Free Pdf Download Of Nearer, My God To Thee Piano Sheet Music By Andrew Hawryluk

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“Nearer, My God, to Thee” is a 19th-century Christian hymn by Sarah Flower Adams, based loosely on Genesis 28:11–19, the story of Jacob’s dream. Genesis 28:11–12 can be translated as follows: “So he came to a certain place and stayed there all night, because the sun had set. And he took one of the stones of that place and put it at his head, and he lay down in that place to sleep. Then he dreamed, and behold, a ladder was set up on the earth, and its top reached to heaven; and there the angels of God were ascending and descending on it….”The hymn is well known, among other uses, as the alleged last song the band on RMS Titanic played before the ship sank.

James Vernon Taylor (born March 12, 1948) is an American singer-songwriter and guitarist. A five-time Grammy Award winner, he was inducted into the Rock and Roll Hall of Fame in 2000. He is one of the best-selling music artists of all time, having sold more than 100 million records worldwide.

Taylor achieved his breakthrough in 1970 with the No. 3 single “Fire and Rain” and had his first No. 1 hit in 1971 with his recording of “You’ve Got a Friend”, written by Carole King in the same year. His 1976 Greatest Hits album was certified Diamond and has sold 12 million US copies. Following his 1977 album, JT he has retained a large audience over the decades. Every album that he released from 1977 to 2007 sold over 1 million copies. He enjoyed a resurgence in chart performance during the late 1990s and 2000s, when he recorded some of his most-awarded work (including Hourglass, October Road, and Covers). He achieved his first number-one album in the US in 2015 with his recording Before This World.

He is known for his covers, such as “How Sweet It Is (To Be Loved by You)” and “Handy Man”, as well as originals such as “Sweet Baby James”.

Early years

James Vernon Taylor was born at Massachusetts General Hospital in Boston, where his father, Isaac M. Taylor, worked as a resident physician. His father came from a wealthy family from the South. Aside from having ancestry in Scotland, part of Taylor’s roots are deep in Massachusetts Bay Colony and include Edmund Rice, one of the founders of Sudbury, Massachusetts. His mother, the former Gertrude Woodard (1921–2015), studied singing with Marie Sundelius at the New England Conservatory of Music and was an aspiring opera singer before the couple’s marriage in 1946. James was the second of five children, the others being Alex (1947–1993), Kate (born 1949), Livingston (born 1950), and Hugh (born 1952).

In 1951, his family moved to Chapel Hill, North Carolina[10] when Isaac took a job as an a*sistant professor of medicine at the University of North Carolina School of Medicine. They built a house in the Morgan Creek area off the present Morgan Creek Road, which was sparsely populated. James would later say, “Chapel Hill, the Piedmont, the outlying hills, were tranquil, rural, beautiful, but quiet. Thinking of the red soil, the seasons, the way things smelled down there, I feel as though my experience of coming of age there was more a matter of landscape and climate than people.” James attended a public primary school in Chapel Hill. Isaac’s career prospered, but he was frequently away from home on military service at Bethesda Naval Hospital in Maryland, or as part of Operation Deep Freeze in Antarctica in 1955 and 1956. Isaac Taylor later rose to become dean of the UNC School of Medicine from 1964 to 1971. Beginning in 1953, the Taylors spent summers on Martha’s Vineyard.

James took cello lessons as a child in North Carolina, before learning the guitar in 1960. His guitar style evolved, influenced by hymns, carols, and the music of Woody Guthrie, and his technique derived from his bass clef-oriented cello training and from experimenting on his sister Kate’s keyboards: “My style was a finger-picking style that was meant to be like a piano, as if my thumb were my left hand, and my first, second, and third fingers were my right hand.” Spending summer holidays with his family on Martha’s Vineyard, he met Danny Kortchmar, an aspiring teenage guitarist from Larchmont, New York. The two began listening to and playing blues and folk music together, and Kortchmar felt that Taylor’s singing had a “natural sense of phrasing, every syllable beautifully in time. I knew James had that thing.”[19] Taylor wrote his first song on guitar at 14, and he continued to learn the instrument effortlessly. By the summer of 1963, he and Kortchmar were playing coffeehouses around the Vineyard, billed as “Jamie & Kootch”.

James went to Milton Academy, a preparatory boarding school in Massachusetts in 1961. He faltered during his junior year, feeling uneasy in the high-pressure college prep environment despite having a good scholastic performance. The Milton headmaster would later say, “James was more sensitive and less goal-oriented than most students of his day.” He returned home to North Carolina to finish out the semester at Chapel Hill High School.  There he joined a band formed by his brother Alex called The Corsayers (later The Fabulous Corsairs), playing electric guitar; in 1964, they cut a single in Raleigh that featured James’s song “Cha Cha Blues” on the B-side. Having lost touch with his former school friends in North Carolina, Taylor returned to Milton for his senior year, where he started applying to colleges to complete his education. But he felt part of a “life that [he was] unable to lead”, and he became depressed; he slept 20 hours each day, and his grades collapsed. n late 1965 he committed himself to McLean, a psychiatric hospital in Belmont, Massachusetts, where he was treated with chlorpromazine, and where the organized days began to give him a sense of time and structure. As the Vietnam War escalated, Taylor received a psychological rejection from Selective Service System when he appeared before them with two white-suited McLean a*sistants and was uncommunicative. Taylor earned a high school diploma in 1966 from the hospital’s a*sociated Arlington School. He would later view his nine-month stay at McLean as “a lifesaver… like a pardon or like a reprieve,” and both his brother Livingston and sister Kate would later be patients and students there as well. As for his mental health struggles, Taylor would think of them as innate and say: “It’s an inseparable part of my personality that I have these feelings.”

Career

1966–1969: Early career

At Kortchmar’s urging, Taylor checked himself out of McLean and moved to New York City to form a band. They recruited Joel O’Brien, formerly of Kortchmar’s old band King Bees to play drums, and Taylor’s childhood friend Zachary Wiesner (son of noted academic Jerome Wiesner) to play bass. After Taylor rejected the notion of naming the group after him, they called themselves the Flying Machine. They played songs that Taylor had written at and about McLean, such as “Knocking ‘Round the Zoo”, “Don’t Talk Now”, and “The Blues Is Just a Bad Dream”. In some other songs, Taylor romanticized his life, but he was plagued by self-doubt. By summer 1966, they were performing regularly at the high-visibility Night Owl Cafe in Greenwich Village, alongside acts such as the Turtles and Lothar and the Hand People.

Taylor a*sociated with a motley group of people and began using heroin, to Kortchmar’s dismay, and wrote the “Paint It Black”–influenced “Rainy Day Man” to depict his drug experience. In a late 1966 hasty recording session, the group cut a single, Taylor’s “Night Owl”, backed with his “Brighten Your Night with My Day”. Released on Jay Gee Records, a subsidiary of Jubilee Records, it received some radio airplay in the Northeast, but only charted at No. 102 nationally. Other songs had been recorded during the same session, but Jubilee declined to go forward with an album. After a series of poorly-chosen appearances outside New York, culminating with a three-week stay at a failing nightspot in Freeport, Bahamas for which they were never paid, the Flying Machine broke up. (A UK band with the same name emerged in 1969 with the hit song “Smile a Little Smile for Me”. The New York band’s recordings were later released in 1971 as James Taylor and the Original Flying Machine.)

Taylor would later say of this New York period, “I learned a lot about music and too much about drugs.” Indeed, his drug use had developed into full-blown heroin addiction during the final Flying Machine period: “I just fell into it, since it was as easy to get high in the Village as get a drink.” He hung out in Washington Square Park, playing guitar to ward off depression and then passing out, letting runaways and criminals stay at his apartment. Finally out of money and abandoned by his manager, he made a desperate call one night to his father. Isaac Taylor flew to New York and staged a rescue, renting a car and driving all night back to North Carolina with James and his possessions. Taylor spent six months getting treatment and making a tentative recovery; he also required a throat operation to fix vocal cords damaged from singing too harshly.

