Had a Hammer" was a hit for Peter, Paul and Mary (1962) and Trini Lopez (1963) while the Byrds had a number one hit with "Turn! Turn! Turn!" in 1965. Seeger was one of the folk singers responsible for popularizing the spiritual "We Shall Overcome" (also recorded by Joan Baez and many other singer-activists) that became the acknowledged anthem of the Civil Rights Movement, soon after folk singer and activist Guy Carawan introduced it at the founding meeting of the Student Nonviolent Coordinating Committee (SNCC) in 1960. In the PBS American Masters episode "Pete Seeger: The Power of Song", Seeger said it was he who changed the lyric from the traditional "We will overcome" to the more singable "We shall overcome". Contents 1 Family and personal life 2 Career 2.1 Early work 2.2 Early activism 2.3 Spanish Civil War songs 2.4 Group recordings 2.5 Banjo and 12-string guitar 2.6 Introduction of the "Steel Pan" to U.S. audiences 2.7 The McCarthy era 2.8 Folk music revival 2.8.1 Pete Seeger and Bob Dylan 2.9 Vietnam War era and beyond 2.10 Reflection on support for Soviet Communism 2.11 Later work 2.12 Death 3 Discography 4 Tributes 5 Awards 6 See also 7 Notes 8 References 9 Further reading 10 External links 10.1 Films 10.2 Interviews 10.3 External links Family and personal life Seeger was born on May 3, 1919, at the French Hospital, Midtown Manhattan.[1] His family, which Seeger called "enormously Christian, in the Puritan, Calvinist New England tradition",[2] traced its genealogy back over 200 years. A paternal ancestor, Karl Ludwig Seeger, a doctor from Württemberg, Germany, had emigrated to America during the American Revolution and married into the old New England family of Parsons in the 1780s.[3] Seeger's father, the Harvard-trained composer and musicologist[4] Charles Louis Seeger, Jr., was born in Mexico City, Mexico, to American parents. Charles established the first musicology curriculum in the U.S. at the University of California in 1913, helped found the American Musicological Society, and was a key founder of the academic discipline of ethnomusicology. Pete's mother, Constance de Clyver (née Edson),[clarification needed] raised in Tunisia and trained at the Paris Conservatory of Music, was a concert violinist and later a teacher at the Juilliard School.[5] Peter Seeger (on father's lap) with his father and mother, Charles and Constance Seeger and brothers on a camping trip (23 May 1921) In 1912, his father Charles Seeger was hired to establish the music department at the University of California, Berkeley, but was forced to resign in 1918 because of his outspoken pacifism during World War I.[6] Charles and Constance moved back east, making Charles' parents' estate in Patterson, New York, northeast of New York City, their base of operations. When baby Pete was eighteen months old, they set out with him and his two older brothers in a homemade trailer to bring musical uplift to the working people in the American South.[7] Upon their return, Constance taught violin and Charles taught composition at the New York Institute of Musical Art (later Juilliard), whose president, family friend Frank Damrosch, was Constance's adoptive "uncle". Charles also taught part-time at the New School for Social Research. Career and money tensions led to quarrels and reconciliations, but when Charles discovered Constance had opened a secret bank account in her own name, they separated, and Charles took custody of their three sons.[8] Beginning in 1936, Charles held various administrative positions in the federal government's Farm Resettlement program, the WPA's Federal Music Project (1938–1940) and the wartime Pan American Union. After World War II, he taught ethnomusicology at the University of California and Yale University.[9][10] Charles and Constance divorced when Pete was seven and in 1932 Charles married his composition student and assistant, Ruth Crawford, now considered by many to be one of the most important modernist composers of the 20th century.[11] Deeply interested in folk music, Ruth had contributed musical arrangements to Carl Sandburg's extremely influential folk song anthology the American Songbag (1927) and later created significant original settings for eight of Sandburg's poems.[12] Pete's eldest brother, Charles Seeger III, was a radio astronomer, and his next older brother, John Seeger, taught in the 1950s at the Dalton School in Manhattan and was the principal from 1960 to 1976 at Fieldston Lower School in the Bronx.[13] Pete's uncle, Alan Seeger, a noted poet ("I Have a Rendezvous with Death"), had been one of the first American soldiers to be killed in World War I. All four of Pete's half-siblings from his father's second marriage – Margaret (Peggy), Mike, Barbara, and Penelope (Penny) – became folk singers. Peggy Seeger, a well-known performer in her own right, married British folk singer and activist Ewan MacColl. Mike Seeger was a founder of the New Lost City Ramblers, one of whose members, John Cohen, married Pete's half-sister Penny – also a talented singer who died young. Barbara Seeger joined her siblings in recording folk songs for children. In 1935, Pete attended Camp Rising Sun, an international leadership camp held every summer in upstate New York that influenced his life's work. He visited it most recently in 2012. In 1943, Pete married Toshi Aline Ota, whom he credited with being the support that helped make the rest of his life possible. The couple remained married until Toshi's death in July 2013.[14] Their first child, Peter Ōta Seeger, was born in 1944 and died at six months, while Pete was deployed overseas. Pete never saw him.[15] They went on to have three more children: Daniel (an accomplished photographer and filmmaker), Mika (a potter and muralist), and Tinya (a potter), as well as grandchildren Tao Rodríguez-Seeger (a musician), Cassie (an artist), Kitama Cahill-Jackson (a psychotherapist), Moraya (a marriage and family therapist married to the NFL player Chris DeGeare), Penny, Isabelle, and great-grandchildren Dio and Gabel. Tao, a folk musician in his own right, sings and plays guitar, banjo, and harmonica with the Mammals. Kitama Jackson is a documentary filmmaker who was associate producer of the PBS documentary Pete Seeger: The Power of Song. When asked by Beliefnet about his religious or spiritual beliefs, and his definition of God, Seeger replied: Nobody knows for sure. But people undoubtedly get feelings which are not explainable and they feel they're talking to God or they're talking to their parents who are long dead. 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. I've had preachers of the gospel, Presbyterians and Methodists, saying, "Pete, I feel that you are a very spiritual person." And maybe I am. I feel strongly that I'm trying to raise people's spirits to get together. ... I tell people I don't think God is an old white man with a long white beard and no navel; nor do I think God is an old black woman with white hair and no navel. But I think God is literally everything, because I don't believe that something can come out of nothing. And so there's always been something. Always is a long time. He was a member of a Unitarian Universalist Church in New York.