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Carl Sturken and Evan Rogers are New York-based songwriters and record producers who are business partners and friends. They have produced hits for Ruben Studdard, Wild Orchid, Christina Aguilera, Evelyn Champagne King, and Rihanna. They helped build the career of Rihanna, and are the principals of her production company named SRP Music Group. As songwriters and record producers, Rogers and Sturken have achieved more than twenty top 40 hits, twelve top 5 hits and six BMI Awards. Their songs have sold more than 60 million albums around the world.

History

Sturken & Rogers started their careers in the New York R&B scene of the mid-1980s. During that time, Rogers himself released a full-length solo album, 1985’s Love Games for RCA Records (he would release a second album, Faces of Love for Capitol four years later), and the duo produced Gavin Christopher for EMI Manhattan Records, scoring their first big hit with Christopher’s “One Step Closer to You.” They also worked on the legendary Beat Street soundtrack and began to gain a reputation by producing such artists as Cheryl Lynn, Stephanie Mills and Jennifer Holliday. They then crossed over to the pop world by engineering the comeback of Donny Osmond, writing and producing the #2 smash “Soldier of Love” and the Top 10 hit “Sacred Emotion”. Following their success with Donny Osmond, they became artists themselves, forming an R&B group called Rythm Syndicate with John Nevin, Rob Mingrino and Kevin Cloud, all of whom hailed from Connecticut. In 1991, the group scored a #2 hit on the US Billboard charts, “P.A.S.S.I.O.N.”, as well as a Top 15 follow-up, “Hey Donna”. In addition to providing vocals for the group, Rogers and Sturken wrote or co-wrote all of their songs. However, after two years of touring and promotion, along with two unsuccessful albums and a few less successful singles, Sturken and Rogers disbanded the group to resume writing and producing full-time.

They wrote and/or produced six songs for Debbie Gibson’s 1993 album Body Mind Soul including US single “Losin’ Myself” and the UK single “Shock Your Mama”. Success came next in the UK with the Top 5 single “Power of a Woman” for Eternal. More work overseas followed, including contributions to the Brand New Heavies’ platinum album Shelter. For Irish boy band Boyzone, they wrote and produced four songs for the group’s Where We Belong album, which entered at #1 on the UK charts. The six-time platinum album includes the Sturken & Rogers penned “All That I Need”, which was a UK #1 single. The song also appears on Boyzone’s Greatest Hits package, By Request, which spent over two months at #1 and also had sales of over six million units.

In 1997, they shifted their attention back to the U.S. The hit “(God Must Have Spent) A Little More Time on You”, written and produced for NSYNC, was a Billboard Top 10 single, before climbing into the Billboard Country Top 5 after being covered by country recording legend Alabama. The song also received a Grammy nomination in 2000 for Best Country Collaboration by a group or duo. NSYNC’s debut album sold over 10 million copies in the US alone. In addition to the pop and country versions of “(God Must Have Spent) A Little More Time on You”, the song was also recorded by jazz artist Kirk Whalum for his album Unconditional, which was nominated for Best Pop Instrumental Performance at the 2002 Grammy Awards. Sturken & Rogers also wrote and produced several songs for Christina Aguilera’s debut album. The album entered the Billboard charts at #1 and went double platinum after only three weeks, eventually totaling sales in excess of 11 million worldwide. They also branched out into the jazz world working with Dave Koz on his album The Dance. The album contains two Sturken & Rogers penned songs, including “Can’t Let You Go”, co-written with Koz and featuring Luther Vandross on vocals, which went on to become a #1 hit on the Smooth Jazz chart. The duo also had songs on 98 Degrees’ double platinum album Revelation and the multi-platinum debut albums of Jessica Simpson, Alsou, Mandy Moore and Anastacia, as well as many other collaborations with such artists as Christina Milian and Emma Bunton. They also wrote sings with and for The Brand New Heavies Shelter LP notably Last To Know with Simon Bartholomew.

As the 1990s came to a close and teen pop died down, Sturken & Rogers changed gears once again, discovering and developing Javier, whom they signed to Capitol Records. They wrote and produced the majority of his debut album, including the hit single “Crazy”. Next to come calling was Clive Davis, who hired the team to work on Kelly Clarkson’s debut album, for which they wrote the hit single “The Trouble with Love Is”, also featured in the movie Love Actually. The Davis connection continued with the American Idol project in 2004, as well as Rod Stewart’s As Time Goes By: the Great American Songbook 2 and two tracks for Ruben Studdard’s double platinum debut album, Soulful.

The duo then decided to begin developing artists in earnest, forming Syndicated Rhythm Productions in 2005. Their first signing was Rihanna, whom Rogers discovered while visiting family in Barbados.[2] They brought her to Jay-Z and L.A. Reid at Def Jam Records and she was signed within hours of her audition. Rihanna’s first single “Pon De Replay”, co-written and produced by Sturken & Rogers, went on to be a worldwide smash. Rihanna’s second album, A Girl Like Me, contained the hit singles “SOS” and “Unfaithful”, and established her as an international star. In 2007 Rihanna scored one of the biggest singles of the year with “Umbrella” ; the follow up single “Shut Up and Drive” was written and produced by Sturken & Rogers, and became a top 10 hit worldwide, as well as being featured in the movies 21, I Love You Man, and Cars. Good Girl Gone Bad went on to be one of the best selling albums of that year, selling over 15 million copies worldwide to date. As of November 2013, Rihanna sold over 50 million albums and 180 million singles worldwide. The SRP artist roster continued to grow during this time; next up was Shontelle, who they brought to Steve Rifkind’s SRC/Universal Motown label, where they produced her debut album Shontelligence in 2008. Shontelle has joined fellow Barbadian Rihanna at the top of the charts with her first hit, “T-Shirt”, which was a top 15 hit in the US, and was top 5 for a month in the U.K., where she has followed it with her second hit “Stuck with Each Other”, a duet with Akon from the movie Confessions of a Shopaholic. Shontelle’s follow up album included the worldwide platinum smash “Impossible”.

Sturken and Rogers continued writing and producing for artists outside of their own stable with their song “Issues”, they scored yet another top smash with British girl group The Saturdays. They also co-wrote the song “Gypsy” for Shakira, which was an international hit and won a Latin BMI award.  The time had come for the next chapter of Sturken and Rogers’ career, and thus the SRP Records label was formed in early 2009, in partnership with Universal/Motown. Their first signing was Vita Chambers who opened for Justin Bieber’s 2010 “My World” tour, and then scored a gold single in Canada with her single “Fix You”.

Singer/songwriter Taylor Berrett was discovered by SRP while still a high school student in Washington, DC. After signing a publishing deal with Kara DioGuardi’s Arthouse Music, Taylor inked a deal through SRP with Warner Bros. records, and recorded his debut album with producer Jake Gosling (Ed Sheeran, Christina Perri).

Nashville born pianist/singer Kandace Springs was SRP’s next discovery; they signed her to Don Was at Blue Note/Capitol. In 2014 she performed her debut single “Love Got in the Way” on the Late Show with David Letterman, followed by a slew of other national television appearances, and performances at the Afropunk and Bonnaroo festivals, as well as performing with Prince at the “Purple Rain” 30th anniversary show at Paisley Park. Her upcoming debut album is being produced by Grammy legend Larry Klein.

The newest signing to SRP is 20-year-old singer/flute prodigy Elena Pinderhughes; having already toured the world, played the White House, and performed with such giants as Herbie Hancock, she is now recording her debut album for release in 2016.

Sturken and Rogers have also begun to build their own stable of writer/producers, forming a joint venture with Universal Music Publishing Group. Their first signing, Brandon Alexander, a.k.a. BAM, had his breakout with the Grammy nominated Tyrese smash “Stay” which spent 11 weeks at #1 on the Adult Urban chart. BAM was also nominated for a Grammy for the Chris Brown/Kendrick Lamar collaboration “Autumn Leaves”, and he wrote and produced 9 of the 11 cuts on Tyrese’s new album, which entered at #1 on the Billboard Hot 200 Albums chart. He is currently in the studio with Chris Brown, Trey Songz, and August Alsina. Most recently SRP paired two young writers, Jackson Foote and Emma Lov, to form the writing/production team Loote; they’ve already landed cuts on Natalie La Rose and are collaborating with a host of other major label artists.

Belcalis Marlenis Almánzar (born October 11, 1992), known professionally as Cardi B, is an American rapper, songwriter, and actress. Born in Manhattan and raised in the Bronx, New York City, she became an Internet celebrity after several of her posts and videos became popular on Vine and Instagram. From 2015 to 2017, she appeared as a regular cast member on the VH1 reality television series Love & Hip Hop: New York, which depicted her pursuit of her music aspirations. She released two mixtapes—Gangsta Bitch Music, Vol. 1 and Vol. 2, before signing with label Atlantic Records in early 2017.

Her debut studio album, Invasion of Privacy (2018), debuted at number one on the Billboard 200, broke several streaming records, was certified triple platinum by the RIAA and named by Billboard the top female rap album of the 2010s. Critically acclaimed, it won the Grammy Award for Best Rap Album, making Cardi B the only woman to win the award as a solo artist, as well as the first female rap artist in 15 years to be nominated for Album of the Year. It spawned two number-one singles on the Billboard Hot 100; “Bodak Yellow”, which made her the second female rapper to top the chart with a solo output—following Lauryn Hill in 1998—and “I Like It”, which made her the first female rapper to attain multiple number-one songs on the chart. Her Maroon 5 collaboration “Girls Like You” made her the only female rapper to top the Hot 100 three times. “WAP”, the lead single of her second album, expanded her record as the female rapper with the most Hot 100 number-one singles as her fourth leader, and made her the only female rap artist to achieve chart-topping singles in two decades (2010s and 2020s).