Taylor decided to try being a solo act with a change of scenery. In late 1967, funded by a small family inheritance, he moved to London, living in various areas: Notting Hill, Belgravia, and Chelsea. After recording some demos in Soho, his friend Kortchmar gave him his next big break. Kortchmar used his a*sociation with the King Bees (who once opened for Peter and Gordon), to connect Taylor to Peter Asher. Asher was A&R head for the Beatles’ newly formed label Apple Records. Taylor gave a demo tape of songs, including “Something in the Way She Moves”, to Asher, who then played the demo for Beatles Paul McCartney and George Harrison. McCartney remembers his first impression: “I just heard his voice and his guitar and I thought he was great … and he came and played live, so it was just like, ‘Wow, he’s great.'” Taylor became the first non-British act signed to Apple, and he credits Asher for “opening the door” to his singing career. Taylor said of Asher, who later became his manager, “I knew from the first time that we met that he was the right person to steer my career. He had this determination in his eye that I had never seen in anybody before.” Living chaotically in various places with various women, Taylor wrote additional material, including “Carolina in My Mind”, and rehearsed with a new backing band. Taylor recorded what would become his first album from July to October 1968, at Trident Studios, at the same time the Beatles were recording The White Album. McCartney and an uncredited George Harrison guested on “Carolina in My Mind”, whose lyric “holy host of others standing around me” referred to the Beatles, and the title phrase of Taylor’s “Something in the Way She Moves” provided the lyrical starting point for Harrison’s classic “Something”.[ McCartney and Asher brought in arranger Richard Anthony Hewson to add both orchestrations to several of the songs and unusual “link” passages between them; they would receive a mixed reception, at best.

During the recording sessions, Taylor fell back into his drug habit by using heroin and methedrine. He underwent physeptone treatment in a British program, returned to New York and was hospitalized there, and then finally committed himself to the Austen Riggs Center in Stockbridge, Massachusetts, which emphasized cultural and historical factors in trying to treat difficult psychiatric disorders. Meanwhile, Apple released his debut album, James Taylor, in December 1968 in the UK and February 1969 in the US. Critical reception was generally positive, including a complimentary review in Rolling Stone by Jon Landau, who said that “this album is the coolest breath of fresh air I’ve inhaled in a good long while. It knocks me out.” The record’s commercial potential suffered from Taylor’s inability to promote it because of his hospitalization, and it sold poorly; “Carolina in My Mind” was released as a single but failed to chart in the UK and only reached No. 118 on the U.S. charts.

In July 1969, Taylor headlined a six-night stand at the Troubadour in Los Angeles. On July 20, he performed at the Newport Folk Festival as the last act and was cheered by thousands of fans who stayed in the rain to hear him. Shortly thereafter, he broke both hands and both feet in a motorcycle accident on Martha’s Vineyard and was forced to stop playing for several months. However, while recovering, he continued to write songs and in October 1969 signed a new deal with Warner Bros. Records.

1970–1972: Fame and commercial succes

Once he had recovered, Taylor moved to California, keeping Asher as his manager and record producer. In December 1969, he held the recording sessions for his second album there. Titled Sweet Baby James, and featuring the participation of Carole King, the album was released in February 1970 and was Taylor’s critical and popular triumph, buoyed by the single “Fire and Rain”, a song about both Taylor’s experiences attempting to break his drug habit by undergoing treatment in psychiatric institutions and the suicide of his friend, Suzanne Schnerr. Both the album and the single reached No. 3 on the Billboard charts, with Sweet Baby James selling more than 1.5 million copies in its first year[22] and eventually more than 3 million in the United States alone. Sweet Baby James was received at its time as a folk-rock masterpiece, an album that effectively showcased Taylor’s talents to the mainstream public, marking a direction he would take in following years. It earned several Grammy Award nominations including one for Album of the Year. It went on to be listed at No. 103 on Rolling Stone’s 500 Greatest Albums of All Time in 2003, with “Fire and Rain” listed as No. 227 on Rolling Stone’s 500 Greatest Songs of All Time in 2004.

During the time that Sweet Baby James was released, Taylor appeared with Dennis Wilson of the Beach Boys in a Monte Hellman film, Two-Lane Blacktop. In October 1970, he performed with Joni Mitchell, Phil Ochs, and the Canadian band Chilliwack at a Vancouver benefit concert that funded Greenpeace’s protests of 1971 nuclear weapons tests by the US Atomic Energy Commission at Amchitka, Alaska; this performance was released in album format in 2009 as Amchitka, The 1970 Concert That Launched Greenpeace. In January 1971, sessions for Taylor’s next album began.

He appeared on The Johnny Cash Show, singing “Sweet Baby James”, “Fire and Rain”, and “Country Road”, on February 17, 1971. His career success at this point and appeal to female fans of various ages piqued tremendous interest in him, prompting a March 1, 1971, Time magazine cover story of him as “the face of new rock”. It compared his strong-but-brooding persona to that of Wuthering Heights’ Heathcliff and to The Sorrows of Young Werther, and said, “Taylor’s use of elemental imagery—darkness and sunlight, references to roads traveled and untraveled, to fears spoken and left unsaid—reaches a level both of intimacy and controlled emotion rarely achieved in purely pop music.” One of the writers described his look as “a cowboy Jesus”, to which Taylor later replied, “I thought I was trying to look like George Harrison.” Released in April, Mud Slide Slim and the Blue Horizon also gained critical acclaim and contained Taylor’s biggest hit single in the US, a version of Carole King’s new “You’ve Got a Friend” (featuring backing vocals by Joni Mitchell), which reached No. 1 on the Billboard Hot 100 in late July. The follow-up single, “Long Ago and Far Away”, also made the Top 40 and reached No. 4 on the Billboard Adult Contemporary chart. The album itself reached No. 2 on the album charts, which would be Taylor’s highest position ever until the release of his 2015 album, Before This World, which went to No. 1 superseding Taylor Swift.

In early 1972, Taylor won his first Grammy Award for Best Pop Vocal Performance, Male, for “You’ve Got a Friend”; King also won Song of the Year for the same song in that ceremony. The album went on to sell 2.5 million copies in the United States.

November 1972 heralded the release of Taylor’s fourth album, One Man Dog. A concept album primarily recorded in his home recording studio, it featured a cameo by Linda Ronstadt along with Carole King, Carly Simon, and John McLaughlin. The album consisted of eighteen short pieces of music put together. Reception was generally lukewarm and, despite making the Top 10 of the Billboard Album Charts, its overall sales were disappointing. The lead single, “Don’t Let Me Be Lonely Tonight”, peaked at No. 14 on the Hot 100, and the follow-up, “One Man Parade”, barely reached the Top 75. Almost simultaneously, Taylor married fellow singer-songwriter Carly Simon on November 3, in a small ceremony at her Murray Hill, Manhattan apartment. A post-concert party following a Taylor performance at Radio City Music Hall turned into a large-scale wedding party, and the Simon-Taylor marriage would find much public attention over the following years. They had two children, Sarah Maria “Sally” Taylor, born January 7, 1974, and Benjamin Simon “Ben” Taylor, born January 22, 1977. During their marriage, the couple would guest on each other’s albums and have two hit singles as duet partners: a cover of Inez & Charlie Foxx’s “Mockingbird” and a cover of The Everly Brothers’ “Devoted to You”.

1973–1976: Career ups and downs

Taylor spent most of 1973 enjoying his new life as a married man and did not return to the recording studio until January 1974, when sessions for his fifth album began. Walking Man was released in June and featured appearances of Paul and Linda McCartney and guitarist David Spinozza. The album was a critical and commercial disaster and was his first album to miss the Top 5 since his contract with Warner. It received poor reviews and sold only 300,000 copies in the United States. The title track failed to appear on the Top 100.

However, James Taylor’s artistic fortunes spiked again in 1975 when the Gold album Gorilla reached No. 6 and provided one of his biggest hit singles, a cover version of Marvin Gaye’s “How Sweet It Is (To Be Loved by You)”, featuring wife Carly on backing vocals and reached No. 5 in America and No. 1 in Canada. On the Billboard Adult Contemporary chart, the track also reached the top, and the follow-up single, the feelgood “Mexico”, featuring a guest appearance by Crosby & Nash, also reached the Top 5 of that list. A well-received album, Gorilla showcased Taylor’s electric, lighter side that was evident on Walking Man. However, it was arguably a more consistent and fresher-sounding Taylor, with classics such as “Mexico”, “Wandering” and “Angry Blues”. It also featured a song about his daughter Sally, “Sarah Maria”.

Gorilla was followed in 1976 by In the Pocket, Taylor’s last studio album to be released under Warner Bros. Records. The album found him with many colleagues and friends, including Art Garfunkel, David Crosby, Bonnie Raitt, and Stevie Wonder (who co-wrote a song with Taylor and contributed a harmonica solo). A melodic album, it was highlighted with the single “Shower the People”, an enduring classic that hit No. 1 on the Adult Contemporary chart and almost hit the Top 20 of the Pop Charts. However, the album was not well received, reaching No. 16 and being criticized, particularly by Rolling Stone. Still, In The Pocket went on to be certified gold.