[16] Pete Seeger (right), 88 years old, photographed in March 2008 with his friend, the writer and musician Ed Renehan Seeger lived in Beacon, New York. He remained engaged politically and maintained an active lifestyle in the Hudson Valley region of New York throughout his life. He and Toshi purchased their land in 1949 and lived there first in a trailer, then in a log cabin they built themselves. Toshi died in Beacon on July 9, 2013,[14][17] and Pete died in New York City on January 27, 2014.[18] Career Early work Seeger in 1979 At four, Seeger was sent away to boarding school but came home two years later when his parents learned the school had failed to inform them he had contracted scarlet fever.[19] He attended first and second grades in Nyack, New York, where his mother lived, before entering boarding school in Ridgefield, Connecticut.[20] Despite being classical musicians, his parents did not press him to play an instrument. On his own, the otherwise bookish and withdrawn boy gravitated to the ukulele, becoming adept at entertaining his classmates with it while laying the basis for his subsequent remarkable audience rapport. At thirteen, Seeger enrolled in the Avon Old Farms School in Avon, Connecticut, from which he graduated in 1936. He was selected to attend Camp Rising Sun, the George E. Jonas Foundation's international summer leadership program. During the summer of 1936, while traveling with his father and stepmother, Pete heard the five-string banjo for the first time at the Mountain Dance and Folk Festival in western North Carolina near Asheville, organized by local folklorist, lecturer, and traditional music performer Bascom Lamar Lunsford, whom Charles Seeger had hired for Farm Resettlement music projects.[21] The festival took place in a covered baseball field. There the Seegers: watched square-dance teams from Bear Wallow, Happy Hollow, Cane Creek, Spooks Branch, Cheoah Valley, Bull Creek, and Soco Gap; heard the five-string banjo player Samantha Bumgarner; and family string bands, including a group of Indians from the Cherokee reservation who played string instruments and sang ballads. They wandered among the crowds who camped out at the edge of the field, hearing music being made there as well. As Lunsford's daughter would later recall, those country people "held the riches that Dad had discovered. They could sing, fiddle, pick the banjos, and guitars with traditional grace and style found nowhere else but deep in the mountains. I can still hear those haunting melodies drift over the ball park."[22] For the Seegers, experiencing the beauty of this music firsthand was a "conversion experience". Pete was deeply affected and, after learning basic strokes from Lunsford, spent much of the next four years trying to master the five-string banjo.[22] The teenage Seeger also sometimes accompanied his parents to regular Saturday evening gatherings at the Greenwich Village loft of painter and art teacher Thomas Hart Benton and his wife Rita. Benton, a lover of Americana, played "Cindy" and "Old Joe Clark" with his students Charlie and Jackson Pollock; friends from the "hillbilly" recording industry; as well as avant-garde composers Carl Ruggles and Henry Cowell. It was at one of Benton's parties that Pete heard "John Henry" for the first time.[23] Seeger enrolled at Harvard College on a partial scholarship, but as he became increasingly involved with politics and folk music, his grades suffered and he lost his scholarship. He dropped out of college in 1938.[24] He dreamed of a career in journalism and took courses in art, as well. His first musical gig was leading students in folk singing at the Dalton School, where his aunt was principal. He polished his performance skills during a summer stint of touring New York State with The Vagabond Puppeteers (Jerry Oberwager, 22; Mary Wallace, 22; and Harriet Holtzman, 23), a traveling puppet theater "inspired by rural education campaigns of post-revolutionary Mexico".[25] One of their shows coincided with a strike by dairy farmers. The group reprised its act in October in New York City. An article in the October 2, 1939, Daily Worker reported on the Puppeteers' six-week tour this way: During the entire trip the group never ate once in a restaurant. They slept out at night under the stars and cooked their own meals in the open, very often they were the guests of farmers. At rural affairs and union meetings, the farm women would bring "suppers" and would vie with each other to see who could feed the troupe most, and after the affair the farmers would have earnest discussions about who would have the honor of taking them home for the night. "They fed us too well," the girls reported. "And we could live the entire winter just by taking advantage of all the offers to spend a week on the farm. In the farmers' homes they talked about politics and the farmers' problems, about antisemitism and Unionism, about war and peace and social security—"and always," the puppeteers report, "the farmers wanted to know what can be done to create a stronger unity between themselves and city workers. They felt the need of this more strongly than ever before, and the support of the CIO in their milk strike has given them a new understanding and a new respect for the power that lies in solidarity. One summer has convinced us that a minimum of organized effort on the part of city organizations—unions, consumers' bodies, the American Labor Party and similar groups—can not only reach the farmers but weld them into a pretty solid front with city folks that will be one of the best guarantees for progress.[26] That fall Seeger took a job in Washington, D.C., assisting Alan Lomax, a friend of his father's, at the Archive of American Folk Song of the Library of Congress. Seeger's job was to help Lomax sift through commercial "race" and "hillbilly" music and select recordings that best represented American folk music, a project funded by the music division of the Pan American Union (later the Organization of American States), of whose music division his father, Charles Seeger, was head (1938–53).[27] Lomax also encouraged Seeger's folk singing vocation, and Seeger was soon appearing as a regular performer on Alan Lomax and Nicholas Ray's weekly Columbia Broadcasting show Back Where I Come From (1940–41) alongside Josh White, Burl Ives, Lead Belly, and Woody Guthrie (whom he had first met at Will Geer's Grapes of Wrath benefit concert for migrant workers on March 3, 1940). Back Where I Come From was unique in having a racially integrated cast, which made news when it performed in March 1941 at a command performance at the White House organized by Eleanor Roosevelt called "An Evening of Songs for American Soldiers,"[28] before an audience that included the Secretaries of War, Treasury, and the Navy, among other notables. The show was a success but was not picked up by commercial sponsors for nationwide broadcasting because of its integrated cast. During the war, Seeger also performed on nationwide radio broadcasts by Norman Corwin. Pete Seeger entertaining Eleanor Roosevelt (center), honored guest at a racially integrated Valentine's Day party marking the opening of a Canteen of the United Federal Labor, CIO, in then-segregated Washington, D.C., 1944.