Recognized by Forbes as one of the most influential female rappers of all time, Cardi B is known for her aggressive flow and candid lyrics, which have received widespread media coverage. She is the highest-certified female rapper of all time on the RIAA’s Top Artists (Digital Singles) ranking, also appearing among the ten highest-certified female artists and having the top certified song by a female rap artist. She is the only female rapper with multiple billion-streamers on Spotify. Her accolades include a Grammy Award, eight Billboard Music Awards, five Guinness World Records, five American Music Awards, eleven BET Hip Hop Awards and two ASCAP Songwriter of the Year awards. In 2018 Time magazine included her on their annual list of the 100 most influential people in the world, and in 2020, Billboard honored her as Woman of the Year.

Early life

Belcalis Marlenis Almánzar was born on October 11, 1992, in Washington Heights, Manhattan. The daughter of a Dominican father and Trinidadian mother, she was raised in the Highbridge neighborhood of the South Bronx, and spent much time at her paternal grandmother’s home in Washington Heights, which she credits with giving her “such a thick accent.” Almánzar developed the stage name “Cardi B” as a derivation of Bacardi, a rum brand that was formerly her nickname. She has said she was a gang member with the Bloods in her youth, since the age of 16 However, she has stated ever since that she would not encourage joining a gang.[15] She went on to attend Renaissance High School for Musical Theater & Technology, a vocational high school on the Herbert H. Lehman High School campus.

During her teens, Cardi B was employed at a deli in Tribeca. She was fired, and her manager suggested she apply to be a stripper at the strip club across the street. Cardi B has said that becoming a stripper was positive for her life in many ways: “It really saved me from a lot of things. When I started stripping I went back to school.” She has stated that she became a stripper in order to escape poverty and domestic violence, having been in an abusive relationship at the time after being kicked out of her mother’s house, and that stripping was her only way to earn enough money to escape the situation and get an education. She attended Borough of Manhattan Community College before eventually dropping out. While stripping, Cardi B lied to her mother by telling her she was making money babysitting.

In 2013, she began to gain publicity due to several of her videos spreading on social media, on Vine and her Instagram page.

Career

2015–2016: Career beginnings

In 2015, Cardi B joined the cast of the VH1 reality television series Love & Hip Hop: New York, debuting in season six. Jezebel considered her the breakout star of the show’s sixth season. The sixth and seventh seasons chronicle her rise to stardom and her turbulent relationship with her incarcerated fiancé. On December 30, 2016, after two seasons, she announced that she would be leaving the show to further pursue a career in music.

In November 2015, Cardi B made her musical debut on Jamaican reggae fusion singer Shaggy’s remix to his single “Boom Boom”, alongside fellow Jamaican dancehall singer Popcaan. She made her music video debut on December 15, 2015, with the song “Cheap Ass Weave”, her rendition of British rapper Lady Leshurr’s “Queen’s Speech 4”. On March 7, 2016, Cardi B released her first full-length project, a mixtape titled Gangsta Bitch Music, Vol. 1. In November 2016, she was featured on the digital cover of Vibe magazine’s “Viva” issue. On September 12, 2016, KSR Group released the compilation Underestimated: The Album, which is a collaboration between KSR Group artists Cardi B, HoodCelebrityy, SwiftOnDemand, Cashflow Harlem, and Josh X. It was previously released only to attendees of their U.S. tour. KSR Group’s flagship artist Cardi B said “I wanted to make a song that would make girls dance, twerk and at the same time encourage them to go get that Shmoney,” in regard to the compilation’s single “What a Girl Likes”.

She appeared on the December 9, 2015 episode of Uncommon Sense with Charlamagne. On April 6, 2016, she was on the twelfth episode of Khloé Kardashian’s Kocktails with Khloé: In it, she revealed how she told her mother that she was a stripper. In November 2016, it was announced that she would be joining the cast of the BET series Being Mary Jane. TVLine describes her character, Mercedes, as a “round-the-way beauty with a big weave, big boobs and a big booty to match her oversize, ratchet personality.”

In 2016, Cardi B was featured in her first endorsement deal with Romantic Depot, a large New York chain of lingerie stores that sell sexual health and wellness products. The ad campaign was featured on radio and cable TV. This was noted by the NY Post in a feature article about “Cardi B’s meteoric rise from stripper to superstar” in April 2018.

2017–2018: Breakthrough with Invasion of Privacy

On January 20, 2017, Cardi B released her second mixtape, Gangsta Bitch Music, Vol. 2. In February 2017, Cardi B partnered with MAC Cosmetics and Rio Uribe’s Gypsy Sport for an event for New York Fashion Week. In late February, it was reported that Cardi B signed her first major record label recording contract with Atlantic Records. On February 25, 2017, Cardi B was the opening act for East Coast hip hop group The Lox’s Filthy America… It’s Beautiful Tour, alongside fellow New York City-based rappers Lil’ Kim and Remy Ma. In April 2017, she was featured in i-D’s “A-Z of Music” video sponsored by Marc Jacobs. Cardi also guest-starred on the celebrity panel show Hip Hop Squares, appearing on the March 13 and April 3, 2017 episodes. In May 2017, the nominees for the 2017 BET Awards were announced, revealing that Cardi B had been nominated for Best New Artist and Best Female Hip-Hop Artist, tying with DJ Khaled and Kendrick Lamar for the most nominations with nine. Although she failed to win any awards, losing to Chance the Rapper and Remy Ma, respectively, Cardi B performed at the BET Awards Afterparty show. On June 11, 2017, during Hot 97’s annual Summer Jam music festival, Remy Ma brought out Cardi B, along with The Lady of Rage, MC Lyte, Young M.A, Monie Love, Lil’ Kim and Queen Latifah, to celebrate female rappers and perform Latifah’s 1993 hit single “U.N.I.T.Y.” about female empowerment. In June 2017, it was revealed that Cardi B would be on the cover of The Fader’s Summer Music issue for July/August 2017. She performed at MoMA PS1 on August 19 to a crowd of 4,000.

On June 16, 2017, Atlantic Records released Cardi B’s commercial debut single, “Bodak Yellow”, via digital distribution. She performed the single on The Wendy Williams Show and Jimmy Kimmel Live! The song climbed the charts for several months, and, on the Billboard Hot 100 chart dated September 25, 2017, “Bodak Yellow” reached the number one spot, making Cardi B the first female rapper to do so with a solo single since Lauryn Hill’s “Doo Wop (That Thing)” debuted atop the chart in 1998.  The song stayed atop the charts for three consecutive weeks, tying with American pop singer Taylor Swift’s “Look What You Made Me Do” as the longest running female at the number one spot in 2017. Cardi B became the first person of Dominican descent to reach number one in the history of the Hot 100 since it was launched in 1958. An editor of The New York Times called it “the rap anthem of the summer”. Selected by The Washington Post and Pitchfork music critics as the best song of 2017,  “Bodak Yellow” was eventually certified nonuple platinum by the Recording Industry Association of America (RIAA). The song received nominations for Best Rap Performance and Best Rap Song at the 60th Grammy Awards.  It won Single of the Year at the 2017 BET Hip Hop Awards.

With her collaborations “No Limit” and “MotorSport”, she became the first female rapper to land her first three entries in the top 10 of the Hot 100,  and the first female artist to achieve the same on the Hot R&B/Hip-Hop Songs chart. In October 2017, Cardi B headlined Power 105.1’s annual Powerhouse music celebration, alongside The Weeknd, Migos, and Lil Uzi Vert, at the Barclays Center in Brooklyn, New York. In December, she released two songs: a collaboration with Puerto Rican singer Ozuna titled “La Modelo”, and “Bartier Cardi”, the second single from her debut album.

On January 3, 2018, Cardi B was featured on Bruno Mars’ remix version of “Finesse”, and also appeared in the 90s inspired video. It reached the top three on the Hot 100, Canada and New Zealand. On January 18, 2018, Cardi B became the first woman to have five top 10 singles simultaneously on the Billboard Hot R&B/Hip-Hop Songs chart. She released another single, “Be Careful”, on March 30, 2018, a week before her album’s release.

Her debut studio album, Invasion of Privacy, was released on April 6, 2018, to universal acclaim from music critics. Editors from Variety and The New York Times called it “one of the most powerful debuts of this millennium” and “a hip-hop album that doesn’t sound like any of its temporal peers,” respectively. The album entered at number one in the United States, while she became the first female artist to chart 13 entries simultaneously on the Billboard Hot 100, on the chart issue dated April 21. It also became the most streamed album by a female artist in a single week in Apple Music, and the largest on-demand audio streaming week ever for an album by a woman. Cardi held the latter record until 2019. The album’s title reflects Cardi B’s feeling that as she gained popularity her privacy was being invaded in a variety of ways. Following the album’s release, during a performance on Saturday Night Live, Cardi B officially announced her pregnancy, after much media speculation. She also co-hosted an episode of The Tonight Show Starring Jimmy Fallon.

Several months later, in July 2018, the album’s fourth single, “I Like It”, which features vocals from Bad Bunny and J Balvin, reached number one on the Hot 100; this marked her second number one on the chart and made her the first female rapper to achieve multiple chart-toppers. It received critical acclaim, with Rolling Stone naming it “the best summer song of all time” in 2020. Her collaboration with Maroon 5, “Girls Like You”, also reached number one the Hot 100 chart, extending her record among female rappers and also making her the sixth female artist to achieve three number-one singles on the chart during the 2010s. The song’s music video has received more than 2.7 billion views on YouTube and was the fifth-best selling song of the year globally. With “Girls Like You” following “I Like It” at the top of the Billboard Radio Songs chart, Cardi B became the first female rapper to ever replace herself at number one on that chart. The single spent seven weeks atop the Hot 100, making Cardi the female rapper with the most cumulative weeks atop the chart, with eleven weeks. It spent 33 weeks in the top 10, tying both Ed Sheeran’s “Shape of You” and Post Malone and Swae Lee’s “Sunflower” for the longest top 10 run in the chart’s archives at the time. In October 2018, Invasion of Privacy was certified double platinum by the RIAA, and the following year it was updated to triple platinum. With the thirteen tracks, she became the first female artist to have all songs from an album certified gold or higher in the US.