With the close of Taylor’s contract with Warner, in November, the label released Greatest Hits, the album that comprised most of his best work between 1970 and 1976. With time, it became his best-selling album ever. It was certified 11× Platinum in the US, earned a Diamond certification by the RIAA, and eventually sold close to 20 million copies worldwide.

1977–1981: Move to Columbia and continued success

In 1977 Taylor signed with Columbia Records. Between March and April, he quickly recorded his first album for the label. JT, released that June, gave Taylor his best reviews since Sweet Baby James, earning a Grammy nomination for Album of the Year in 1978. Peter Herbst of Rolling Stone was particularly favorable to the album, of which he wrote in its August 11, 1977 issue, “JT is the least stiff and by far the most various album Taylor has done. That’s not meant to criticize Taylor’s earlier efforts. … But it’s nice to hear him sounding so healthy.” JT reached No. 4 on the Billboard charts and sold more than 3 million copies in the United States alone. The album’s Triple Platinum status ties it with Sweet Baby James as Taylor’s all-time biggest selling studio album. It was propelled by the successful cover of Jimmy Jones’s and Otis Blackwell’s “Handy Man”, which hit No. 1 on Billboard’s Adult Contemporary chart and reached No. 4 on the Hot 100, earning Taylor another Grammy Award for Best Male Pop Vocal Performance for his cover version. The song also topped the Canadian charts. The success of the album propelled the release of two further singles; the up-tempo pop “Your Smiling Face”, an enduring live favorite, reached the American Top 20; however, “Honey Don’t Leave L.A.”, which Danny Kortchmar wrote and composed for Taylor, did not enjoy much success, reaching only No. 61.

Back in the forefront of popular music, Taylor guested with Paul Simon on Art Garfunkel’s recording of a cover of Sam Cooke’s “Wonderful World”, which reached the Top 20 in the U.S. and topped the AC charts in early 1978. After briefly working on Broadway, he took a one-year break, reappearing in the summer of 1979, with the cover-studded Platinum album titled Flag, featuring a Top 30 version of Gerry Goffin’s and Carole King’s “Up on the Roof”. (Two selections from Flag, “Millworker” and “Brother Trucker” were featured on the PBS production of the Broadway musical based on Studs Terkel’s non-fiction book Working, which Terkel himself hosted. Taylor himself appeared in that production as a trucker; he performed “Brother Trucker” in character.) Taylor also appeared on the No Nukes concert in Madison Square Garden, where he made a memorable live performance of “Mockingbird” with his wife Carly. The concert appeared on both the No Nukes album and film.

On December 7, 1980, Taylor had an encounter with Mark David Chapman who would a*sassinate John Lennon just one day later. Taylor told the BBC in 2010: “The guy had sort of pinned me to the wall and was glistening with maniacal sweat and talking some freak speak about what he was going to do and his stuff with how John was interested, and he was going to get in touch with John Lennon. And it was surreal to actually have contact with the guy 24 hours before he shot John.” The next night, Taylor, who lived in a building next-door to Lennon heard the a*sassination occur. Taylor commented: “I heard him shoot—five, just as quick as you could pull the trigger, about five explosions.”

In March 1981, Taylor released the album Dad Loves His Work whose themes concerned his relationship with his father, the course his ancestors had taken, and the effect that he and Simon had on each other. The album was another Platinum success, reaching No. 10 and providing Taylor’s final real hit single in a duet with J. D. Souther, “Her Town Too”, which reached No. 5 on the Adult Contemporary chart and No. 11 on the Billboard Hot 100.

1981–1996: Troubled times and new beginnings

Simon announced her separation from Taylor in September 1981 saying, “Our needs are different; it seem impossible to stay together” and their divorce finalized in 1983. Their breakup was highly publicized. At the time, Taylor was living on West End Avenue in Manhattan and on a methadone maintenance program to cure him of his drug addiction.  Over the course of four months starting in September 1983, spurred on in part by the deaths of his friends John Belushi and Dennis Wilson and in part by the desire to be a better father to his children Sally and Ben, he discontinued methadone and overcame his heroin habit.

Taylor had thoughts of retiring by the time he played the Rock in Rio festival in Rio de Janeiro in January 1985. He was encouraged by the nascent democracy in Brazil at the time, buoyed by the positive reception he got from the large crowd and other musicians, and musically energized by the sounds and nature of Brazilian music. “I had … sort of bottomed-out in a drug habit, my marriage with Carly had dissolved, and I had basically been depressed and lost for a while”, he recalled in 1995:

I sort of hit a low spot. I was asked to go down to Rio de Janeiro to play in this festival down there. We put the band together and went down and it was just an amazing response. I played to 300,000 people. They not only knew my music, they knew things about it and were interested in aspects of it that to that point had only interested me. To have that kind of validation right about then was really what I needed. It helped get me back on track.

The song “Only a Dream in Rio” was written in tribute to that night, with lines like I was there that very day and my heart came back alive. The October 1985 album, That’s Why I’m Here, from which that song came, started a series of studio recordings that, while spaced further apart than his previous records, showed a more consistent level of quality and fewer covers, most notably the Buddy Holly song “Everyday”, released as a single reached No. 61. On the album track “Only One”, the backing vocals were performed by an all star duo of Joni Mitchell and Don Henley.

Taylor’s next albums were partially successful; in 1988, he released Never Die Young, highlighted with the charting title track, and in 1991, the platinum New Moon Shine provided Taylor some popular songs with the melancholic “Copperline” and the upbeat “(I’ve Got to) Stop Thinkin’ About That”, both hit singles on Adult Contemporary radio. In the late 1980s, he began touring regularly, especially on the summer amphitheater circuit. His later concerts feature songs spanning his career and are marked by the musicianship of his band and backup singers. The 1993 two-disc Live album captures this, with a highlight being Arnold McCuller’s descants in the codas of “Shower the People” and “I Will Follow”. He provided a guest voice to The Simpsons episode “Deep Space Homer”, and also appeared later on in the series when the family put together a jigsaw puzzle with his face as the missing final piece. In 1995, Taylor performed the role of the Lord in Randy Newman’s Faust.

1997–present: Comeback

In 1997, after six years since his last studio album, Taylor released Hourglass, an introspective album that gave him the best critical reviews in almost twenty years. The album had much of its focus on Taylor’s troubled past and family. “Jump Up Behind Me” paid tribute to his father’s rescue of him after The Flying Machine days, and the long drive from New York City back to his home in Chapel Hill. “Enough To Be on Your Way” was inspired by the alcoholism-related death of his brother Alex earlier in the decade. The themes were also inspired by Taylor and Walker’s divorce, which took place in 1996. Rolling Stone Magazine found that “one of the themes of this record is disbelief”, while Taylor told the magazine that it was “spirituals for agnostics”. Critics embraced the dark themes on the album, and Hourglass was a commercial success, reaching No. 9 on the Billboard 200 (Taylor’s first Top 10 album in sixteen years) and also provided a big adult contemporary hit on “Little More Time With You”. The album also gave Taylor his first Grammy since JT, when he was honored with Best Pop Album in 1998.

Flanked by two greatest hit releases, Taylor’s Platinum-certified October Road appeared in 2002 to a receptive audience. It featured a number of quiet instrumental accompaniments and passages. Overall, it found Taylor in a more peaceful frame of mind; rather than facing a crisis now, Taylor said in an interview that “I thought I’d passed the midpoint of my life when I was 17.” The album appeared in two versions, a single-disc version and a “limited edition” two-disc version which contained three extra songs including a duet with Mark Knopfler, “Sailing to Philadelphia”, which also appeared on Knopfler’s album by the same name. Also in 2002, Taylor teamed with bluegrass musician Alison Krauss in singing “The Boxer” at the Kennedy Center Honors Tribute to Paul Simon. They later recorded the Louvin Brothers duet, “How’s the World Treating You?” In 2004, after he chose not to renew his record contract with Columbia/Sony, he released James Taylor: A Christmas Album with distribution through Hallmark Cards.

Always visibly active in environmental and liberal causes, in October 2004, Taylor joined the Vote for Change tour playing a series of concerts in American swing states. These concerts were organized by MoveOn.org with the goal of mobilizing people to vote for John Kerry and against George W. Bush in that year’s presidential campaign. Taylor’s appearances were joint performances with the Dixie Chicks.