[29] In 1949, Seeger worked as the vocal instructor for the progressive City and Country School in Greenwich Village, New York. Early activism In 1936, at the age of 17, Pete Seeger joined the Young Communist League (YCL), then at the height of its popularity and influence. In 1942, he became a member of the Communist Party USA (CPUSA) itself but left in 1949.[30] In the spring of 1941, the twenty-one-year-old Seeger performed as a member of the Almanac Singers along with Millard Lampell, Cisco Houston, Woody Guthrie, Butch, and Bess Lomax Hawes, and Lee Hays. Seeger and the Almanacs cut several albums of 78s on Keynote and other labels, Songs for John Doe (recorded in late February or March and released in May 1941), the Talking Union, and an album each of sea chanteys and pioneer songs. Written by Millard Lampell, Songs for John Doe was performed by Lampell, Seeger, and Hays, joined by Josh White and Sam Gary. It contained lines such as, "It wouldn't be much thrill to die for Du Pont in Brazil," that were sharply critical of Roosevelt's unprecedented peacetime draft (enacted in September 1940). This anti-war/anti-draft tone reflected the Communist Party line after the 1939 Molotov–Ribbentrop Pact, which maintained the war was "phony" and a mere pretext for big American corporations to get Hitler to attack Soviet Russia. Seeger has said he believed this line of argument at the time—as did many fellow members of the Young Communist League (YCL). Though nominally members of the Popular Front, which was allied with Roosevelt and more moderate liberals, the YCL's members still smarted from Roosevelt and Churchill's arms embargo to Loyalist Spain (which Roosevelt later called a mistake),[31] and the alliance frayed in the confusing welter of events. A June 16, 1941, review in Time magazine, which under its owner, Henry Luce, had become very interventionist, denounced the Almanacs' John Doe, accusing it of scrupulously echoing what it called "the mendacious Moscow tune" that "Franklin Roosevelt is leading an unwilling people into a J. P. Morgan war." Eleanor Roosevelt, a fan of folk music, reportedly found the album "in bad taste," though President Roosevelt, when the album was shown to him, merely observed, correctly as it turned out, that few people would ever hear it. More alarmist was the reaction of eminent German-born Harvard Professor of Government Carl Joachim Friedrich, an adviser on domestic propaganda to the United States military. In a review in the June 1941 Atlantic Monthly, entitled "The Poison in Our System," he pronounced Songs for John Doe "...strictly subversive and illegal," "...whether Communist or Nazi financed," and "a matter for the attorney general," observing further that "mere" legal "suppression" would not be sufficient to counteract this type of populist poison,[32] the poison being folk music and the ease with which it could be spread.[33] At that point, the U.S. had not yet entered the war but was energetically re-arming. African Americans were barred from working in defense plants, a situation that greatly angered both African Americans and white progressives. Civil rights leader A. J. Muste and Black union leaders A. Philip Randolph and Bayard Rustin began planning a huge march on Washington to protest racial discrimination in war industries and to urge desegregation of the armed forces. The march, which many regard as the first manifestation of the Civil Rights Movement, was canceled after President Roosevelt issued Executive Order 8802 (The Fair Employment Act) of June 25, 1941, barring discrimination in hiring by companies holding federal contracts for defense work. This Presidential act defused black anger considerably, although the United States Army still refused to desegregate, declining to participate in what it considered social experimentation.[34] Roosevelt's order came three days after Hitler broke the non-aggression pact and invaded the Soviet Union, at which time the Communist Party quickly directed its members to get behind the draft and forbade participation in strikes for the duration of the war (angering some leftists). Copies of Songs for John Doe were removed from sale, and the remaining inventory destroyed, though a few copies may exist in the hands of private collectors.[35] The Almanac Singers' Talking Union album, on the other hand, was reissued as an LP by Folkways (FH 5285A) in 1955 and is still available. The following year, the Almanacs issued Dear Mr. President, an album in support of Roosevelt and the war effort. The title song, "Dear Mr. President", was a solo by Pete Seeger, and its lines expressed his lifelong credo: Now, Mr. President, / We haven't always agreed in the past, I know, / But that ain't at all important now. / What is important is what we got to do, / We got to lick Mr. Hitler, and until we do, / Other things can wait.// Now, as I think of our great land ... / I know it ain't perfect, but it will be someday, / Just give us a little time. // This is the reason that I want to fight, / Not 'cause everything's perfect, or everything's right. / No, it's just the opposite: I'm fightin' because / I want a better America, and better laws, / And better homes, and jobs, and schools, / And no more Jim Crow, and no more rules like / "You can't ride on this train 'cause you're a Negro," / "You can't live here 'cause you're a Jew,"/ "You can't work here 'cause you're a union man."// So, Mr. President, / We got this one big job to do / That's lick Mr. Hitler and when we're through, / Let no one else ever take his place / To trample down the human race. / So what I want is you to give me a gun / So we can hurry up and get the job done. Seeger's critics, however, continued to bring up the Almanacs' repudiated Songs for John Doe. In 1942, a year after the John Doe album's brief appearance (and disappearance), the FBI decided that the now-pro-war Almanacs were still endangering the war effort by subverting recruitment. According to the New York World Telegram (February 14, 1942), Carl Friedrich's 1941 article "The Poison in Our System" was printed up as a pamphlet and distributed by the Council for Democracy (an organization that Friedrich and Henry Luce's right-hand man, C. D. Jackson, Vice President of Time magazine, had founded "...to combat all the nazi, fascist, communist, pacifist ..." antiwar groups in the United States).