Cardi B received the most nominations for the 2018 MTV Video Music Awards with 12 mentions—including for Video of the Year, winning three awards. She also tied with Drake for the most nominations at the 2018 American Music Awards. She won three AMAs and performed at the ceremony. Her single “Money” earned her a fourth Video Music Award. Her collaboration with DJ Snake “Taki Taki” topped the charts in a number of Hispanic countries, made Cardi B the first female rapper to top the Spotify Global 50 chart, and has garnered more than 1.8 billion views. Both singles were certified multiple-platinum by the RIAA. People en Español named her Star of the Year,  and Entertainment Weekly deemed her “a pop culture phenomenon”, as she was named one of “2018 Entertainers of the Year.”

On November 30, 2018, Cardi B was honored at Ebony’s annual Power 100 Gala. Cardi ranked fifth on the 2018 Billboard Year-End Top Artists chart, while Invasion of Privacy ranked sixth. She achieved the most-streamed album of the year by a female artist globally in Apple Music, and ranked as the most streamed female artist of the year in the United States in Spotify. Editorial staff from Apple Music and Billboard named “I Like It” the best song of 2018,  while Time magazine and Rolling Stone named Invasion of Privacy the best album of the year. Also in 2018, Time included her on their annual list of the 100 most influential people in the world.[ In its decade-end review article, NME stated that the era secured “her crown as the new Queen of Rap.”

2019–present: Hustlers, Rhythm + Flow and upcoming second studio album

Cardi B received five nominations at the 61st Grammy Awards, including for Album of the Year, Best Rap Album and Record of the Year (“I Like It”). She became the third female rapper to be nominated for Album of the Year, following Lauryn Hill (1999) and Missy Elliott (2004). On February 10, 2019, she then performed at the award ceremony, where she wore three vintage Thierry Mugler couture looks during the telecast and became the first female rapper to win Best Rap Album as a solo artist. Cardi B also led the 2019 Billboard Music Awards nominations, with 21, the most nominations in a single year ever by a woman and the third most nominations in a year ever (behind Drake and The Chainsmokers, who both had 22 in a year). She ended up winning six awards, including for Top Hot 100 Song, bringing her career total wins to seven—the most of any female rapper in history. An article by Omaha World-Herald called her “the biggest rapper in the world.”

On February 15, 2019, Cardi B released “Please Me”, a collaboration with Bruno Mars, which became her seventh top-ten song on the Hot 100, reaching number three. The song marked Cardi and Bruno’s second collaboration, following “Finesse” in 2018. The official music video was released two weeks later. On March 1, Cardi set a new attendance record at the Houston Livestock Show and Rodeo, with 75,580 fans in the audience. With “Backin’ It Up”, “Twerk” and “Money”, Cardi became the first female artist to occupy the top three on the Billboard Mainstream R&B/Hip-Hop airplay chart. Her following single titled “Press” was released on May 31, 2019. The parental-advisory labeled music video marked her directorial debut—being credited as co-director, and was released on June 26, 2019. It had its debut performance at the 2019 BET Awards, where she won Album of the Year. During the summer of 2019 she embarked on an arena tour.

Cardi B made her film debut in Hustlers directed by Lorene Scafaria, opposite Jennifer Lopez, Constance Wu, and Lili Reinhart. The film was released on September 13, 2019 to critical acclaim. Cardi B, along with Chance the Rapper and T.I., were confirmed as judges for the Netflix series Rhythm + Flow, a ten-part hip-hop talent search that premiered on October 9, 2019, which she also executive produced. She will next appear in F9, which is set to be released on May 28, 2021, by Universal Pictures. In September 2019, Cardi B became the highest-certified female rapper of all time on the RIAA’s Top Artists (Digital Singles) ranking, with 31.5 million certified units, also being the ninth highest-certified female artist overall. Forbes has recognized her as one of the most influential female rappers of all time. In December 2019, Cardi B embarked on her first tour of Africa, performing in Nigeria and Ghana. Her collaboration “Clout” was nominated for a Grammy Award for Best Rap Performance. She was the most streamed female rapper of 2019 in the US, according to Spotify. Consequence of Sound deemed her “one of the most formidable hip-hop artists of the decade.”  In March 2020, Cardi B created a reaction video about the coronavirus pandemic. DJ iMarkkeyz, a Brooklyn DJ known for turning memes and online moments into full-length songs, created a track, based on her reaction titled “Coronavirus”, which became an internet meme and was released to music platforms. Netflix announced the return of Rhythm + Flow for 2021.

Cardi B released the single “WAP” featuring American rapper Megan Thee Stallion on August 7, 2020 as the lead single off her forthcoming second studio album. The song received critical acclaim and was praised for its sex positive messages. The Colin Tilley-directed music video accompanied the song itself, and broke the record for the biggest 24-hour debut for an all-female collaboration on YouTube. She became the only female rap artist to top the Global Spotify chart multiple times.[151] “WAP” debuted at number-one on the Billboard Hot 100 chart, garnering Cardi B her fourth chart-topper in the US, extending her record as the female rapper with the most number-one singles, and also making her the first female rapper to achieve Hot 100 number one singles in two different decades (2010s and 2020s). With 93 million streaming units, it became the largest first-week streams for a song, breaking the all-time record held by Ariana Grande’s “7 Rings”. It has spent four weeks atop the Hot 100. The single has also spent multiple weeks at number one in seven other countries, including Australia and the United Kingdom. Neil Shah of The Wall Street Journal deemed it “a big moment for female rappers” and “a historic sign that women artists are making their mark on hip-hop like never before”. “WAP” became the first number one single on the inaugural Billboard Global 200 chart. Cardi B won the Billboard Music Award for Top Rap Female Artist for the third time at the 2020 ceremony.  In December 2020, Cardi B became the first female rapper to be named Woman of the Year at the Billboard Women in Music Awards. With her win for “WAP” at the American Music Awards, she became the first artist to win the American Music Award for Favorite Rap/Hip-Hop Song multiple times, following her win for “Bodak Yellow” in 2018.

Artistry

Influences

In Billboard’s “You Should Know” series, Cardi B said the first albums she ever purchased were by American entertainers Missy Elliott and Tweet, respectively. She has credited Puerto Rican rapper Ivy Queen and Jamaican dancehall artist Spice as influences, as well as Lady Gaga, Lil’ Kim, Madonna,  and Selena.  When asked about the initial direction for her music, Cardi B said in an interview,

“When I first started rapping […] I liked certain songs from Khia and Trina, and they [were] fighting songs. I haven’t heard fighting songs for a very long time,” crediting the two female rappers for her aggressive rap style. She continued, saying “a lot of girls they cannot afford red bottoms, a lot of girls they cannot afford foreign cars […] but I know that every girl has beef with a girl […] I know that every bitch don’t like some bitch, and it’s like ‘that’s what I wanna rap about.’”

She also credits growing up in the South Bronx and real life experiences as influences for her songwriting; “I wouldn’t be able to rap about the things that I rap about now [if I hadn’t grown up there].

Musical style

Her first studio album, Invasion of Privacy, is primarily a hip hop record, which comprises elements of trap, Latin music, and R&B. Consequence of Sound described her flow as “acrobatic and nimble.” AllMusic editor David Jeffries called Cardi B “a raw and aggressive rapper”. Stereogum called her voice “a full-bodied New Yawk nasal bleat, the sort of thing that you’ve heard if someone has ever told you that you stupid for taking too long at swiping your MetroCard.” They continued to call her voice “an unabashedly loud and sexual f*ck-you New York honk—that translates perfectly to rap.” In a 2017 Complex article about her, the editor wrote “unapologetic does not begin to describe the totally unfiltered and sheer Cardi B-ness of Cardi B’s personality. She’s a hood chick who’s not afraid to be hood no matter the setting. Cardi B is Cardi B 24/7, 365, this is why she resonates with people, and that same energy comes out in her music.” Her flow has been described as aggressive. Cardi B has defended her musical content primarily comprising sexually-charged lyrics—like most contemporary female rappers; she stated that the content “seems like that’s what people want to hear”, since she faced negative reactions after releasing her more emotional song, “Be Careful.”

Other ventures

In February 2017, she partnered with M.A.C and Rio Uribe’s Gypsy Sport for an event for New York Fashion Week. During an April 2017 interview with HotNewHipHop, Cardi B spoke on being rejected by fashion designers. Her April appearance in i-D’s “A-Z of Music” video was sponsored by designer Marc Jacobs, and she made the cover of The Fader’s July/August 2017 Summer Music issue. Tom Ford’s Cardi B-inspired lipstick, and named after her, was released in September 2018. It sold out within 24 hours. In November, she partnered with Reebok, promoting the brand’s Aztrek sneaker. The same month she released a clothing line collection with Fashion Nova.

Cardi B teamed up with Pepsi for two television commercials, which aired during the Super Bowl LIII and the 61st Annual Grammy Awards. In early 2019, Cardi also joined other hip hop artists (including her husband Offset, as part of Migos) in releasing her flavors of snack food Rap Snacks: two flavors of chips, and two of popcorn. The bags’ artwork were inspired by the cover of Invasion of Privacy. In partnership with Reebok, she released a footwear and apparel collection, inspired by her personal style and paying homage to “classic 80s styling” and motifs.