Taylor performed “The Star-Spangled Banner” at Game 2 of the World Series in Boston on October 24, 2004, on October 25, 2007, both the anthem and “America” for the game on October 24, 2013, and Game 1 on October 23, 2018. He also performed at Game 1 of the 2008 NBA Finals in Boston on June 5, 2008, and at the NHL’s Winter Classic game between the Philadelphia Flyers and Boston Bruins.

In December 2004, he appeared as himself in an episode of The West Wing entitled “A Change Is Gonna Come”. He sang Sam Cooke’s classic “A Change Is Gonna Come” at an event honoring an artist played by Taylor’s wife Caroline. Later on, he appeared on CMT’s Crossroads alongside the Dixie Chicks. In early 2006, MusiCares honored Taylor with performances of his songs by an array of notable musicians. Before a performance by the Dixie Chicks, lead singer Natalie Maines acknowledged that he had always been one of their musical heroes and had, for them, lived up to their once-imagined reputation of him.[64] They performed his song, “Shower the People”, with a surprise appearance by Arnold McCuller, who has sung backing vocals on Taylor’s live tours and albums for many years.

In the fall of 2006, Taylor released a repackaged and slightly different version of his Hallmark Christmas album, now entitled James Taylor at Christmas, and distributed by Columbia/Sony. In 2006, Taylor performed Randy Newman’s song “Our Town” for the Disney animated film Cars. The song was nominated for the 2007 Academy Award for the Best Original Song. On January 1, 2007, Taylor headlined the inaugural concert at the Times Union Center in Albany, New York honoring newly sworn in Governor of New York Eliot Spitzer.

Taylor’s next album, One Man Band was released on CD and DVD in November 2007 on Starbucks’ Hear Music Label, where he joined with Paul McCartney and Joni Mitchell. The introspective album grew out of a three-year tour of the United States and Europe called the One Man Band Tour, featuring some of Taylor’s most beloved songs and anecdotes about their creative origins—accompanied solely by the “one man band” of his longtime pianist/keyboardist, Larry Goldings. The digital discrete 5.1 surround sound mix of One Man Band won a TEC Award for best surround sound recording in 2008.

On November 28–30, 2007, Taylor accompanied by his original band and Carole King, headlined a series of six shows at the Troubadour. The appearances marked the 50th anniversary of the venue, where Taylor, King and many others, such as Tom Waits, Neil Diamond, and Elton John, performed early in their music careers. Proceeds from the concert went to benefit the Natural Resources Defense Council, MusiCares, Alliance for the Wild Rockies, and the Los Angeles Regional Foodbank, a member of America’s Second Harvest, the nation’s Food Bank Network. Parts of the performance shown on CBS Sunday Morning in the December 23, 2007, broadcast showed Taylor alluding to his early drug problems by saying, “I played here a number of times in the 70s, allegedly”. Taylor has used versions of this joke on other occasions, and it appears as part of his One Man Band DVD and tour performances.

In December 2007, James Taylor at Christmas was nominated for a Grammy Award. In January 2008, Taylor recorded approximately 20 songs by others for a new album with a band including Luis Conte, Michael Landau, Lou Marini, Arnold McCuller, Jimmy Johnson, David Lasley, Walt Fowler, Andrea Zonn, Kate Markowitz, Steve Gadd and Larry Goldings. The resulting live-in-studio album, named Covers, was released in September 2008. The album forays into country and soul while being the latest proof that Taylor is a more versatile singer than his best known hits might suggest. The Covers sessions stretched to include “Oh What a Beautiful Morning”, from the musical Oklahoma!, a song that his grandmother had caught him singing over and over at the top of his lungs when he was seven years old. Meanwhile, in summer 2008, Taylor and this band toured 34 North American cities with a tour entitled James Taylor and His Band of Legends. An additional album, called Other Covers, came out in April 2009, containing songs that were recorded during the same sessions as the original Covers but had not been put out to the full public yet.

During October 19–21, 2008, Taylor performed a series of free concerts in five North Carolina cities in support of Barack Obama’s presidential bid.  On Sunday, January 18, 2009, he performed at the We Are One: The Obama Inaugural Celebration at the Lincoln Memorial, singing “Shower the People” with John Legend and Jennifer Nettles of Sugarland.  On May 29, 2009, Taylor performed on the final episode of the original 17-year run of The Tonight Show with Jay Leno.

On September 8, 2009, Taylor made an appearance at the 24th-season premiere block party of The Oprah Winfrey Show on Chicago’s Michigan Avenue.

Taylor appeared briefly in the 2009 movie Funny People, where he played “Carolina in My Mind” for a MySpace corporate event as the opening act for the main character.

On January 1, 2010, Taylor sang the American national anthem at the NHL Winter Classic at Fenway Park, while Daniel Powter sang the Canadian national anthem.

On March 7, 2010, Taylor sang the Beatles’ “In My Life” in tribute to deceased artists at the 82nd Academy Awards.

In March 2010, he commenced the Troubadour Reunion Tour with Carole King and members of his original band, including Russ Kunkel, Leland Sklar, and Danny Kortchmar. They played shows in Australia, New Zealand, Japan and North America with the final night being at the Honda Center, in Anaheim, California. The tour was a major commercial success and in some locations found Taylor playing arenas instead of his usual theaters or amphitheaters. Ticket sales amounted to over 700,000 and the tour grossed over $59 million. It was one of the most successful tours of the year.

He appeared in 2011 in the ABC comedy Mr. Sunshine as the ex-husband of the character played by Allison Janney, and he performs a duet of sorts on Leon Russell’s 1970 classic “A Song for You”.

On September 11, 2011, Taylor performed “You Can Close Your Eyes” in New York City at the National September 11 Memorial & Museum for the 10th anniversary of the 9/11 attacks.

On November 22, 2011, Taylor performed “Fire and Rain” with Taylor Swift who was named after him,  at the last concert of her Speak Now World Tour in Madison Square Garden. They also sang Swift’s song, “Fifteen”. Then, on July 2, 2012 Swift appeared as Taylor’s special guest in a concert at Tanglewood.

He was active in support of Barack Obama’s 2012 reelection campaign and opened the 2012 Democratic National Convention singing three songs. He performed “America the Beautiful” at the President’s second inauguration.

He appeared on the final of Star Académie, the Quebec version of American Idol, on April 13, 2009.

On April 24, 2013, Taylor performed at the memorial service for slain MIT police officer Sean Collier who was killed by Tamerlan and Dzhokhar Tsarnaev, the men responsible for the Boston Marathon bombing. Taylor was accompanied by the MIT Symphony Orchestra and three MIT a cappella groups while performing his songs “The Water is Wide” and “Shower the People”.

On September 6 and 7, 2013, he performed with the Utah Symphony and the Mormon Tabernacle Choir in the Thirtieth Anniversary O.C. Tanner Gift of Music Gala Concert at the Conference Center in Salt Lake City. He called the choir “a national treasure” In addition to the symphony and choir he was backed by some of his touring band pianist Charles Floyd, bassist Jimmy Johnson and percussionist Nick Halley.

After a 45-year wait, James earned his first No. 1 album on the Billboard 200 chart with Before This World. The album which was released on June 16 through Concord Records, arrived on top the chart of July 4, 2015, more than 45 years after Taylor arrived on the list with Sweet Baby James (on the March 14, 1970 list). The album launched atop the Billboard 200 with 97,000 equivalent album units earned in the week ending June 21, 2015 according to Nielsen Music. Of its start, pure album sales were 96,000 copies sold, Taylor’s best debut week for an album since 2002’s October Road.

Taylor cancelled his 2016 concert in Manila as a protest to the extrajudicial killings of suspects in the Philippine Drug War.

Taylor’s album American Standard was released on February 28, 2020. American Standard debuted at #4 on the Billboard 200 albums chart, making Taylor the first act to earn a top 10 album in each of the last six decades. In May 2020, James Taylor and Jackson Browne cancelled their 2020 tour dates due to the COVID-19 crisis, and rescheduled them to 2021. On November 24, 2020, the album was nominated for a Grammy in the category of “Best Traditional Pop Vocal Album”.

Family and personal life

Taylor’s four siblings (Alex, Livingston, Hugh, and Kate) have also been musicians with recorded albums. Livingston is still an active musician; Kate was active in the 1970s but did not record another album until 2003; Hugh operates a bed-and-breakfast with his wife, The Outermost Inn in Aquinnah on Martha’s Vineyard; and Alex died in 1993 on James’s birthday.