[36] Seeger served in the U.S. Army in the Pacific. He was trained as an airplane mechanic but was reassigned to entertain the American troops with music. Later, when people asked him what he did in the war, he always answered: "I strummed my banjo." After returning from service, Seeger and others established People's Songs, conceived as a nationwide organization with branches on both coasts and designed to "Create, promote and distribute songs of labor and the American People"[37] With Pete Seeger as its director, People's Songs worked for the 1948 presidential campaign of Roosevelt's former Secretary of Agriculture and Vice President, Henry A. Wallace, who ran as a third-party candidate on the Progressive Party ticket. Despite having attracted enormous crowds nationwide, however, Wallace won only in New York City and following the election he was excoriated for accepting the help in his campaign of Communists and fellow travelers such as Seeger and singer Paul Robeson.[38] Spanish Civil War songs Seeger had been a fervent supporter of the Republican forces in the Spanish Civil War. In 1943, with Tom Glazer and Bess and Baldwin Hawes, he recorded an album of 78s called Songs of the Lincoln Battalion on Moe Asch's Stinson label. This included such songs as "There's a Valley in Spain called Jarama" and "Viva la Quince Brigada". In 1960, this collection was re-issued by Moe Asch as one side of a Folkways LP called Songs of the Lincoln and International Brigades. On the other side was a reissue of the legendary Six Songs for Democracy (originally recorded in Barcelona in 1938 while bombs were falling), performed by Ernst Busch and a chorus of members of the Thälmann Battalion, made up of volunteers from Nazi Germany. The songs were: "Moorsoldaten" ("Peat Bog Soldiers", composed by political prisoners of German concentration camps); "Die Thaelmann-Kolonne", "Hans Beimler", "Das Lied Von Der Einheitsfront" ("Song of The United Front" by Hanns Eisler and Bertolt Brecht), "Der Internationalen Brigaden" ("Song of the International Brigades"), and "Los cuatro generales" ("The Four Generals", known in English as "The Four Insurgent Generals"). Group recordings As a self-described "split tenor" (between a tenor and a countertenor),[39] Pete Seeger was a founding member of two highly influential folk groups: the Almanac Singers and the Weavers. The Almanac Singers, which Seeger co-founded in 1941 with Millard Lampell and Arkansas singer and activist Lee Hays, was a topical group, designed to function as a singing newspaper promoting the industrial unionization movement,[40] racial and religious inclusion, and other progressive causes. Its personnel included, at various times: Woody Guthrie, Bess Lomax Hawes, Sis Cunningham, Josh White, and Sam Gary. As a controversial Almanac singer, the 21-year-old Seeger performed under the stage name "Pete Bowers" to avoid compromising his father's government career. In 1950, the Almanacs were reconstituted as the Weavers, named after the title of an 1892 play by Gerhart Hauptmann about a workers' strike (which contained the lines, "We'll stand it no more, come what may!"). They did benefits for strikers at which they sang songs such as 'Talking Union', about the struggles for unionisation of industrial workers such as miners and auto mobile workers.[41] Besides Pete Seeger (performing under his own name), members of the Weavers included charter Almanac member Lee Hays, Ronnie Gilbert, and Fred Hellerman; later Frank Hamilton, Erik Darling, and Bernie Krause serially took Seeger's place. In the atmosphere of the 1950s red scare, the Weavers' repertoire had to be less overtly topical than that of the Almanacs had been, and its progressive message was couched in indirect language—arguably rendering it even more powerful. The Weavers on occasion performed in tuxedos (unlike the Almanacs, who had dressed informally) and their managers refused to let them perform at political venues. The Weavers' string of major hits began with "On Top of Old Smoky" and an arrangement of Lead Belly's signature waltz, "Goodnight, Irene",[4] which topped the charts for 13 weeks in 1950[42] and was covered by many other pop singers. On the flip side of "Irene" was the Israeli song "Tzena, Tzena, Tzena".[4] Other Weaver hits included "Dusty Old Dust" ("So Long It's Been Good to Know You" by Woody Guthrie), "Kisses Sweeter Than Wine" (by Hays, Seeger, and Lead Belly), and the South African Zulu song by Solomon Linda, "Wimoweh" (about Shaka), among others. The Weavers' performing career was abruptly derailed in 1953 at the peak of their popularity when blacklisting prompted radio stations to refuse to play their records and all their bookings were canceled. They briefly returned to the stage, however, at a sold-out reunion at Carnegie Hall in 1955 and in a subsequent reunion tour, which produced a hit version of Merle Travis's "Sixteen Tons" as well as LPs of their concert performances. "Kumbaya", a Gullah black spiritual dating from slavery days, was also introduced to wide audiences by Pete Seeger and the Weavers (in 1959), becoming a staple of Boy and Girl Scout campfires. In the late 1950s, the Kingston Trio was formed in direct imitation of (and homage to) the Weavers, covering much of the latter's repertoire, though with a more buttoned-down, uncontroversial, and mainstream collegiate persona. The Kingston Trio produced another phenomenal succession of Billboard chart hits and in its turn spawned a legion of imitators, laying the groundwork for the 1960s commercial folk revival. In the documentary film Pete Seeger: The Power of Song (2007), Seeger states that he resigned from the Weavers when the three other band members agreed to perform a jingle for a cigarette commercial. Banjo and 12-string guitar In 1948, Seeger wrote the first version of his now-classic How to Play the Five-String Banjo, a book that many banjo players credit with starting them off on the instrument. He went on to invent the Long Neck or Seeger banjo. This instrument is three frets longer than a typical banjo, is slightly longer than a bass guitar at 25 frets, and is tuned a minor third lower than the normal 5-string banjo. Hitherto strictly limited to the Appalachian region, the five-string banjo became known nationwide as the American folk instrument par excellence, largely thanks to Seeger's championing of and improvements to it. According to an unnamed musician quoted in David King Dunaway's biography, "by nesting a resonant chord between two precise notes, a melody note and a chiming note on the fifth string", Pete Seeger "gentrified" the more percussive traditional Appalachian "frailing" style, "with its vigorous hammering of the forearm and its percussive rapping of the fingernail on the banjo head."[43] Although what Dunaway's informant describes is the age-old droned frailing style, the implication is that Seeger made this more acceptable to mass audiences by omitting some of its percussive complexities, while presumably still preserving the characteristic driving rhythmic quality associated with the style. From the late 1950s on, Seeger also accompanied himself on the 12-string guitar, an instrument of Mexican origin that had been associated with Lead Belly, who had styled himself "the King of the 12-String Guitar". Seeger's distinctive custom-made guitars had a triangular soundhole. He combined the long scale length (approximately 28") and capo-to-key techniques that he favored on the banjo with a variant of drop-D (DADGBE) tuning, tuned two whole steps down with very heavy strings, which he played with thumb and finger picks.