Public image

Cardi B identifies as a feminist. The New York Times wrote “on Love & Hip Hop: New York some viewers saw her as a hero of female empowerment, as she made pronouncements such as ‘Ever since I started using guys, I feel so much better about myself. I feel so damn powerful.’”

Political statements

The star has been called “unabashedly, directly political” and often uses social media to advocate for causes she believes in, such as gun control. During the 2016 presidential primaries, she warned her fans of President Trump’s immigration policies and encouraged them to vote for Senator Bernie Sanders. At the Grammy Awards in 2018, she appeared in a video along with Hillary Clinton to narrate a portion of Fire and Fury, Michael Wolff’s insider’s account of Trump’s administration, and stated “Why am I even reading this shit? I can’t believe this. I can’t believe—this is how he really lives his life?” Cardi B endorsed Sanders once again in his second bid for the presidency in the 2020 United States presidential election, while also praising U.S. Representative Tim Ryan. She also stated that one of the reasons for her endorsement is Sanders’ long-time involvement in supporting underprivileged minorities and “people getting Medicare because he knows they can’t afford it,” while Politico website argued that she “might be one of Bernie’s most powerful 2020 allies.” She has also used her social pages to raise awareness for victims of police brutality, and has encouraged people to vote for mayors, judges and district attorneys in local elections. In a conversation with Democratic candidate Joe Biden for Elle, they discussed Medicare, free college tuition, and racial equality.[ According to a study published by The Hollywood Reporter, Cardi B ranked as the fifth most influential celebrity, and fourth among Generation Z, for the 2020 presidential election.

She has praised President Franklin D. Roosevelt for advocating for the Social Security program and the New Deal project in general and has noted her admiration for his wife Eleanor Roosevelt’s humanitarianism and advocacy for African-Americans. She said of President Roosevelt, “he helped us get over the Depression, all while he was in a wheelchair. Like, this man was suffering from polio at the time of his presidency, and yet all he was worried about was trying to make America great—make America great again for real. He’s the real ‘Make America Great Again,’ because if it wasn’t for him, old people wouldn’t even get Social Security.” Sanders himself has praised her for her “leading role” in calling attention to Social Security. During the 2018–19 United States federal government shutdown she released a video on Instagram, where she said “our country is a hellhole right now”.

On October 8, 2020, Cardi B posted a message on her Instagram condemning Azerbaijan for attacking Artsakh (Nagorno-Karabakh), a disputed territory, and asked her followers to donate to Armenia Fund, a humanitarian organization that supports Armenia’s development and the needy. The next day she removed the message and apologized to her followers for posting such a message and instead she said she is just in favor of ending the war.

Controversies

Cardi B caused controversy after throwing one of her high heel shoes at, and attempting to physically fight, fellow rapper Nicki Minaj at an after-party hosted by Harper’s Bazaar during New York Fashion Week 2018. She later stated that Minaj had previously “liked” comments made by other users on social media who spoke negatively about Cardi B’s abilities to take care of her newly born daughter. Minaj denied the accusations. Nevertheless, she covered the spring fashion issue of Harper’s Bazaar in early 2019, featuring her in a Cinderella-themed photo shoot wearing a red gown and leaving a shoe behind, which some writers found reflective of the incident.

After the release of “Girls” in May 2018, a collaboration where she had a featured verse, Cardi B responded to the accusations of the song trivializing and sexualizing LGBT relationships. She stated on Twitter, “We never try to cause harm or had bad intentions with the song.” Cardi B then went on to say, “I personally myself had experiences with other women.”

In March 2019, a livestream from Instagram resurfaced from 2016 where she can be heard claiming that in the past she “had drugged and robbed men” who willingly came with her to hotel rooms for sex. She stated that the men she referred to were conscious, willing and aware; they were getting “twisted in the club” before approaching her, and denied putting anything on a man’s drink. She added that she took some money from them because they wasted her time by falling asleep, and then “kept coming back.” She concluded by saying that at the time she had very limited options to survive, and feels a responsibility not to glorify it.

Fashion

Cardi has a noted affinity for Christian Louboutin heels, a running theme in her song “Bodak Yellow”. She has also mentioned her affinity for cheap, fast-fashion brands stating “I don’t care if it cost $20 or $15. If it looks good on me, it looks good on me”. In November 2018 she released a collection with Fashion Nova.  Cardi wore vintage Thierry Mugler to the 2018 Grammy Awards. An article from Vogue noted she “is famous for her statement getups—whether she’s rocking archival Mugler on the red carpet, or dripping in Chanel while sitting courtside at a basketball game.” Her over-the-top manicures, designed by nail artist Jenny Bui and studded with Swarovski crystals, has become a part of her signature look.

In 2018, she became the first female rapper in the US to appear on the cover of Vogue. Photographed by Annie Leibovitz, the cover, one of four for the January 2019 issue that included Stella McCartney, features her in a red and white Michael Kors dress and matching red Jimmy Choo shoes, while holding her daughter, Kulture.

In 2019, the Council of Fashion Designers of America included her on their list of “28 Black Fashion Forces”.

Cardi B became the face of Balenciaga’s ad campaign for the winter 2020 season. The campaign includes billboards in several international locations, including the Louvre museum. Vogue’s Brooke Bobb commented, “This is Cardi’s first campaign for a luxury fashion house, though she’s definitely no stranger to the Parisian style scene”, citing her floral printed Richard Quinn ensemble “that literally covered her from head to toe” and her being “a front row fixture” at high fashion shows, adding, “She and her stylist Kollin Carter have been wildly successful in carving out a much-needed space for Cardi within the fashion industry, and they’ve cultivated a personal style that is all her own while being inspiring to all”.

In 2020, Cardi B became the first female rapper to be awarded by the FN Achievement Awards when she won the Style Influencer of the Year award. In a press release for the awards show, she was called an “influence just about everything in pop culture—from music, fashion and style to social media, politics and even public service”.

Impact

Multiple publications, including Billboard, The Hollywood Reporter, and Entertainment Weekly, have called her “Hip Hop’s Reigning Queen” since the release of Invasion of Privacy. Spin staff credited her for opening “the table to a new generation of pop artists remaking American music in their own image and accents. [Cardi B] recognized that POC artists no longer need to pander or soften themselves in order to become household names.” An article from Uproxx noted Cardi B for promoting up-and-coming female rappers; “[she is] choosing to use her position at the height of stardom to open doors for other women to flourish in hip-hop at a greater level than any since the Golden Era and “Ladies First”. This is something of a departure from tradition; for the decade previous to Cardi’s precipitous come-up, it seemed hip-hop had an unspoken, Highlander-esque rule in place regarding women.” The New Yorker also credited her for “changing a genre that has rarely allowed for more than one female superstar at a time.” Billboard editors stated that with “Bodak Yellow”‘s commercial success, “she left an indelible mark on the summer of 2017, not only because she rewrote history, but she gave hope to the have nots…”. “I Like It” became the first Latin trap song to reach number one on the Hot 100, which reflected “the times, the moment and the new openness of the world” towards Spanish-infused music in streaming services according to the magazine. In 2020, The Wall Street Journal’s Neil Shah stated that “today’s female-rap renaissance was sparked partly by the success of Cardi B”, while Genius staff credited her for “helping jumpstart a new wave of female hip-hop signings and promotion at labels”.

NPR defined “Cardi B effect” as “a branding power rooted in specific authenticity, created and permeated by rapper Cardi B” and noticed that with her breakthrough, “brands finally started to become hip to [her] effect, noticing the cultural markers outside of the rap world that were proving it wasn’t limited to clubs, concerts and radio.” Business magazine Inc. stated that her success “shows how social media changed everything we knew about traditional marketing and media”, which no longer relies on a “well-thought marketing scheme or millions of dollars in advertising.” Articles by Vogue and The Telegraph have referred to her as a “fashion icon for our times.” In 2019, a life-sized sculpture of her was on display at the Brooklyn Museum, as part of Spotify’s RapCaviar “Pantheon”. Bloomberg reported that her data bill helped to boost Ghana’s GDP growth in 2019, after it was part of a concert tour. She inspired the creation of the sitcom Partners in Rhyme, executively produced by MC Lyte about a young woman in high school who “aspires to be the next Cardi B.” P-Valley creator Katori Hall credited her influence for “helping prepare the public” for the storyline depicted in the TV series. Singer-songwriter Rosalía has cited her among her influences. Cardi B has been credited for supporting and uniting female rappers in the industry.

Achievements

Cardi B is the recipient of numerous accolades, including a Grammy Award, eight Billboard Music Awards, five Guinness World Records, five American Music Awards, four MTV Video Music Awards, four BET Awards, and eleven BET Hip Hop Awards. Time included her on their annual list of the 100 most influential people in the world in 2018. She received the ASCAP award for Songwriter of the Year in 2019, becoming the first female rapper to win the award. She received the honor for the second time in 2020, making her the first female songwriter to win the award twice. In 2020, Cardi B became the first female rapper to be named Woman of the Year at the Billboard Women in Music Awards.

Cardi B is the female rapper with the most Billboard Hot 100 number one singles (4) and the one with the most total weeks on the top position (15). “Bodak Yellow”—certified nonuple platinum by the Recording Industry Association of America (RIAA)—became the highest-certified single by a female rapper. “I Like It” became the first song led by a female rapper to surpass a billion streams on Spotify, also making her the first woman in hip hop with multiple billion-streamers on the service, with a total of three so far. Invasion of Privacy was the top female rap album of the 2010s, according to the Billboard 200 decade-end chart. It also became the longest-charting album by a female rapper on the Billboard 200, and the most-streamed album by a female rapper on Spotify.  Invasion of Privacy—which made her the first female rapper to win the Grammy Award for Best Rap Album as a solo artist—became the first female rap album in fifteen years to be nominated for a Grammy Award for Album of the Year. Rolling Stone and Billboard ranked her debut album number 13 and 34 on their critics’ lists of best albums of the 2010s respectively, both the highest rank for a female rapper for the decade.