Taylor and Carly Simon were married in November 1972. His children with Simon, Sally and Ben, are also musicians. After Taylor and Simon divorced in 1983, he married actress Kathryn Walker on December 14, 1985, at the Cathedral of St. John the Divine in New York. She had helped him get off heroin, but the marriage ended in divorce in 1996.

On February 18, 2001, at the Emmanuel Episcopal Church, Boston, Taylor wed for the third time marrying Caroline (“Kim”) Smedvig, the director of public relations and marketing for the Boston Symphony Orchestra. They had begun dating in 1995 when they met as he appeared with John Williams and the Boston Pops Orchestra. Part of their relationship was worked into the album October Road, on the songs “On The 4th Of July” and “Caroline I See You”.[90] Following the birth of their twin boys, Rufus and Henry in April 2001, Taylor moved with his family to Lenox, Massachusetts.

Awards and recognition

Grammy Awards

• 1972: Best Pop Vocal Performance, Male, “You’ve Got a Friend“
• 1977: Best Pop Vocal Performance, Male, “Handy Man”
• 1998: Best Pop Album, Hourglass
• 2001: Best Pop Vocal Performance, Male, “Don’t Let Me Be Lonely Tonight”
• 2003: Best Country Collaboration With Vocals, “How’s the World Treating You” with Alison Krauss
• 2006: Grammy Award-sponsored MusiCares Person of the Year. At a black tie ceremony held in Los Angeles, musicians from several eras paid tribute to Taylor by performing his songs, often prefacing them with remarks on his influence on their decisions to become musicians. Artists include Carole King, Bruce Springsteen, Sting, Taj Mahal, Dr. John, Bonnie Raitt, Jackson Browne, David Crosby, Sheryl Crow, India.Arie, the Dixie Chicks, Jerry Douglas, Alison Krauss, and Keith Urban. Paul Simon performed as well, although he was not included in the televised program; Taylor’s brother Livingston appeared on stage as a “backup singer” for the finale, along with Taylor’s twin boys, Rufus and Henry.

Other recognition

• 1995: Honorary doctorate of music from the Berklee College of Music, Boston, 1995.
• 2000: Inducted into the Rock and Roll Hall of Fame, 2000.
• 2000: Inducted into the Songwriters Hall of Fame, 2000.
• 2003: The Chapel Hill Museum in Chapel Hill, North Carolina opened a permanent exhibit dedicated to Taylor. At the same occasion the US-15-501 highway bridge over Morgan Creek, near the site of the Taylor family home and mentioned in Taylor’s song “Copperline”, was named in honor of Taylor.
• 2004: George and Ira Gershwin Award for Lifetime Musical Achievement, UCLA Spring Sing.
• 2004: Ranked 84th in Rolling Stone’s list of “100 Greatest Artists of All Time”.
• 2009: Honorary Doctorate of Music from Williams College, Williamstown, Massachusetts.
• 2009: Inducted into the North Carolina Music Hall of Fame in 2009.
• 2010: Inducted into the Hit Parade Hall of Fame
• 2012: Received the Montréal Jazz Spirit Award
• 2012: Named “Chevalier de l’Ordre des Arts et des Lettres” by the Ministry of Culture & Communication of France.
• 2014: Emmy Award for The Mormon Tabernacle Choir Presents an Evening with James Taylor
• 2015: Presidential Medal of Freedom
• 2016: Kennedy Center Honors

Harold Lane David (May 25, 1921 – September 1, 2012) was an American lyricist. He grew up in New York City. He was best known for his collaborations with composer Burt Bacharach and his a*sociation with Dionne Warwick.

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Early life

David was born in New York City, a son of Austrian Jewish immigrants Lina (née Goldberg) and Gedalier David, who owned a delicatessen in New York, and younger brother of American lyricist and songwriter Mack David.

Career

avid is credited with popular music lyrics, beginning in the 1940s with material written for bandleader Sammy Kaye and for Guy Lombardo. He worked with Morty Nevins of The Three Suns on four songs for the feature film Two Gals and a Guy (1951), starring Janis Paige and Robert Alda.

In 1957, David met composer Burt Bacharach at Famous Music in the Brill Building in New York. The two teamed up and wrote their first hit “The Story of My Life”, recorded by Marty Robbins in 1957. Subsequently, in the 1960s and early 1970s Bacharach and David wrote some of the most enduring songs in American popular music, many for Dionne Warwick but also for The Carpenters, Dusty Springfield, B. J. Thomas, Gene Pitney, Tom Jones, Jackie DeShannon and others.

In the UK, a version of “The Story of My Life” recorded by Michael Holliday reached #1 in 1958 before being replaced by Perry Como’s “Magic Moments”, the first time any songwriter had consecutive #1 hits in the UK Singles Chart.

Bacharach and David hits included “Alfie”, “Raindrops Keep Fallin’ on My Head”, “This Guy’s in Love with You”, “I’ll Never Fall in Love Again”, “Do You Know the Way to San Jose”, “Walk On By”, “What the World Needs Now Is Love”, “I Say a Little Prayer”, “(There’s) Always Something There to Remind Me”, “One Less Bell to Answer” and “Anyone Who Had a Heart”.

The duo’s film work includes the Oscar-nominated title songs for “What’s New Pussycat?” and “Alfie”, “The Look of Love”, from Casino Royale; and the Oscar-winning “Raindrops Keep Fallin’ on My Head” from Butch Cassidy and the Sundance Kid. In addition, “Don’t Make Me Over”, “(They Long to Be) Close to You” and “Walk On By” have been inducted into the Grammy Hall of Fame.

David’s work with other composers includes Albert Hammond for Willie Nelson and Julio Iglesias’s “To All the Girls I’ve Loved Before”; Sarah Vaughan’s “Broken Hearted Melody”, with Sherman Edwards; the 1962 Joanie Sommers hit “Johnny Get Angry” also with Edwards; and “99 Miles From L.A.” with Albert Hammond, recorded by Hammond and later Art Garfunkel. With Paul Hampton, David co-wrote the country standard “Sea of Heartbreak”, a hit for Don Gibson and others.

David contributed lyrics to three James Bond film themes: in addition to “The Look of Love” from Casino Royale with Bacharach, he wrote “We Have All the Time in the World”, with John Barry and sung by Louis Armstrong for the 1969 film On Her Majesty’s Secret Service, and in 1979, “Moonraker”, also with Barry, sung by Bond regular Shirley Bassey for the film of the same name.

David and Bacharach were awarded the 2011 Gershwin Prize for Popular Song, bestowed by the Library of Congress, the first time a songwriting team was given the honor. David was recuperating from an illness and was unable to attend the Washington D.C. presentation ceremony in May 2012.

The television tribute, What the World Needs Now: Words by Hal David was aired on public television stations and released on home video in 2019. The program was hosted by Bette Midler and contained archival interviews with Hal David, and commentary, tributes, and archival performances with Burt Bacharach, Dionne Warwick, Valerie Simpson, Barbra Streisand, Cher, Dusty Springfield, B.J. Thomas, and Glen Campbell.

Death

David died in the morning hours of September 1, 2012, of a stroke. He was 91.  He had two sons Jim David and Craig David with his first wife Anne (died 1987). He married his second wife Eunice and had three grandchildren.

He is interred in the Forest Lawn Memorial Park (Hollywood Hills) beside his first wife, Anne, who died in 1987.

Achievements

• 1972: inducted into the Songwriters Hall of Fame
• 1984: elected to the Nashville Songwriters Hall of Fame
• 1991: received a Doctor of Music degree from Lincoln College, Illinois, for his major contribution to American music
• May 2000: received an honorary doctorate of humane letters degree from Claremont Graduate University
• Founder of the Los Angeles Music Center
• Member of the board of governors of Cedars-Sinai Medical Center
• Member of the board of directors of ASCAP, having served as its president, and later worked on reform of intellectual property rights
• Served on the advisory board of the Society of Singers
• Member of the board of visitors of Claremont Graduate University in California
• Chairman of the board of the National Academy of Popular Music and its Songwriters Hall of Fame
• 2011: The Songwriters Hall of Fame presented him their newest award, the Visionary Leadership Award, for his decades of service
• 2011: received a star on the Hollywood Walk of Fame
• 2012: Gershwin prize recipient

Work on Broadway

• Promises, Promises (1968) – musical – lyricist – Tony Nomination for Best Musical
• André DeShield’s Haarlem Nocturne (1984) – revue – featured songwriter
• The Look of Love (2003) – revue – lyricist

James Houston Davis (September 11, 1899 – November 5, 2000) was an American politician, singer and songwriter of both sacred and popular songs. Davis was elected for two nonconsecutive terms from 1944 to 1948 and from 1960 to 1964 as the governor of his native Louisiana.