[44] Introduction of the "Steel Pan" to U.S. audiences In 1956, then "Peter" Seeger (see film credits) and his wife, Toshi, traveled to Port of Spain, Trinidad, to seek out information on the steelpan, steel drum or "Ping-Pong" as it was sometimes called. The two searched out a local panyard director Isaiah and proceeded to film the construction, tuning and playing of the then new, national instrument of Trinidad-Tobago. He was attempting to include the unique flavor of the steel pan into American Folk music. The McCarthy era In the 1950s and, indeed, consistently throughout his life, Seeger continued his support of civil and labor rights, racial equality, international understanding, and anti-militarism (all of which had characterized the Wallace campaign) and he continued to believe that songs could help people achieve these goals. With the ever-growing revelations of Joseph Stalin's atrocities and the Hungarian Revolution of 1956, however, he became increasingly disillusioned with Soviet Communism. He left the CPUSA in 1949 but remained friends with some who did not leave it, though he argued with them about it.[45][46] On August 18, 1955, Seeger was subpoenaed to testify before the House Un-American Activities Committee (HUAC). Alone among the many witnesses after the 1950 conviction and imprisonment of the Hollywood Ten for contempt of Congress, Seeger refused to plead the Fifth Amendment (which would have asserted that his testimony might be self incriminating) and instead, as the Hollywood Ten had done, refused to name personal and political associations on the grounds that this would violate his First Amendment rights: "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."[47][48] Seeger's refusal to answer questions that violated his fundamental Constitutional rights led to a March 26, 1957, indictment for contempt of Congress; for some years, he had to keep the federal government apprised of where he was going any time he left the Southern District of New York. He was convicted in a jury trial of contempt of Congress in March 1961, and sentenced to ten 1-year terms in jail (to be served simultaneously), but in May 1962, an appeals court ruled the indictment to be flawed and overturned his conviction.[49][50] In 1960, the San Diego school board told him that he could not play a scheduled concert at a high school unless he signed an oath pledging that the concert would not be used to promote a communist agenda or an overthrow of the government. Seeger refused, and the American Civil Liberties Union obtained an injunction against the school district, allowing the concert to go on as scheduled. Almost 50 years later, in February 2009, the San Diego School District officially extended an apology to Seeger for the actions of their predecessors.[51] Folk music revival To earn money during the blacklist period of the late 1950s and early 1960s, Seeger worked gigs as a music teacher in schools and summer camps, and traveled the college campus circuit. He also recorded as many as five albums a year for Moe Asch's Folkways Records label. As the nuclear disarmament movement picked up steam in the late 1950s and early 1960s, Seeger's anti-war songs, such as, "Where Have All the Flowers Gone?" (co-written with Joe Hickerson), "Turn! Turn! Turn!",[52] adapted from the Book of Ecclesiastes, and "The Bells of Rhymney" by the Welsh poet Idris Davies[53] (1957), gained wide currency. Seeger also was closely associated with the Civil Rights Movement and in 1963 helped organize a landmark Carnegie Hall concert, featuring the youthful Freedom Singers, as a benefit for the Highlander Folk School in Tennessee. This event and Martin Luther King's March on Washington in August of that year brought the Civil Rights anthem "We Shall Overcome" to wide audiences where he sang it on the 50-mile walk from Selma to Montgomery, Ala. along with 1,000 other marchers.[54] By this time, Seeger was a senior figure in the 1960s folk revival centered in Greenwich Village, as a longtime columnist in Sing Out!, the successor to the People's Songs Bulletin, and as a founder of the topical Broadside magazine. To describe the new crop of politically committed folk singers, he coined the phrase "Woody's children", alluding to his associate and traveling companion, Woody Guthrie, who by this time had become a legendary figure. This urban folk-revival movement, a continuation of the activist tradition of the 1930s and 1940s and of People's Songs, used adaptations of traditional tunes and lyrics to effect social change, a practice that goes back to the Industrial Workers of the World or Wobblies' Little Red Song Book, compiled by Swedish-born union organizer Joe Hill (1879–1915). (The Little Red Song Book had been a favorite of Woody Guthrie's, who was known to carry it around.)[citation needed] Seeger toured Australia in 1963. His single "Little Boxes", written by Malvina Reynolds, was number one in the nation's Top 40s. That tour sparked a folk boom throughout the country at a time when popular music tastes, post-Kennedy assassination, competed between folk, the surfing craze, and the British rock boom which gave the world the Beatles and The Rolling Stones, among others. Folk clubs sprung up all over the nation, folk performers were accepted in established venues, and Australian performers singing Australian folk songs – many of their own composing – emerged in concerts and festivals, on television, and on recordings, and overseas performers were encouraged to tour Australia.[citation needed] The long television blacklist of Seeger began to end in the mid-1960s, when he hosted a regionally broadcast, educational, folk-music television show, Rainbow Quest. Among his guests were Johnny Cash, June Carter, Reverend Gary Davis, Mississippi John Hurt, Doc Watson, the Stanley Brothers, Elizabeth Cotten, Patrick Sky, Buffy Sainte-Marie, Tom Paxton, Judy Collins, Hedy West, Donovan, The Clancy Brothers, Richard Fariña and Mimi Fariña, Sonny Terry and Brownie McGhee, Mamou Cajun Band, Bernice Johnson Reagon, The Beers Family, Roscoe Holcomb, Malvina Reynolds, Sonia Malkine, and Shawn Phillips. Thirty-nine[45] hour-long programs were recorded at WNJU's Newark studios in 1965 and 1966, produced by Seeger and his wife Toshi, with Sholom Rubinstein. The Smothers Brothers ended Seeger's national blacklisting by broadcasting him singing "Waist Deep in the Big Muddy" on their CBS variety show on February 25, 1968, after his similar performance in September 1967 was censored by CBS.[55] In November 1976, Seeger wrote and recorded the anti-death penalty song "Delbert Tibbs", about the eponymous death-row inmate, who was later exonerated. Seeger wrote the music and selected the words from poems written by Tibbs.