Personal life

Cardi B is Catholic;  she has mentioned her “strong relationship” with God in interviews, often saying that she directly communicates with God.

Cardi B’s younger sister, Hennessy Carolina, also has a strong following on social media and has accompanied her to award shows, such as the 2017 Grammy Awards.

In an interview in 2018, Cardi talked about being Afro-Latina and Afro-Caribbean:

We are Caribbean people […] Some people want to decide if you’re black or not, depending on your skin complexion, because they don’t understand Caribbean people or our culture. I feel like people need to understand or get a passport and travel. I don’t got to tell you that I’m black. I expect you to know about it. When my father taught me about Caribbean countries, he told me that these Europeans took over our lands. That’s why we all speak different languages […] Just like everybody else, we came over here the same way. I hate when people try to take my roots from me. Because we know that there’s African roots inside of us…

She has been a resident of Edgewater, New Jersey, renting an apartment for $3,000 a month that she says would be twice as much in Manhattan for an equivalently sized unit.

Cardi has opened up about the #MeToo movement and being sexually a*saulted.

Relationships

As of early 2017, Cardi B began publicly dating fellow American rapper Offset, of the southern hip hop group Migos. When speaking on her relationship with Offset, Cardi B told The Fader, “It’s been a blessing, me meeting him and meeting his friends. I see how hard they work. And that motivated me to work even harder. And I see how good things are going for them and how popping it is to be number one. And I’m like, I want that. A lot of people just see they jewelry and they money, but I don’t think a lot of people see how hard they work for that shit every single day.” Cardi B and Offset became engaged on October 27, 2017, after Offset proposed to her at the Wells Fargo Center in Philadelphia, during the Power 99 Powerhouse concert. On April 7, 2018, during her second performance on Saturday Night Live, Cardi B wore a stunning, white Christian Siriano evening gown which, along with several deliberate camera side shots, revealed her pregnancy. She was about 6 months (24 weeks) pregnant at the time. On June 25, 2018, TMZ found a marriage license revealing Cardi B and Offset had actually secretly married in September 2017, doing so one month before the public proposal. Cardi B later went on to confirm this revelation in a social media post. In July 2018, Cardi B gave birth to her first child, a daughter named Kulture Kiari Cephus  In December 2018 she announced on Instagram that she and Offset had broken up, though the pair later reunited. In February 2019, the couple made a public appearance for the Grammys.  He accompanied her on the stage during her acceptance speech for Best Rap Album. In September 2020, it was reported that Cardi B had filed for divorce, but the next month it was revealed they were back together.

Legal issues

On October 1, 2018, Cardi B agreed to meet with investigators at a Queens police station in connection with an alleged a*sault. She denied involvement through her attorney. She was charged with two misdemeanors: a*sault and reckless endangerment. Cardi B appeared in court for her arraignment on December 7, 2018, after she failed to show up for the originally scheduled date due to a scheduling conflict, according to her attorney. She was ordered by the judge to avoid having any contact with the two bartenders. She was released by the judge despite prosecutors requesting bail to be set at $2,500. On June 21, 2019, a grand jury indicted Cardi B on 14 charges, including two counts of felony a*sault with intent to cause serious physical injury, stemming from the incident. She was arraigned on June 25, 2019 and pleaded not guilty on all charges

Anthony Frank Iommi (/aɪˈoʊmi/; born 19 February 1948) is an English guitarist, songwriter and producer. He was lead guitarist and one of the four founding members of heavy metal band Black Sabbath, and was the band’s primary composer and sole continuous member for nearly five decades. Iommi was ranked number 25 in Rolling Stone magazine’s list of the “100 Greatest Guitarists of All Time”.

While working in a factory as a teenager, Iommi lost the tips of the middle and ring fingers of his right hand in an accident, an event which crucially impacted his playing style. He briefly left Black Sabbath (then known as Earth) in 1968 to join Jethro Tull, but did not record any material with the band, and subsequently returned to Black Sabbath in 1969. In 2000, he released his first solo album Iommi, followed by 2005’s Fused, which featured his former bandmate Glenn Hughes. After releasing Fused, he formed Heaven & Hell, which disbanded after Ronnie James Dio’s death in 2010.

In 2011, he published his autobiography, entitled Iron Man: My Journey Through Heaven and Hell with Black Sabbath.

Early life

Iommi was born in Birmingham, the only child of Sylvia Maria (née Valenti, born in Palermo) Iommi and Anthony Frank Iommi. Sylvia’s family were vineyard owners in Italy. The family was Catholic, though they rarely attended Mass. Their family home in the Park Lane area of Aston also housed a shop which was a popular meeting place in the neighbourhood.,  with the living room doubling as the shop’s stockroom. His mother ran the shop while his father was a carpenter by trade.

Born and raised in Handsworth, Birmingham, Iommi attended Birchfield Road School, where future bandmate Ozzy Osbourne was also a student one year behind him. At age 8 or 9, while being chased by another boy, Iommi fell and suffered a bad cut on his upper lip. As a result, he gained the nickname “Scarface”, which made him more self-conscious of the scar, so he eventually grew his trademark moustache as a means of covering it.

At about age 10, Iommi began working out and learned judo, karate, and later boxing as a means of protecting himself from the local gangs which congregated in his neighbourhood.  He envisioned a future as a bouncer in a nightclub. Iommi initially wanted to play the drums, but due to the excessive noise he chose the guitar instead as a teenager, after being inspired by the likes of Hank Marvin and the Shadows. He has always played guitar left-handed. After completing school, Iommi worked briefly as a plumber and later in a factory manufacturing rings. He stated that at one point he worked in a music store, but quit after being falsely accused of stealing.

Accident

At the age of 17, Iommi lost the tips of the middle and ring fingers of his right hand in an industrial accident on his last day of work in a sheet metal factory. Iommi described how he “was told ‘you’ll never play again’. It was just unbelievable. I sat in the hospital with my hand in this bag and I thought, that’s it – I’m finished. But eventually I thought ‘I’m not going to accept that. There must be a way I can play’.” After the injury Iommi’s factory foreman played him a recording of famous jazz guitarist Django Reinhardt, which encouraged him to continue as a musician. As Iommi later wrote:

My friend said, “Listen to this guy play”, and I went, “No way! Listening to someone play the guitar is the very last thing I want to do right now!” But he kept insisting and he ended up playing the record for me. I told him I thought it was really good and then he said, ‘You know, the guy’s only playing with two fingers on his fretboard hand because of an injury he sustained in a terrible fire.’ I was totally knocked back by this revelation and was so impressed by what I had just heard that I suddenly became inspired to start trying to play again.”

Inspired by Reinhardt’s two-fingered guitar playing, Iommi decided to try playing guitar again, though the injury made it quite painful to do so. Although it was an option, Iommi never seriously considered switching hands and learning to play right-handed. In an interview with Guitar World magazine, he was asked if he was “ever tempted to switch to right-handed playing.” Iommi responded:

If I knew what I know now I probably would have switched. At the time I had already been playing two or three years, and it seemed like I had been playing a long time. I thought I’d never be able to change the way I played. The reality of the situation was that I hadn’t been playing very long at all, and I probably could have spent the same amount of time learning to play right handed. I did have a go at it, but I just didn’t have the patience. It seemed impossible to me. I decided to make do with what I had, and I made some plastic fingertips for myself. I just persevered with it.

He ultimately decided to continue playing left-handed. To do so, he fitted homemade thimbles to his injured fingers to extend and protect them; the thimbles were made from an old Fairy Liquid bottle – “melted it down, got a hot soldering iron and shaped it like a finger” – and cut sections from a leather jacket to cover his new homemade prosthetic, which created two technical problems. First, the thimbles prevented him from feeling the strings, causing a tendency to press down very hard on them. Second, he had difficulty bending strings, leading him to seek light-gauge guitar strings to make it easier to do so. However, Iommi recalls that such strings were not manufactured at the time, so he used banjo strings instead, until around 1970–71 when Picato Strings began making light-gauge guitar strings. Furthermore, he used the injured fingers predominantly for fretting chords rather than single-note solos. In 1974, Iommi told Guitar Player magazine that the thimbles “helped with his technique” because he had to use his little finger more than he had before the accident. Later, he also began tuning his guitar to lower pitches, sometimes as far as three semitones below standard guitar tuning (e.g., on “Children of the Grave”, “Lord of this World”, and “Into the Void”, all on the album Master of Reality). Although Iommi states that the main purpose of doing so was to create a “bigger, heavier sound”, slackening the strings makes it easier to bend them.

Iommi reflected in 2016 saying that his greatest regret is losing his fingertips.

It became a burden. Some people say it helped me invent the kind of music I play, but I don’t know whether it did. It’s just something I’ve had to learn to live with. It affects your playing style; you can’t feel the strings, and there are certain chords I can’t play. Right at the beginning I was told by doctors: “You won’t be playing guitar.” But I believed I could do it, and I did.

Career

Pre-Black Sabbath

Iommi had played in several blues/rock bands, one of the earliest of which was the Rockin’ Chevrolets from 1964 to 1965. The band had regular bookings. Iommi later joined The Birds And Bees, and when they were offered work in Germany, Iommi decided to leave his factory job to take up the opportunity. From 1966 to 1967 Iommi played in a band named the Rest. It was in the Rest that Iommi first met future-Black Sabbath drummer Bill Ward, who played drums and sang in the band.[

From January until July 1968 Iommi was guitarist in Mythology, with Ward joining a month later in mid-February. In May 1968 police raided the group’s practice flat and found cannabis resin, which resulted in fines for the band members. Most significantly, the incident made it quite difficult for the band to secure future bookings as most club owners avoided bands they viewed as drug users. Mythology subsequently split up after a gig in Silloth on 13 July 1968.