Davis was a nationally popular country music and gospel singer from the 1930s into the 1960s, occasionally recording and performing as late as the early 1990s. He appeared as himself in a number of Hollywood movies. He was inducted into six halls of fame, including the Country Music Hall of Fame, the Southern Gospel Music Association Hall of Fame, and the Louisiana Music Hall of Fame. At the time of his death in 2000, he was the oldest living former governor as well as the last living governor to have been born in the 19th century.

Early life

Davis was born to a sharecropping couple, the former Sarah Elizabeth Works (1877–1965) and Samuel Jones Davis (1873–1945), in Beech Springs, southeast of Quitman in Jackson Parish, north Louisiana. It is now a ghost town.[1]

The family was so poor that young Jimmie did not have a bed in which to sleep until he was nine years old. Davis was not sure of his date of birth; according to the New York Times, “Various newspaper and magazine articles over the last 70 years said he was born in 1899, 1901, 1902 or 1903. He told The New York Times several years ago that his sharecropper parents could never recall just when he was born – he was, after all, one of 11 children – and that he had not had the slightest idea when it really was.” The birth date listed on his Country Music Hall of Fame plaque is September 11, 1902. The 1900 US Census recorded his birth as September 1899, which his parents would have told the census taker.

Davis graduated from Beech Springs High School and the New Orleans campus of Soule Business College. Davis received his bachelor’s degree in history from the Baptist-affiliated Louisiana College in Pineville in Rapides Parish. He received a master’s degree from Louisiana State University in Baton Rouge.

His 1927 master’s thesis, which examines the intelligence levels of different races, is titled Comparative Intelligence of Whites, Blacks and Mulattoes.

During the late 1920s, Davis taught history (and, unofficially, yodeling) for a year at the former Dodd College for Girls in Shreveport.  The college president, Monroe E. Dodd, who was also the pastor of the large First Baptist Church of Shreveport and a pioneer radio preacher, invited Davis to join the faculty.

Musical career

Davis became a commercially successful singer of rural music before he entered politics. His early work was in the style of country music singer Jimmie Rodgers. Davis was also known for recording energetic and raunchy blues tunes such as “Red Nightgown Blues”. Some of these records included slide guitar accompaniment by black bluesman Oscar “Buddy” Woods. During his first run for governor, opponents reprinted the lyrics of some of these songs in order to undermine Davis’s campaign. In one case, anti-Davis forces played some records over an outdoor sound system, only to give up after the crowds started dancing, ignoring the double-entendre lyrics. Until the end of his life, Davis never denied or repudiated those records.

In 1999, “You Are My Sunshine” was honored with a Grammy Hall of Fame Award, and the Recording Industry Association of America named it one of the Songs of the Century. “You Are My Sunshine” was ranked in 2003 as No. 73 on CMT’s 100 Greatest Songs in Country Music. Until his death, Davis insisted that he wrote the song. Virginia Shehee, a Shreveport businesswoman, philanthropist, and state senator, introduced legislation to designate “You Are My Sunshine” as the official state song.[6] The song was reportedly written for Elizabeth Selby, a resident of Urbana, IL and housemother of Wescoga, Wesley Co-Op for Gals at the time the song was written.

Davis often performed during his campaign stops when running for governor of Louisiana. After being elected in 1944, he became known as the “singing governor.” While governor, he had a No. 1 hit single in 1945 with “There’s a New Moon Over My Shoulder”. Davis recorded for the Victor Talking Machine Company, and Decca Records for decades and released more than 40 albums.

A long-time Southern Baptist, Davis recorded a number of Southern gospel albums. In 1967 he served as president of the Gospel Music Association. He was a close friend of the North Dakota-born band leader Lawrence Welk, who frequently reminded viewers of his television program of his a*sociation with Davis.

A number of his songs were used as part of motion picture soundtracks. Davis appeared in half a dozen films, including one starring Ozzie and Harriet, who had a TV series under their names. Members of Davis’s last band included Allen “Puddler” Harris of Lake Charles. He had served as pianist for singer Ricky Nelson early in his career.

He was also a close acquaintance of the country singer-songwriter Hank Williams, with whom he authored the top-10 hit[7] “(I Heard That) Lonesome Whistle” back in 1951, supposedly on a fishing day they spent together.

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)

Danny Robert Worsnop (born 4 September 1990) is an English musician, singer, songwriter, vocal producer, and actor. Most prominently known as the lead vocalist of rock bands Asking Alexandria and We Are Harlot. He has worked with several artists including I See Stars, With One Last Breath, Breathe Carolina, Memphis May Fire, The Word Alive, All That Remains, and Testarossa, providing guest vocals on several songs.

Worsnop also maintains a solo music career. He released his debut solo full-length country-inspired studio album, The Long Road Home, in February 2017. Danny has since released his second studio album Shades of Blue on 10 May 2019 through Sumerian Records followed by two standalone singles “Another You” and “Happy”.

Early life

Danny Worsnop was born on 4 September 1990 in Beverley, England and grew up in the small village of Gilberdyke with his parents Philip and Sharon and his younger sister Kelly.  Worsnop himself has stated that his love for music started when he was a toddler when he would make “beats” using empty boxes and pots, but started playing instruments at the age of 8, his first being the violin and took lessons to play it, a year later learning the trumpet, and another year later he was playing at his local village school orchestra.  Eventually he would take up guitar and bass and became more influenced by rock and metal music, and was self-taught. He initially planned to join the military in hopes of becoming a sniper, however the success of Asking Alexandria’s debut album Stand Up and Scream convinced him to continue a music career.

Music career

2008–2015, 2016–present: Asking Alexandria

Although Ben Bruce originally formed the band in Dubai, United Arab Emirates in 2006, after he realized that he wouldn’t be able to achieve international success in Dubai, he moved to Nottingham in England in 2008 and reassembled the band with new members from the York area, including lead singer Danny Worsnop, Ben had moved in with Danny at his parents home Gilberdyke. He carried the name over due to not wanting to bother to come up with a brand new name, so he stuck with the old one. When asked why he chose that particular name, he explained that “‘Most bands have a pretty shit band name, so I just came up with something. I came up with Alexandria as a human name, because people relate to humans,” although the reason for using the word ‘asking’ is not explained.

The band released their first official debut album titled Stand Up and Scream in 2009 via Sumerian and Victory records, produced by Joey Sturgis.[12] Although it didn’t chart in the UK, it did chart in the US, peaking at 4 in the Top Heatseekers, 24 in the Top Hard Rock Albums and 29 in the Top Independent Albums. The band’s second album, titled Reckless and Relentless, was released in 2011 via Sumerian records, which again featured Joey Sturgis.[14] This time, the album did chart in the UK, peaking at 7 on the UK Rock Chart, and also charted in Australia at 30 on the Australian Albums Chart. They released their third album, titled From Death to Destiny in 2013 via Sumerian Records and peaked in the US at 5 and the Top Hard Rock Albums at 1,[13] and also charted in the UK at 28 and in Australia at 11, making it their most commercially successful album to date.

On 22 January 2015, Danny Worsnop announced on his departure from the band, stating that he wants what’s best for the band hence his departure, and also to focus on his new band We Are Harlot, despite this departure the band will be touring and also recording a new album, despite no further announcements being made about his replacement.  Fans reacted to news in distress as they believe he was essential to the band’s sound, while others were not surprised by his career move, some going as far to say he performs better with his new band We Are Harlot than he does with Asking Alexandria.

Worsnop himself has explained that he loved being a part of Asking Alexandria but he no longer wanted to create heavy music, stating that even if We Are Harlot didn’t exist, he would have left the band anyway.  He further commented that he also grew apart from the rest of the band musically and had reached a point where he wanted to do different things, hence the change from a metal band to a hard rock band. While Ben Bruce has admitted that the band is happier without Worsnop, he continued to show support for Asking Alexandria after they released their first single, “I Won’t Give In”, featuring Denis Stoff as the main vocalist with a positive response on his social media. When Worsnop was asked if he would ever return to making metal music online he responded with “Not opposed to it, but nothing planned at this point in time.”

On 21 October 2016, guitarist Ben Bruce confirmed that Worsnop had officially reunited with Asking Alexandria after parting ways with Stoff around 18 months.