[56] Seeger at 86 on the cover of Sing Out! (Summer 2005), a magazine he helped found in 1950. Seeger also supported the Jewish Camping Movement. He came to Surprise Lake Camp in Cold Spring, New York, over the summer many times.[57] He sang and inspired countless campers.[58] Pete Seeger and Bob Dylan Pete Seeger was one of the earliest backers of Bob Dylan and was responsible for urging A&R man John Hammond to produce Dylan's first LP on Columbia, and for inviting him to perform at the Newport Folk Festival, of which Seeger was a board member.[59] There was a widely repeated story that Seeger was so upset over the extremely loud amplified sound that Dylan, backed by members of the Butterfield Blues Band, brought into the 1965 Newport Folk Festival that he threatened to disconnect the equipment. There are multiple versions of what went on, some fanciful. What is certain is that tensions had been running high between Dylan's manager Albert Grossman and Festival Board members (who besides Seeger also included Theodore Bikel, Bruce Jackson, Alan Lomax, festival MC Peter Yarrow, and George Wein) over the scheduling of performers and other matters. Two days earlier, there had been a scuffle and brief exchange of blows between Grossman and Alan Lomax, and the Board in an emergency session had voted to ban Grossman from the grounds but had backed off when George Wein pointed out that Grossman also managed highly popular draws Odetta and Peter, Paul and Mary.[60] Seeger has been portrayed as a folk "purist" who was one of the main opponents to Dylan's "going electric".[61] but when asked in 2001 about how he recalled his "objections" to the electric style, he said: I couldn't understand the words. I wanted to hear the words. It was a great song, "Maggie's Farm," and the sound was distorted. I ran over to the guy at the controls and shouted, "Fix the sound so you can hear the words." He hollered back, "This is the way they want it." I said "Damn it, if I had an axe, I'd cut the cable right now." But I was at fault. I was the MC, and I could have said to the part of the crowd that booed Bob, "you didn't boo Howlin' Wolf yesterday. He was electric!" Though I still prefer to hear Dylan acoustic, some of his electric songs are absolutely great. Electric music is the vernacular of the second half of the twentieth century, to use my father's old term.[62] Vietnam War era and beyond Pete Seeger, Stern Grove, San Francisco CA 8/6/78 A longstanding opponent of the arms race and of the Vietnam War, Seeger satirically attacked then-President Lyndon Johnson with his 1966 recording, on the album Dangerous Songs!?, of Len Chandler's children's song, "Beans in My Ears". Beyond Chandler's lyrics, Seeger said that "Mrs. Jay's little son Alby" had "beans in his ears," which, as the lyrics imply,[63] ensures that a person does not hear what is said to them. To those opposed to continuing the Vietnam War, the phrase implied that "Alby Jay", a loose pronunciation of Johnson's nickname "LBJ," did not listen to anti-war protests as he too had "beans in his ears". During 1966, Seeger and Malvina Reynolds took part in environmental activism. The album God Bless the Grass was released on January of that year and became the first album in history wholly dedicated to songs about environmental issues. Their politics were informed by the same ideologies of nationalism, populism, and criticism of big business.[64] Seeger attracted wider attention starting in 1967 with his song "Waist Deep in the Big Muddy", about a captain—referred to in the lyrics as "the big fool"—who drowned while leading a platoon on maneuvers in Louisiana during World War II. With its lyrics about a platoon being led into danger by an ignorant captain, the song's anti-war message was obvious- the line "the big fool said to push on" is repeated several times.[65] In the face of arguments with the management of CBS about whether the song's political weight was in keeping with the usually light-hearted entertainment of the Smothers Brothers Comedy Hour, the final lines were "Every time I read the paper/those old feelings come on/We are waist deep in the Big Muddy and the big fool says to push on." The lyrics could be interpreted as an allegory of Johnson as the "big fool" and the Vietnam War as the foreseeable danger. Although the performance was cut from the September 1967 show,[66] after wide publicity,[67] it was broadcast when Seeger appeared again on the Smothers' Brothers show in the following January.[68] At the November 15, 1969, Vietnam Moratorium March on Washington, DC, Seeger led 500,000 protesters in singing John Lennon's song "Give Peace a Chance" as they rallied across from the White House. Seeger's voice carried over the crowd, interspersing phrases like, "Are you listening, Nixon?" between the choruses of protesters singing, "All we are saying ... is give peace a chance".[69] Inspired by Woody Guthrie, whose guitar was labeled "This machine kills fascists"photo Seeger's banjo was emblazoned with the motto "This Machine Surrounds Hate and Forces It to Surrender."[70] In the documentary film The Power of Song, Seeger mentions that he and his family visited North Vietnam in 1972.[71] Being a supporter of progressive labor unions, Seeger had supported Ed Sadlowski in his bid for the presidency of the United Steelworkers of America. In 1977, Seeger appeared at a fundraiser in Homestead, Pennsylvania. In 1978, Seeger joined American folk, blues, and jazz singer Barbara Dane at a rally in New York for striking coal miners.[72] In 1980, Pete Seeger performed in Cambridge, Massachusetts. The performance was later released by Smithsonian Folkways as the album "Singalong Sanders Theater, 1980".[73] Seeger and his wife, Toshi, founded the Hudson River Sloop Clearwater and the Clearwater Festival to draw attention to the pollution of the Hudson River. The activism led to the site being designated as one of the superfund sites.[74] Reflection on support for Soviet Communism In 1982, Seeger performed at a benefit concert for Poland's Solidarity resistance movement. His biographer David Dunaway considers this the first public manifestation of Seeger's decades-long personal dislike of communism in its Soviet form.[75] In the late 1980s Seeger also expressed disapproval of violent revolutions, remarking to an interviewer that he was really in favor of incremental change and that "the most lasting revolutions are those that take place over a period of time."