In August 1968 at the same time as the break-up of Mythology, another Birmingham band called Rare Breed also broke up. Vocalist Ozzy Osbourne joined with Iommi and Ward after the duo responded to an advert in a local music shop proclaiming “Ozzy Zig Requires Gig – has own PA”.  Requiring a bassist, Osbourne mentioned his former Rare Breed bandmate Geezer Butler, who was subsequently hired along with slide guitarist Jimmy Phillips and saxophonist Alan “Aker” Clarke. The six-piece band were named the Polka Tulk Blues Band. After just two gigs (the last of which was at the Banklands Youth Club in Workington), Phillips and Clarke were dismissed from the band, which soon after shortened its name to Polka Tulk.

Earth and Jethro Tull

Iommi, Butler, Ward and Osbourne renamed the band Earth in September 1968. The same month Iommi briefly departed to join Jethro Tull. However, after only two performances (an appearance on “The Rolling Stones Rock & Roll Circus” in which the band mimed “A Song for Jeffrey”, which Ian Anderson sang live and a live appearance at BBC), Iommi was back with Earth in November 1968.

Concerning his brief working relationship with Jethro Tull vocalist Ian Anderson, Iommi said:

I learned quite a lot from him, I must say. I learned that you have got to work at it. You have to rehearse. When I came back and I got the band (Earth) back together, I made sure that everybody was up early in the morning and rehearsing. I used to go and pick them up. I was the only one at the time that could drive. I used to have to drive the bloody van and get them up at quarter to nine every morning; which was, believe me, early for us then. I said to them, “This is how we have got to do it because this is how Jethro Tull did it.” They had a schedule and they knew that they were going to work from this time till that time. I tried that with our band and we got into doing it. It worked. Instead of just strolling in at any hour, it made it more like we were saying, “Let’s do it!”

Black Sabbath

In August 1969, after being confused with another group named Earth (who had minor success in England), the group renamed themselves Black Sabbath. His factory accident affected the Black Sabbath sound; Iommi had detuned his guitar by 1971’s Master of Reality album, lowering string tension and easing the pain to his fingertips. Black Sabbath bassist Geezer Butler did the same to match Iommi. Sabbath was among the first bands to detune, and the technique became a mainstay of heavy metal music. Iommi combined blues-like guitar solos and dark, minor-key riffing with a revolutionary high-gain, heavily distorted tone with his use of power chords, a modified treble-boosting effect-pedal and a Gibson SG.

By the late 1970s, Black Sabbath were suffering from substance abuse, managerial problems, and touring exhaustion. In addition, the band’s slow, blues-driven riffs were seen by some as outmoded against the rising generation of metal bands such as Judas Priest and Motörhead. After the albums Technical Ecstasy and Never Say Die! were not universally critically well received, Iommi and Butler decided that Sabbath needed a fresh start so, in the summer of 1979, they replaced Osbourne with Ronnie James Dio, the former vocalist for Rainbow. With Dio, Black Sabbath produced Heaven and Hell, an album that attempted to update Black Sabbath’s sound for the 1980s and include the soaring vocals that characterised the NWOBHM (New wave of British heavy metal) scene. Halfway through the 1980 tour, Bill Ward dropped out due to alcohol problems and displeasure with the direction that Dio was taking the band. He was replaced by Vinny Appice. With Iommi and Geezer Butler the only original members, this line-up produced Mob Rules. Dio quit the following year to begin a solo career, so Sabbath went through a revolving door line-up for the next decade with a succession of frontmen – Ian Gillan, Glenn Hughes, Ray Gillen and Tony Martin. After Ian Gillan (formerly of Deep Purple) departed the band in 1984, Geezer Butler left as well. With Sabbath in effective hiatus, Iommi recorded his first solo album, entitled Seventh Star. The album featured Glenn Hughes (also formerly of Deep Purple) on vocals, but due to label pressures, it was billed as a release by “Black Sabbath featuring Tony Iommi.”

In 1992, Iommi appeared at the Freddie Mercury Tribute Concert, playing four songs with the remaining members of Queen and other guest artists. Geezer Butler also returned to Sabbath that year. In the following year Iommi teamed up with fellow Black Country band Diamond Head and co-wrote the song “Starcrossed (Lovers in the Night)” for their 1993 Death and Progress album. At Osbourne’s “farewell” concert at Costa Mesa in 1992, Dio refused to perform and abruptly left the band. As a result, Rob Halford was recruited to perform as the vocalist for two gigs (Halford also sang at one of the dates on the 2004 Ozzfest tour, when Osbourne couldn’t perform due to bronchitis). Following Osbourne’s solo set, the show concluded with the other members of the original Black Sabbath line-up joining for a 4-song reunion.

Black Sabbath went on to record two further albums with Tony Martin before the original line-up reunited as a touring band in 1997. While Bill Ward played at the two initial reunion shows at Birmingham NEC in December 1997, he was not present for the following two reunion tours, his second absence due to a heart attack. Ward was replaced by Mike Bordin and then Vinny Appice.

On 11 November 2011, the original band members announced that they were reuniting and recording a new album, although Bill Ward did not participate and Brad Wilk took his place at drums for the sessions. The new album, 13, was released in June 2013.

Solo career

In 2000, Iommi released his first proper solo album, titled Iommi. The album featured several guest vocalists including Ian Astbury, Skin, Henry Rollins, Serj Tankian, Dave Grohl, Billy Corgan, Phil Anselmo, Peter Steele and Ozzy Osbourne. In late 2004 Iommi’s second solo album was released, entitled The 1996 DEP Sessions. This album was originally recorded in 1996 but was never officially released. However, a copy with a drum track by Dave Holland was available as a bootleg called Eighth Star. Glenn Hughes performed vocals on the album and he furthered his collaboration with Hughes with the release of his third solo album, Fused. Released on 12 July 2005, John Mellencamp drummer Kenny Aronoff completed the trio on the album.

Iommi has signed with Mike Fleiss’s movie production company Next Films to score a series of horror films entitled Black Sabbath.

Since 1989 Tony Iommi was involved in the Rock Aid Armenia project. In October 2009 Iommi and his colleague Ian Gillan were awarded the Orders of Honor – Armenia’s highest order, which were delivered to them by the Prime Minister of Armenia for their help after the Spitak earthquake. They formed the supergroup WhoCares and recorded a single called “Out of my Mind”, which was released 6 May 2011 for the benefit of the music school to be built in Gyumri, Armenia. In January 2012, when Iommi was announced to have stage 3 lymphoma, the Armenian Prime Minister sent a letter of support: “We know your spirit is strong as ever, and we do believe the genius of your inspiration that guides you through the work on the new Black Sabbath album will transform into a boost of strength and energy that you need now, when things look tough”.

Heaven & Hell

In October 2006 it was reported that Iommi would tour with Ronnie James Dio, Geezer Butler and Bill Ward again, but under the name Heaven & Hell. Later it was announced that Ward had decided not to participate and Vinny Appice was hired as his replacement. Rhino Records released The Dio Years (under the ‘Black Sabbath’ moniker) album on 3 April 2007. The album showcased older tracks with Dio and also included three brand new songs recorded with Dio and Appice.

The band started an American tour in April 2007 with Megadeth and Down as opening acts. The tour finished in November in England with the prospect of an album to follow in 2008. During this period the band’s show at the New York Radio City Music Hall was released as both a live DVD and CD with a vinyl release in the UK in 2008. During the summer of 2008 the band embarked on the Metal Masters Tour along with Judas Priest, Motörhead and Testament.  The band’s first and only studio album, The Devil You Know, was released on 28 April 2009.

In November 2008 Iommi had a star revealed on the Birmingham Walk of Stars. Dio died of stomach cancer in May 2010, and on 14 June 2010, Iommi announced that Heaven & Hell would perform a one-off tribute to Ronnie James Dio at the High Voltage Festival, London on 24 July 2010. This was the band’s last performance under the name.

Eurovision Song Contest

Iommi wrote the song “Lonely Planet” which was sung by Dorians for Armenia in the 2013 Eurovision Song Contest.

Personal life

Iommi purchased his first house in Stafford, England, in 1972. He also purchased an adjacent property for his parents.

Iommi has been married four times.

• In late 1973 Iommi married Susan Snowdon, to whom he had been introduced by Black Sabbath’s then-manager Patrick Meehan. The song “Fluff”, an Iommi instrumental composition later released on the Sabbath Bloody Sabbath album, was played as Snowdon walked down the aisle. Led Zeppelin drummer John Bonham was Iommi’s best man for the ceremony. The marriage lasted for three years. Iommi said in a 1991 Guitar World interview that the troubled recording and mixing of Black Sabbath’s 1976 album Technical Ecstasy contributed to the end of his marriage.
• Iommi married an American model named Melinda in 1980. They had a daughter, Toni-Marie Iommi, in 1983, who was the vocalist for the now-defunct band LunarMile. Iommi divorced Melinda in the mid-1980s. When Toni-Marie was 12 years old, Iommi won custody of her after she was placed in foster care. Toni-Marie has described her early childhood with a mentally unbalanced mother as difficult but says that her father finally “saved her”. She has stated that with her father she was able to regain her trust in other people. Mikko “Linde” Lindström, guitarist with Finnish band HIM, became engaged to Toni-Marie in August 2010. In 2013, the couple were reported to have broken-up.
• In 1986–87 Iommi met an Englishwoman named Valery, and after a six-year relationship they married. She had a son from a previous relationship named Jay. They divorced in the late 90s.  Iommi confirmed in the same Guitar World interview referenced above (a co-interview with Metallica’s James Hetfield) that he has a son. He told Hetfield regarding the band’s so-called “Black Album”, that “my son gave me a copy of your latest album…”
• In 2005, Iommi married Maria Sjöholm, formerly vocalist for Swedish alternative metal band Drain STH. They met around 1998, when Tony was working on music for Drain STH. After a year of talking on the phone, in 1999, Maria relocated to England and moved into Tony’s home. On 19 August 2005, without telling anyone, Maria and Tony married at the Sunset Marquis hotel, with only one witness present. On page 312 of his book, Tony calls the low-key wedding the “Best thing I ever did!”