2011–present: We Are Harlot

In multiple interviews Danny Worsnop mentioned this band and referred to it as ‘Harlot’, which he has explained that after touring with Asking Alexandria in 2013, he would be touring with this band and release an album, along with his solo album in the near future. The band was formed 3 years prior to the events of 2014 after Worsnop and Jeff George formerly of Sebastian Bach, who shared the same lawyer Eric German, had met in Los Angeles on New Year’s Eve, and within two days the pair bonded and moved in together as roommates at Worsnop’s Beverley Hills home.

After discussing their musical endeavours, Worsnop invited Bruno Agra, formerly of Revolution Renaissance, and the three started to make demos based on Agra’s former band. This was initially going to be used as material for Worsnop’s solo album, but once they met Brian Weaver from Silvertide, who became part of the band after they advertised the role for a full-time bassist, it grew into the band. The band released their debut album on 30 March 2015. When asked if he preferred to perform with We Are Harlot or Asking Alexandria, Worsnop said that he disliked that question and that they are two opposites, with the statement “It’s like comparing Aerosmith and Metallica.”

The band’s debut self-titled album was successfully released on 30 March and peaked in the US at 165 and in the UK at 58, it sold 5,000 copies in the US alone within its debut week and was well received by critics. The band recently stated that they will be releasing a second album in February, 2017, and despite Worsnop’s return to Asking Alexandria, they will not be sidelined in any way.

2011–present: Solo project

Worsnop is to be releasing a solo album, however since announcement in 2011 he had only released a 50-second clip of the song Photograph via YouTube.[ In an interview with Artisan News Service Danny has said that he is expecting to release the album by Easter of 2014. In a Facebook post on 20 December 2013, he also stated that he is working with producer Jay Ruston, and that the album would be released through Sumerian Records, however this is not the case after his announcements in 2016.

In September 2015 in an interview with Altpress he stated that he was in the middle of recording his album, and that was doing so with country and blues music in mind, stating that he was a country boy when he grew up in England. He has also worked with songwriters Hillary Lindsey and John Paul White, and is also working with producer Jim Kaufman. He also stated that his solo project will include music videos and hopes it will be a success, however admitted that there are no plans to tour per se. In early December Worsnop officially announced that his debut solo album will in fact be released in 2016, and gave insight on the album’s lyrical and musical influences, such as the fact that the album will include his past dealings with drugs, alcoholism, and his rehabilitation along with his other “dark demons”.

He goes on to say that he wrote the album intensely in a week and recorded the whole album live and raw in his Kaufman’s living room, he also funded the project himself and oversaw every single aspect of the album’s making, including its artwork of which he created and the music videos which he had written and directed himself, the album’s recording officially ended in early February. Later the same month he released an album cover and the album’s title, “The Prozac Sessions” and stated that he was in Nashville to find a label to release the album on. He also mentioned that there will be four variations of the album’s artwork and possibly variations of bonus tracks to accommodate them. In early March Worsnop unveiled a series of song teasers and all four album covers on his website, and stated on his social media that he will be announcing debut live performances soon.

The first single released off of the album was “I Got Bones” in early April 2016, and was accompanied by a music video. The song itself is considered to be mostly country with blues mixed in, with Worsnop’s vocals delivering some more powerful moments. Along with the single release the album itself became available for preorder.

On 26 September 2016, Worsnop announced through an Instagram post that the upcoming album will no longer be called The Prozac Sessions due to legal reasons. The name was changed to The Long Road Home.

On 10 May 2019, Danny released his second solo album Shades of Blue through Sumerian Records with more music in the works for an upcoming 2020 album release, including new singles “Another You” and “Happy”, which Danny says “a song I wrote about my never being content or satisfied. My constant need to do more and be better. The want to be able to slow down but the awareness that I never will.”

Other media

Worsnop has written an autobiography titled “Am I Insane?”,[1] which has not been released yet. An excerpt of it was released on 31 July 2013. In an interview with Wayde Flowerday of MusicReview.co.za, Danny stated that he had been working on the book for two years, and it should hopefully be ready by sometime in 2015.

In his biography on his website, he has stated that he is also a photographer and that he will be releasing some of his works on charity auctions at some point in the future. Danny has said in a Facebook post that he is organising an auction for 2014.

In February 2015 Worsnop made his first film acting debut as a guest star in a film created by Sumerian Records titled “What Now” written and directed by Ash Avildsen, owner of the record company. Later in the year it was also announced that he would have a role in the latest The Devil’s Carnival film, Alleluia! The Devil’s Carnival, stating that Darren Bousman, Terrance Zdunich and Sean DeMott invited him to the first film’s premiere in Los Angeles, after which he was invited to be in its sequel, while he was excited he had to cancel since it initially clashed with tour times, however, after the tour was cancelled he asked to be involved again and was written into the film to play the part of the blacksmith-type character called “the Smith”. After his involvement he went and got a manager and an agent and is looking for another project. He has also appeared in Average Joe, a comedy on YouTube, written and produced by Andy Biersack’s cousin, Joe Flanders.

Personal life

Worsnop has had a history of substance abuse and alcoholism, even appearing intoxicated during a 2011 performance by Asking Alexandria, which eventually led to Worsnop seeking help via drug rehabilitation.[1][53] Snippets from the audio of the incident were included on the intro part of the song “Don’t Pray for Me” from the band’s third studio album From Death to Destiny, released in 2013. In 2012, in between numerous sporadic recording sessions of the album, he suffered a near-death drug overdose, to which he dedicated the song “Room 138”, released as a closing track on the band’s self-titled fifth album in 2017. According to Ben Bruce, Worsnop re-joined the band in 2016 “completely sober”.

During his initial leaving of Asking Alexandria in January 2015, he fell into conflict with some of the other members, particularly Ben Bruce, who was said to be his “best friend”. Their friendship rekindled in 2016, leading to his rejoining of Asking Alexandria.

From 2016 to 2017 Worsnop was in a relationship with a Nashville-based country singer Sarah Ross. He performs guest vocals on the song “All I Want To Know” from her Nervous Breakdown EP released in 2018.

On 12 January 2018, during a VIP meet and greet session before the show in Kansas City, Missouri, Worsnop met Victoria Potter, an active member of the United States Navy personnel at the time; the two began dating later that month.[59] On 5 August 2018, during a show in Columbus, Ohio, Worsnop proposed to Potter.

Having moved to the United States in 2009, Worsnop currently resides in Jacksonville, Florida with his wife, Victoria, and three golden retriever dogs.  As a legal gun owner, he supports the Second Amendment.

 

Charles Randolph Goodrum (born July 7, 1947) is an American songwriter, pianist, and producer. A Grammy award-nominated writer and Nashville Songwriters Hall of Fame inductee, Goodrum has written #1 songs in each of the four decades since his first #1 hit, 1978’s “You Needed Me.”

Goodrum’s songs have appeared on the country, pop, jazz, rock, R&B and adult contemporary charts. An accomplished pianist, his music has been used extensively in film and television.

Early life and education

Goodrum was born in Hot Springs, Arkansas to Winnie Goodrum and Bud Goodrum, a physician.[5] He began to play the piano by ear as a small child, imitating his older brother. Goodrum started to take piano lessons at 8, initially studying classical music and later learning to play jazz.

He attended Hot Springs High School, where he performed in a jazz trio, the Three Kings. Also known as the Three Blind Mice for the dark glasses they wore, the trio included Goodrum’s friend Bill Clinton on saxophone. He also performed in the area with touring artists. Because he could sight read—and because Arkansas was at a “geographical crossroads” which drew a wide variety of performing musicians—Goodrum played with blues, country, jazz, R&B and rock & roll artists. In a 2000 interview, he said: “Part of the reason I am so diverse is because of where I grew up. You had to be able to play it all, and do it authentically.”

Goodrum attended Hendrix College in Conway, Arkansas. Although he had never written songs, a friend asked him to compose the songs for an original musical. Goodrum agreed and discovered a talent for songwriting. Inspired by Joni Mitchell, Randy Newman, Jimmy Webb and James Taylor, he began to focus on writing songs. He graduated with a Bachelor of Music in piano.