[75] In his autobiography Where Have All the Flowers Gone (1993, 1997, reissued in 2009), Seeger wrote, "Should I apologize for all this? I think so." He went on to put his thinking in context: How could Hitler have been stopped? Litvinov, the Soviet delegate to the League of Nations in '36, proposed a worldwide quarantine but got no takers. For more on those times check out pacifist Dave Dellinger's book, From Yale to Jail ... [76] At any rate, today I'll apologize for a number of things, such as thinking that Stalin was merely a "hard driver" and not a "supremely cruel misleader." I guess anyone who calls himself a Christian should be prepared to apologize for the Inquisition, the burning of heretics by Protestants, the slaughter of Jews and Muslims by Crusaders. White people in the U.S.A. ought to apologize for stealing land from Native Americans and enslaving blacks. Europeans could apologize for worldwide conquests, Mongolians for Genghis Khan. And supporters of Roosevelt could apologize for his support of Somoza, of Southern White Democrats, of Franco Spain, for putting Japanese Americans in concentration camps. Who should my granddaughter Moraya apologize to? She's part African, part European, part Chinese, part Japanese, part Native American. Let's look ahead.[77][78] Seeger in 1999 In a 1995 interview, however, he insisted that "I still call myself a communist, because communism is no more what Russia made of it than Christianity is what the churches make of it."[79] In recent years, as the aging Seeger began to garner awards and recognition for his lifelong activism, he also found himself criticized once again for his opinions and associations of the 1930s and 1940s. In 2006, David Boaz—Voice of America and NPR commentator and president of the libertarian Cato Institute—wrote an opinion piece in The Guardian, entitled "Stalin's Songbird" in which he excoriated The New Yorker and The New York Times for lauding Seeger. He characterized Seeger as "someone with a longtime habit of following the party line" who had only "eventually" parted ways with the CPUSA. In support of this view, he quoted lines from the Almanac Singers' May 1941 Songs for John Doe, contrasting them darkly with lines supporting the war from Dear Mr. President, issued in 1942, after the United States and the Soviet Union had entered the war.[80][81] In 2007, in response to criticism from a historian Ron Radosh, a former Trotskyite who now writes for the conservative National Review—Seeger wrote a song condemning Stalin, "Big Joe Blues":[82] I'm singing about old Joe, cruel Joe. / He ruled with an iron hand. /He put an end to the dreams / Of so many in every land. / He had a chance to make / A brand new start for the human race. / Instead he set it back / Right in the same nasty place. / I got the Big Joe Blues. / Keep your mouth shut or you will die fast. / I got the Big Joe Blues. / Do this job, no questions asked. / I got the Big Joe Blues.[83] The song was accompanied by a letter to Radosh, in which Seeger stated, "I think you're right, I should have asked to see the gulags when I was in U.S.S.R [in 1965]."[78] Later work Seeger at the Clearwater Festival in June 2007 On March 16, 2007, Pete Seeger, his sister Peggy, his brothers Mike and John, his wife Toshi, and other family members spoke and performed at a symposium and concert sponsored by the American Folklife Center in honor of the Seeger family, held at the Library of Congress in Washington, D.C.,[84] where Pete Seeger had been employed by the Archive of American Folk Song 67 years earlier. In September 2008, Appleseed Recordings released At 89, Seeger's first studio album in 12 years. On September 29, 2008, the 89-year-old singer-activist, once banned from commercial TV, made a rare national TV appearance on the Late Show with David Letterman, singing "Take It From Dr. King". On January 18, 2009, Seeger and his grandson Tao Rodríguez-Seeger joined Bruce Springsteen, and the crowd in singing the Woody Guthrie song "This Land Is Your Land" in the finale of Barack Obama's Inaugural concert in Washington, D.C.[85][86] The performance was noteworthy for the inclusion of two verses not often included in the song, one about a "private property" sign the narrator cheerfully ignores, and the other making a passing reference to a Depression-era relief office.[85][87] Over the years, he lent his fame to support numerous environmental organizations, including South Jersey's Bayshore Center, the home of New Jersey's tall ship, the oyster schooner A.J. Meerwald. Seeger's benefit concerts helped raise funds for groups so they could continue to educate and spread environmental awareness.[88] On May 3, 2009, at the Clearwater Concert, dozens of musicians gathered in New York at Madison Square Garden to celebrate Seeger's 90th birthday (which was later televised on PBS during the summer),[89] ranging from Dave Matthews, John Mellencamp, Billy Bragg, Bruce Springsteen, Tom Morello, Eric Weissberg, Ani DiFranco and Roger McGuinn to Joan Baez, Richie Havens, Joanne Shenandoah, R. Carlos Nakai, Bill Miller, Joseph Fire Crow, Margo Thunderbird, Tom Paxton, Ramblin' Jack Elliott, and Arlo Guthrie. Cuban singer-songwriter Silvio Rodríguez was also invited to appear but his visa was not approved in time by the United States government. Consistent with Seeger's long-time advocacy for environmental concerns, the proceeds from the event benefited the Hudson River Sloop Clearwater,[90] a non-profit organization founded by Seeger in 1966, to defend and restore the Hudson River. Seeger's 90th Birthday was also celebrated at The College of Staten Island on May 4. [91][92][93][94][95][96][97][98][99][100][101][102][103][104] On September 19, 2009, Seeger made his first appearance at the 52nd Monterey Jazz Festival, which was particularly notable because the festival does not normally feature folk artists. In 2010, still active at the age of 91, Seeger co-wrote and performed the song God's Counting on Me, God's Counting on You with Lorre Wyatt, commenting on the Deepwater Horizon oil spill.[105] A performance of the song by Seeger, Wyatt, and friends was recorded and filmed aboard the Sloop Clearwater in August for a single and video produced by Richard Barone and Matthew Billy, released on election day November 6, 2012.[106] External video Pete Seeger11.jpg  Civil Rights History Project: Pete Seeger, 57:42, Library of Congress[107] On October 21, 2011, at age 92, Pete Seeger was part of a solidarity march with Occupy Wall Street to Columbus Circle in New York City.[108] The march began with Seeger and fellow musicians exiting Symphony Space (95th and Broadway), where they had performed as part of a benefit for Seeger's Clearwater organization. Thousands of people crowded Pete Seeger by the time they reached Columbus Circle where he performed with his grandson, Tao Rodríguez-Seeger, Arlo Guthrie, David Amram, and other celebrated musicians.[109] The event, promoted under the name OccupyTheCircle, was live streamed, and dubbed by some as "The Pete Seeger March". Seeger looks on as a ceremony concludes marking the raising of the new home winter port in Kingston, New York, of the Sloop Clearwater, September 15, 2012[110] On December 14, 2012, Seeger performed, along with Harry Belafonte, Jackson Browne, Common, and others, at a concert to bring awareness to the 37-year-long ordeal of Native American Activist Leonard Peltier. The concert was held at the Beacon Theater in New York City.