During the mid-1980s Iommi was briefly engaged to rock musician Lita Ford, formerly of The Runaways. Iommi co-produced her solo album The Bride Wore Black, which to date remains unreleased. Ford herself has said that her involvement with him during that period was strictly personal and that he had no involvement in the half-finished album. She said in a 1989 Kerrang! interview that “there’s a certain amount of bad blood between Tony and I.”

On 19 November 2013, Iommi received an Honorary Doctorate of Arts degree from Coventry University. The honorary degree came “in recognition of his contribution to the world of popular music”, and recognized “his role as one of the founding fathers of heavy metal music and his status as one of the industry’s most influential figures”, the university said.[ Iommi is also a Visiting Professor of Music at Coventry University.

Iommi holds dual British-Italian citizenship, acquiring Italian citizenship due to being born to an Italian mother.

Illness

In early 2012, Iommi was diagnosed with the early stages of lymphoma, for which he underwent successful treatment. Black Sabbath’s 2013 tour dates were arranged so that Iommi was free to return to the UK once every six weeks to have an antibody administered. On 3 January 2014, in a New Year message, Iommi announced that he would be finishing his regular treatment some time that year.  A few months later, Black Sabbath announced that due to Iommi’s health issues, they were undertaking their final tour. As of 11 August 2016 Tony Iommi announced that his cancer was in remission.

According to a report in Rolling Stone magazine from 9 December 2016, Iommi revealed that he was due to have an operation to remove a lump from his throat. In an early 2017 interview with the UK radio show Planet Rock, Iommi explained that the lump wasn’t cancerous.

Religion

Iommi said in 2016 that he believed in God and was a Catholic, but that he had not attended church services since childhood. In January 2017, a choral work by Iommi entitled “How Good It Is” – with lyrics inspired by Psalm 133 – received its debut performance at Birmingham Cathedral.[ Catherine Ogle, the Dean of Birmingham, said, “This is a most wonderful gift Tony offered to the cathedral.”

In his autobiography, Tony writes that his parents were Catholics but weren’t regular churchgoers. He continues, ‘I hardly go to church either. I wouldn’t know what to do there. I actually do believe in a God, but I don’t feel that I have to press the point.’

Legacy and influence

Tony Iommi is widely considered to be one of the greatest rock guitarists of all time. In 2005, Metal Hammer magazine ranked him number 1 on the poll of the “Riff Lords”, praising his “highly distinctive style of fretsmanship that’s economical yet crushingly effective”. In 2007, Classic Rock magazine ranked him number 6 on their list of the “100 Wildest Guitar Heroes”. In 2011, Rolling Stone magazine ranked him number 25 in their list of the “100 Greatest Guitarists of All Time”. Joel McIver ranked him the 6th greatest metal guitarist of all time. In 2012, readers of Guitar World ranked Iommi the 7th-greatest rock guitarist of all time. Editors of the same magazine ranked him the greatest heavy metal guitarist of all time.

Iommi has won a number of awards. These include Q Awards (Gibson Les Paul Award, 2015), Kerrang! Awards (Icon, 2018), as well as three Grammy Awards won as a member of Black Sabbath.

Ian Anderson of Jethro Tull has said: “Tony managed to turn his physical impairment around into something that makes him one of the guitar legends – if not for his dexterity of playing but at least for the fact that his contribution to rock music is a unique one”. Gene Simmons of Kiss regards him as “the man who came up with the riffs that launched an army of guitar players”;  Ozzy Osbourne calls him “the master of the metal riff” and Ronnie James Dio called him “the ultimate riff master”.

Furthermore, Iommi is recognised by many as the main creator of heavy metal music. Brian May of Queen considers him “the true father of heavy metal”, Eddie Van Halen stated that “without Tony, heavy metal wouldn’t exist. He is the creator of heavy!” and James Hetfield of Metallica, who was profoundly influenced by Iommi, defines him “The king of the heavy riff”. Rob Halford, vocalist for Judas Priest, when filling in for Ozzy Osbourne during an August 2004 concert in Philadelphia, introduced Iommi to the audience as “The man who invented the heavy metal riff”. Michael Amott of Carcass and Arch Enemy considers Iommi his “guitar hero”  and the world’s greatest guitarist “because he invented the heavy tone and evil riff”. According to Lamb of God singer Randy Blythe, “Iommi is the reason heavy metal exists”.

He has been credited as the forerunner of other styles: Martin Popoff defines him “the godfather of stoner rock”; Jeff Kitts and Brad Tolinski of Guitar World a*sert that “grunge, goth, thrash, industrial, death, doom… whatever. None of it would exist without Tony Iommi”. According to Hawaii Public Radio: “it is hard to imagine Nirvana, Soundgarden, Pearl Jam or Alice in Chains without Black Sabbath, and without Tony Iommi. Judas Priest, Iron Maiden, Scorpions, Metallica, Slayer, Pantera and essentially every metal band can be traced to the musical framework found in Iommi compositions”. Many notable musicians count Iommi as a major influence on their own playing; some of them include Jeff Hanneman (Slayer), Dimebag Darrell (Pantera), Slash (Guns N’ Roses, Velvet Revolver), Scott Ian (Anthrax), Zakk Wylde (Ozzy Osbourne, Black Label Society), Tom Morello (Rage Against the Machine), Billy Corgan (The Smashing Pumpkins),[ Kim Thayil (Soundgarden), and Nick Oliveri (Kyuss, Queens of the Stone Age). Jerry Cantrell of Alice in Chains was strongly influenced by Iommi’s dark bendings, which he uses often. Andy LaRocque of King Diamond said that the clean guitar part of “Sleepless Nights” from the Conspiracy album is inspired by Iommi’s playing on Never Say Die!

Equipment

Iommi’s deep and heavy sound was partly born out of necessity—his “revolutionary signature sound” being the result of the accident and the subsequent downtuning by three semitones. He said that his “extreme volume” was likewise necessary, “because we were fed up with people talking over us while we were playing.”

Guitars

Built in Birmingham by luthier John Diggins sometime between 1975 and 1978, the guitar was first used for overdubs on the ‘Heaven and Hell’ album and later became one of Iommi’s main guitars. The guitar is equipped with a 24 fret neck with custom cross inlays, four control knobs (three of which are functional), a disconnected second output jack, a hole for a master volume knob on the pick guard covered up with a black stopper and a highly distressed finish. He had two more built for him. One was made to the same specifications of his first Jaydee SG with a red finish. Another one was made and used during the Born Again era, which can be seen on the music videos for “Trashed” and “Zero the Hero.” The differences are the finish, headstock, use of a stoptail bridge, and use of rail humbuckers, as opposed to the 18-pole humbuckers on his two other versions.

• Gibson SG, aka “Monkey”

A 1965 Gibson SG Special in red finish fitted with a Gibson P-90 pick-up in the bridge position and a custom-wound John Birch Simplux, a P-90 style single coil in the neck position. The guitar became Iommi’s main instrument after his white Stratocaster’s neck pick-up failed during the recording of Black Sabbath’s self-titled album. It is currently on permanent display at the New York City Hard Rock Café.

• Gibson Custom Shop SG

The guitar was built by the Gibson Custom Shop in Nashville after Iommi’s specifications and finished in 1997. The guitar is one of two made as prototypes for the Gibson Custom Shop Limited Edition Iommi Special SG. The guitar features a neck with 24 frets and four control knobs, of which only two are active (much like his old Jaydee Custom guitar).

On 11 August 2010, Iommi announced on his website that this guitar was stolen from the RJD tribute show that Heaven & Hell performed at High Voltage on 24 July 2010. He is asking that anyone with information or leads let them know. He is offering a reward for its safe return.

• Epiphone P94 Iommi SG

A stock Epiphone SG signature model in black finish fitted with P-94 pick-ups which is a version of the Gibson P-90 pick-up designed to fit into existing humbucker housings.

• Gibson SG Standard

A regular left-handed version of the SG fitted with two extra frets to give Iommi the full two octaves which he prefers. The guitar is equipped with his signature pick-up. Iommi was the first guitarist to have a signature pick-up designed and built by Gibson. He also has another model fitted with a Floyd Rose floating tremolo.

• Fender Stratocaster

Iommi played a Fender Stratocaster that was spraypainted white by Iommi and his father during the early days with Black Sabbath. However, the neck pick-up malfunctioned during the recording of their first album, so Iommi quickly turned to his backup Gibson SG to finish the record. Currently Iommi owns two Stratocasters, one of which has been modified with his signature pick-up in the bridge position.

• St. Moritz Tony Iommi Custom SG

Custom built for Iommi by St. Moritz guitars, this is a replica of Iommi’s Gibson SG “Monkey”. It was used on the 13 album and for the tour.

• BC Rich Ironbird

Custom built for Iommi by BC Rich. Features include Dimarzio pick-ups, two built-in preamps, scalloped fretboard and Iommi’s trademark cross inlays. This guitar can be seen in Tony’s Star Licks Video, for Star Licks Productions along with a left handed BC Rich mockingbird.

• Gibson Barney Kessel

A rare left-handed version of the jazz guitarist Barney Kessel artist model, built sometime in the first half of the 1960s.

• Epiphone Riviera 12 string

Originally a regular right-handed version in red finish that was converted by Epiphone to a left-handed version to fit Iommi.

• LaBella custom gauge strings
• Shure Wireless systems
• A Gibson Tony Iommi Signature Pick Up has been available for the past two decades. The pick-up got its first ‘blooding’ on the Black Sabbath reunion/Ozzfest tour in the summer,of 1997, loaded into an SG that J.T. Riboloff of Gibson built. They also feature in the two SGs (one black and one red) that the Gibson Custom Shop built for Iommi in late 1997, as prototypes for the Tony Iommi special Custom Shop model. The pick-up is still in production, and available in silver, gold or black covers. It has been used in the Custom Shop models, the factory Iommi SG and most recently in the Epiphone Iommi SG.

Effects

• Boss chorus pedal
• Boss octave pedal
• Dallas Rangemaster Treble Booster
• Drawmer LX22 compressor
• Korg DL8000R multi-tap delay
• Korg SDD1000 rackmount delay
• Peavey Addverb III
• Tycobrahe wah pedal

Amplifiers

• Laney TI100 Tony Iommi Signature: Current main amp. Two channel version of the GH100TI.
• Laney GH 100 TI Tony Iommi Signature amplifiers: Iommi’s main up from 1993 – early 2012.
• ENGL Powerball Amplifiers: only used in 2009
• Laney 4×12 cabinets
• Various Marshall amplifiers: from early to mid-1980s to 1993, including 9005 Power Amplifiers and 9001 Preamps, 4×12″ speaker cabinets, 2554 Silver Jubilee Combo, 2558 Silver Jubilee Combo, Paul Reed Smith modded JCM800 head. Marshall 1959 Super Lead modified by John “Dawk” Stillwell for Heaven and Hell and Mob Rules.
• Laney Supergroup Heads: his main amplifier from 1968 to 1979. For Black Sabbath’s ‘The End’ tour, Laney re-engineered the original Iommi amp, LA 100BL (Supergroup) and these amps were used throughout the tour.
• Orange 1972 w/ 4×12 cab Only used for the filming of the music videos for Iron Man and Paranoid.
• Laney Klipp: used on Master of Reality (Requires source verification?)
• Mesa Boogie Mark series heads: from the mid-1980s to the early 1990s

Peter Seeger (May 3, 1919 – January 27, 2014) was an American folk singer and social activist.

A fixture on nationwide radio in the 1940s, Seeger 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, workers rights, and environmental causes.

A prolific songwriter, his best-known songs include “Where Have All the Flowers Gone?” (with additional lyrics by Joe Hickerson), “If I Had a Hammer (The Hammer Song)” (with Lee Hays of the Weavers), “Kisses Sweeter Than Wine” (also with Hays), and “Turn! Turn! Turn!”, which have been recorded by many artists both in and outside the folk revival movement. “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”.

Early years

Seeger was born on May 3, 1919, at the French Hospital, Midtown Manhattan. His family, which Seeger called “enormously Christian, in the Puritan, Calvinist New England tradition”,  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.

Seeger’s father, the Harvard-trained composer and musicologist 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, Berkeley 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 Seeger (née Edson), raised in Tunisia and trained at the Paris Conservatory of Music, was a concert violinist and later a teacher at the Juilliard School.

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. Charles and Constance moved back east, making Charles’ parents’ estate in Patterson, New York, just north 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. 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, Berkeley and Yale University.

Charles and Constance divorced when Pete was seven and in 1932 Charles married his composition student and a*sistant, Ruth Crawford, now considered by many to be one of the most important modernist composers of the 20th century. 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. 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. Pete’s uncle, Alan Seeger, a noted American war 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. His final visit occurred in 2012.

Career

Early work

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. He attended first and second grades in Nyack, New York, where his mother lived, before entering boarding school in Ridgefield, Connecticut. 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. 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.”

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.[17] 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.

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.[ 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”.  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.

That fall, Seeger took a job in Washington, D.C., a*sisting 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). 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. 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.

From 1942-1945, Seeger served in the Army, as an Entertainment Specialist.

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 influence. In 1942, he became a member of the Communist Party USA (CPUSA) itself but left in 1949.

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 shanties 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), 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,[28] the poison being folk music and the ease with which it could be spread.

While the U.S. had not officially declared war on the Axis powers in the summer of 1941, the country was energetically producing arms and ammunition for their allies overseas. Despite the boom in manufacturing this concerted rearming effort brought, African-Americans were barred from working in defense plants. Racial tensions rose as Black labor leaders (such as A. Philip Randolph and Bayard Rustin) and their white allies began organizing protests and marches. To combat this social unrest, President Roosevelt issued Executive Order 8802 (The Fair Employment Act) on 25 June 1941. The 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. 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).

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.”  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.

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 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), 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, 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. 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 and was covered by many other pop singers. On the flip side of “Irene” was the Israeli song “Tzena, Tzena, Tzena”. 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,[citation needed] 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.”[38] 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 a*sociated 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 a*sociated 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.

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.

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. However, with the ever-growing revelations of Joseph Stalin’s atrocities and the Hungarian Revolution of 1956, he became increasingly disillusioned with Soviet Communism. He left the CPUSA in 1949, but remained friends with some who did not leave it, although he argued with them about it.

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 a*serted that his testimony might be self-incriminating) and instead, as the Hollywood Ten had done, refused to name personal and political a*sociations on the grounds that this would violate his First Amendment rights: “I am not going to answer any questions as to my a*sociation, 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.” Seeger’s refusal to answer questions that he believed 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.

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.

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!”,  adapted from the Book of Ecclesiastes, and “The Bells of Rhymney” by the Welsh poet Idris Davies  (1957), gained wide currency. Seeger was the first person to make a studio recording of “Last Night I Had the Strangest Dream” in 1956. Seeger also was closely a*sociated 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 Jr.’s “March on Washington for Jobs and Freedom” in August of that same year, brought the Civil Rights anthem “We Shall Overcome” to wide audiences. He sang it on the 50-mile walk from Selma to Montgomery, Alabama, along with 1,000 other marchers.[49] 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 a*sociate 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.)

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 a*sassination, 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.

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[40] 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.

In November 1976, Seeger wrote and recorded the anti-death penalty song “Delbert Tibbs”, about the death-row inmate Delbert Tibbs, who was later exonerated. Seeger wrote the music and selected the words from poems written by Tibbs.

Seeger also supported the Jewish Camping Movement. He came to Surprise Lake Camp in Cold Spring, New York, over the summer many times. He sang and inspired countless campers.

Pete Seeger and Bob Dylan

Pete Seeger was one of the earliest backers of Bob Dylan; he 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. 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. Seeger has been portrayed as a folk “purist” who was one of the main opponents to Dylan’s “going electric”. 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.

Vietnam War era and beyond

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, 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.

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.[61] 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, after wide publicity, it was broadcast when Seeger appeared again on the Smothers’ Brothers show in the following January.

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”.

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.”

In the documentary film The Power of Song, Seeger mentions that he and his family visited North Vietnam in 1972.

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.

In 1980, Pete Seeger performed in Cambridge, Massachusetts. The performance was later released by Smithsonian Folkways as the album Singalong Sanders Theater, 1980.

Hudson River sloop Clearwater

In 1966, Seeger and his wife Toshi founded the Hudson River Sloop Clearwater, a non-profit organization based in Poughkeepsie, New York, that sought to protect the Hudson River and surrounding wetlands and waterways through advocacy and public education. It constructed a floating ambassador for this environmental mission, the sloop Clearwater, and began an annual music and environmental festival, today known as the Great Hudson River Revival.

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. 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.” 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 … 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.

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.” 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 a*sociations 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.

In 2007, in response to criticism from historian Ron Radosh, a former Trotskyite who now writes for the conservative National Review — Seeger wrote a song condemning Stalin, “Big Joe Blues”:

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.

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].”

Later work

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.,  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. 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. The former’s final line, however, “This land was made for you and me,” is modified to “That side was made for you and me.”

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. 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), 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, 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.

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. 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.

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. 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.[105] The event, promoted under the name OccupyTheCircle, was live streamed, and dubbed by some as “The Pete Seeger March”.

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.

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. 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.[108] 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.”

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.

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”,  and included a verse he said he had written specifically for the Farm Aid concert.

Personal life

Seeger married Toshi Aline Ota in 1943, 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.  Their first child, Peter Ōta Seeger, was born in 1944 and died at six months, while Pete was deployed overseas. Pete never saw him. 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 a*sociate 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.

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, at the age of 91,  and Pete died at New York-Presbyterian Hospital in New York City on January 27, 2014, at the age of 94.

Legacy

Response and reaction to Seeger’s death quickly poured in. President Barack Obama noted that Seeger had been called “America’s tuning fork”  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.” 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.” 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.

Tributes

• A proposal was made in 2009 to name the Walkway Over the Hudson in his honor.
• A posthumous suggestion that Seeger’s name be applied to the replacement Tappan Zee Bridge being built over the Hudson River was made by a local town supervisor. Seeger’s boat, the sloop Clearwater, is based at Beacon, New York, just upriver from the bridge.
• 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.
• 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“

Awards

Seeger received many awards and recognitions throughout his career, including:

• Induction into the Songwriters Hall of Fame (1972)
• The Eugene V. Debs Award (1979)
• The Letelier-Moffitt Human Rights Award (1986)
• The Grammy Lifetime Achievement Award (1993)
• 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)^[130]
• 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 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 album Tomorrow’s Children with 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)
• Woody Guthrie Prize (2014) (inaugural recipient)