[111] On April 9, 2013, Hachette Audio Books issued an audiobook entitled Pete Seeger: The Storm King; Stories, Narratives, Poems. This two-CD spoken-word work was conceived of and produced by noted percussionist Jeff Haynes and presents Pete Seeger telling the stories of his life against a background of music performed by more than 40 musicians of varied genres.[112] The launch of the audiobook was held at the Dia:Beacon on April 11, 2013, to an enthusiastic audience of around two hundred people, and featured many of the musicians from the project (among them Samite, Dar Williams, Dave Eggar, and Richie Stearns of the Horse Flies and Natalie Merchant) performing live under the direction of producer and percussionist Haynes.[113] April 15, 2013, Sirius XM Book Radio presented the Dia:Beacon concert as a special episode of "Cover to Cover Live with Maggie Linton and Kim Alexander" entitled "Pete Seeger: The Storm King and Friends."[114] On August 9, 2013, one month widowed, Seeger was in New York City for the 400-year commemoration of the Two Row Wampum Treaty between the Iroquois and the Dutch. On an interview he gave that day to Democracy Now!, Seeger sang "I Come and Stand at Every Door" as it was also the 68th anniversary of bombing of Nagasaki.[115][116] On September 21, 2013, Pete Seeger performed at Farm Aid at the Saratoga Performing Arts Center in Saratoga Springs, New York. Joined by Wille Nelson, Neil Young, John Mellencamp, and Dave Matthews, he sang "This Land Is Your Land"[117] and included a verse he said he had written specifically for the Farm Aid concert. Death Seeger died at New York-Presbyterian Hospital on January 27, 2014, at the age of 94.[118] Response and reaction to Seeger's death quickly poured in. President Barack Obama noted that Seeger had been called "America's tuning fork"[119] and that he believed in "the power of song" to bring social change, "Over the years, Pete used his voice and his hammer to strike blows for workers' rights and civil rights; world peace and environmental conservation, and he always invited us to sing along. For reminding us where we come from and showing us where we need to go, we will always be grateful to Pete Seeger."[120] Folksinger and fellow activist Billy Bragg wrote that: "Pete believed that music could make a difference. Not change the world, he never claimed that – he once said that if music could change the world he'd only be making music – but he believed that while music didn't have agency, it did have the power to make a difference."[121] Bruce Springsteen said of Seeger's death, "I lost a great friend and a great hero last night, Pete Seeger", before performing "We Shall Overcome" while on tour in South Africa.[122] Discography Main article: Pete Seeger discography God Bless the Grass (1966) Dangerous Songs!? (1966) Rainbow Race (1973) American Folk Songs for Children (1990) At 89 (2008)[123][124] Tributes External audio  “Fresh Air with Terry Gross, January 28, 2014: Obituary for Pete Seeger", Fresh Air with Terry Gross. Scroll down to 'View online' to hear the audio interview. A proposal was made in 2009 to name the Walkway Over the Hudson in his honor.[125] A posthumous suggestion that Seeger's name be applied to the replacement Tappan Zee Bridge being built over the Hudson River has been made by local town supervisor, Paul Feiner.[74][126] Seeger's boat, the sloop Clearwater, is based at Beacon, New York, just upriver from the bridge.[127] Oakwood Friends School located in Poughkeepsie New York, not far from Seeger's home, performed Where Have All the Flowers Gone? at one of their worship meetings. The collaboration was with three teachers (playing guitar and vocals) as well as a student harmonica player and a student vocalist. A free five-day memorial called Seeger Fest took place on July 17 to 21, 2014, featuring Judy Collins, Peter Yarrow, Harry Belafonte, Anti- Flag, Michael Glabicki of Rusted Root, Steve Earle, Holly Near, Fred Hellerman, Guy Davis, DJ Logic, Paul Winter Consort, Dar Williams, DJ Kool Herc, The Rappers Delight Experience, Tiokasin Ghosthorse, David amram, Mik + Ruthy, Tom Chapin, James Maddock, The Chapin Sisters, Rebel Diaz, Sarah Lee Guthrie & Johnny Irion, Elizabeth Mitchell, Emma's Revolution, Toni Blackman, Kim & Reggie Harris, Magpie, Abrazos Orcchestra, Nyraine, George Wein, The Vanaver Caravan, White Tiger Society, Lorre Wyatt, AKIR, Adira & Alana Amram, Aurora Barnes, The Owens Brothers, The Tony Lee Thomas Band, Jay Ungar & Molly Mason, Ney York Sity Labor Chorus, Roland Moussa, Roots Revelators, Kristen Graves, Bob Reid, Hudson River Sloop Singers, Walkabout Clearwater Chorus, Betty & The baby Boomers, Work O' The Weavers, Jacob Bernz * Sarah Armour, and Amanda Palmer.[128] In 2006, thirteen folk music songs made popular by Pete Seeger have been reinterpreted by Bruce Springsteen in his fourteenth studio album: "We Shall Overcome: The Seeger Sessions" In 2014, Wepecket Island Records recorded a Pete Seeger tribute album called "For Pete's Sake" On April 14, 2018, folk sooner John McCutcheon funded a Pete Seeger tribute album on IndieGoGo,[129] eventually called To Everyone In All The World: A Celebration of Pete Seeger Awards Seeger has been the recipient of many awards and recognitions throughout his career, including: Induction into the Songwriters Hall of Fame (1972)[130] The Eugene V. Debs Award (1979) The Letelier-Moffitt Human Rights Award (1986) The Grammy Lifetime Achievement Award (1993)[131] The National Medal of Arts from the National Endowment for the Arts (1994) Kennedy Center Honor (1994) The Harvard Arts Medal (1996) The James Smithson Bicentennial Medal (1996)[132] Induction into the Rock and Roll Hall of Fame (1996) Grammy Award for Best Traditional Folk Album of 1996 for his record Pete (1997) The Felix Varela Medal, Cuba's highest honor for "his humanistic and artistic work in defense of the environment and against racism" (1999) The Schneider Family Book Award for his children's picture book The Deaf Musicians. (2007) The Mid-Hudson Civic Center Hall of Fame (2008)- Seeger and Arlo Guthrie performed the first public concert at the Poughkeepsie, New York not-for-profit family entertainment venue, close to Seeger's home, in 1976. Grandson Tao Rodríguez-Seeger accepted the Hall of Fame plaque on behalf of his grandfather. Grammy Award for Best Traditional Folk Album of 2008 for his record At 89 (2009) The Peace Abbey Courage of Conscience Award[133] for his commitment to peace and social justice as a musician, songwriter, activist, and environmentalist that spans over sixty years. (2008) The Dorothy and Lillian Gish Prize (2009) Grammy Award for Best Musical Album for Children of 2010 for his record Tomorrow's Children, Pete Seeger and the Rivertown Kids and Friends (2011) George Peabody Medal (2013) Grammy Award for Best Spoken Word Album of 2013 nomination for Pete Seeger: The Storm King; Stories, Narratives, Poems (2014)[134][135] Woody Guthrie Prize (2014) (inaugural recipient)[136]

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