Career

Goodrum joined the US Army following his college graduation, where he played in the army band. During his off hours, he wrote songs and decided to pursue a career as a songwriter. Following his 1972 discharge from the army, Goodrum went to Los Angeles to meet with music publishers. Although he was unable to place any of the dozen songs he presented, he was encouraged to continue writing. He returned to Little Rock and planned to move to Los Angeles. Instead, at the suggestion of a friend, Bob Millsap, he moved to Nashville, where he could finance his songwriting endeavors as a pianist-for-hire for session work and live performances. Millsap signed Goodrum to his publishing company, Ironside, and would go on to pitch Goodrum’s first major hit, “You Needed Me”, with the persistence it required. “The word would come back that song didn’t have a chorus, was too pop, didn’t fit the Nashville mould, wasn’t sing-a-long, that kind of thing,” Millsap’s co-writer Jerry Flowers said in 2003.

Frustrated as he wrote the song, Goodrum had almost thrown “You Needed Me” away. It was recorded by Anne Murray for her 1978 album, Let’s Keep It That Way and peaked at number one on the Billboard Hot 100. It won Song of the Year at the Academy of Country Music awards, earned Murray the Grammy Award for Best Female Pop Vocal Performance at the 21st Grammy Awards, and spent 36 weeks on the Adult Contemporary charts, setting a record for longevity which remained unbroken until 1995. During the same time period, Goodrum wrote five other hit songs: Murray’s “Broken Hearted Me” (1979); Michael Johnson’s “Bluer Than Blue” (1978); England Dan & John Ford Coley’s “It’s Sad to Belong” (1977), and Gene Cotton’s “Before My Heart Finds Out” (1978).

As a pianist during his early years in Nashville, Goodrum played live and in the studio with artists including Roy Orbison and Jerry Reed. Most significantly, he performed with Chet Atkins, who became both a collaborator and a mentor. With Atkins, Goodrum wrote, “To B or Not to B” and “Waltz for the Lonely”, among other songs. Goodrum’s composition “So Soft Your Goodbye” won a 1991 Grammy award for Chet Atkins and Mark Knopfler.

In 1979, Dottie West released Special Delivery. Goodrum co-produced the album with Brett Maher, and together they wrote 6 of the album’s 10 songs.[12] In early 1980, the Goodrum/Maher song “A Lesson in Leavin'” was released. Her first hit as a solo artist, it went to #1 on the Billboard Hot Country Singles & Tracks chart in April; in 1981, West had another #1 with Goodrum’s “What Are We Doin’ In Love”, a duet with Kenny Rogers. Over the next two years, Goodrum wrote songs which were performed by artists including Michael McDonald, Kenny Rogers, Loretta Lynn, Conway Twitty and Tammy Wynette, among others. In 1981, he won six ASCAP Awards.

In 1982, Goodrum signed a worldwide publishing deal with New York-based CBS Songs. He moved briefly to nearby Westport, Connecticut, before relocating to Los Angeles. Although no longer in Nashville, he continued to work with country artists, writing a hit for Sylvia. His credits expanded to include best-selling records in genres including R&B (Patti Austin, El DeBarge), jazz (George Benson, Al Jarreau) and rock (Michael McDonald, Chicago, Toto). In 1984, Goodrum worked with Steve Perry on his solo debut, Street Talk. He partnered with Perry to write five songs for the album and wrote four additional songs in collaboration with others. “Oh Sherrie”, written with Perry, Craig Krampf, and Bill Cuomo was #1 on the Billboard Rock Charts and the biggest hit of Perry’s career as a solo artist. “Now and Forever (You and Me)”, co-written with David Foster and Jim Vallance, was a major hit for Anne Murray in 1986, appearing on the Billboard Hot 100 for six weeks. In the mid-90s, he returned to Nashville, and later wrote hit songs for artists including Ronan Keating and John Berry. In 1999, Boyzone had success with a cover version of “You Needed Me” and Jo Dee Messina’s cover of “A Lesson in Leavin'” appeared on the Billboard Hot 100 year-end charts.

Goodrum wrote songs for each of the Clinton/Gore presidential campaigns, including “A Circle of Friends”, which was the closing theme for the 1992 Democratic Convention and “Reunion,” and performed the theme live on television for Clinton’s first Inaugural Gala. “Together as One”, written for Kenny Rogers and Trisha Yearwood, was featured during the 1997 Clinton inauguration. Goodrum performed on the CBS television special which aired that night.[15] His film and television credits include Prancer Returns, Snowden on Ice, Back to School and Stir Crazy. He co-wrote the theme for the long-running daytime drama One Life to Live with Dave Grusin.

Goodrum was inducted into the Nashville Songwriters Hall of Fame in 2000. In addition to his work as a songwriter, session player, and producer, he has released six solo albums. He also performs together with Jay Graydon as JaR. They released their first album, Scene 29, in 2008.

Goodrum co-wrote “Most of All” for Steve Perry’s 2018 album Traces.

Personal life

Goodrum and his wife Gail live in Fayetteville, Arkansas. They met while students at Hendrix College, and have two daughters, Julia and Sarah

Sheldon Allan Silverstein /ˈsɪlvərstiːn/[1] (September 25, 1930 – May 10, 1999)[2][3] was an American writer known for his cartoons, songs, and children’s books.[2] He styled himself as Uncle Shelby in some works. His books have been translated into more than 30 languages and have sold more than 20 million copies.[3] He was the recipient of two Grammy Awards, as well as Golden Globe Award and Academy Award nominations.

Early life

Born into a Jewish family,[4] Silverstein grew up in the Logan Square neighborhood of Chicago, attended Roosevelt High School and, later, the University of Illinois, from which he was expelled. He then enrolled in the Chicago Academy of Fine Arts which he was attending when he was drafted into the United States Army. He served in Japan and Korea.

Cartoons

Silverstein began drawing at age seven by tracing the works of Al Capp.[6] He told Publishers Weekly: “When I was a kid—12 to 14, I’d much rather have been a good baseball player or a hit with the girls, but I couldn’t play ball. I couldn’t dance. Luckily, the girls didn’t want me. Not much I could do about that. So I started to draw and to write. I was also lucky that I didn’t have anybody to copy, be impressed by. I had developed my own style; I was creating before I knew there was a Thurber, a Benchley, a Price and a Steinberg. I never saw their work ’til I was around 30. By the time I got to where I was attracting girls, I was already into work, and it was more important to me. Not that I wouldn’t rather make love, but the work has become a habit.”[7]

He was first published in the Roosevelt Torch, a student newspaper at Roosevelt University, where he studied English after leaving the Art Institute. During his time in the military, his cartoons were published in Pacific Stars and Stripes, where he had originally been a*signed to do layouts and paste-up. His first book, Take Ten, a compilation of his military Take Ten cartoon series, was published by Pacific Stars and Stripes in 1955. He later said his time in college was a waste and would have been better spent traveling around the world meeting people.[8]

After returning to Chicago, Silverstein began submitting cartoons to magazines while also selling hot dogs at Chicago ballparks. His cartoons began appearing in Look, Sports Illustrated and This Week.[9]

Mass-market paperback readers across America were introduced to Silverstein in 1956 when Take Ten was reprinted by Ballantine Books as Grab Your Socks! The edition included a foreword by Bill Mauldin.[citation needed]

In 1957, Silverstein became one of the leading cartoonists in Playboy, which sent him around the world to create an illustrated travel journal with reports from far-flung locales. During the 1950s and 1960s, he produced 23 installments called “Shel Silverstein Visits…” as a feature for Playboy. Employing a sketchbook format with typewriter-styled captions, he documented his own experiences at such locations as a New Jersey naturist community, the Chicago White Sox training camp, San Francisco’s Haight-Ashbury district, Fire Island, Mexico, London, Paris, Spain and Africa. In a Swiss village, he drew himself complaining, “I’ll give them 15 more minutes, and if nobody yodels, I’m going back to the hotel.” These illustrated travel essays were collected by the publisher Fireside in Playboy’s Silverstein Around the World, published in 2007 with a foreword by Hugh Hefner and an introduction by music journalist Mitch Myers.[10]

In a similar vein were his illustrations for John Sack’s Report from Practically Nowhere (1959), a collection of humorous travel vignettes previously appearing in Playboy and other magazines.[

“Now here’s my plan…”

His best-known cartoon of the 1950s was featured on the cover of his next cartoon collection, Now Here’s My Plan: A Book of Futilities, which was published by Simon & Schuster in 1960. Silverstein biographer Lisa Rogak wrote:

The cartoon on the cover that provides the book’s title would turn out to be one of his most famous and often-cited cartoons. In the cartoon, two prisoners are chained to the wall of a prison cell. Both their hands and feet are shackled. One says to the other, “Now here’s my plan.” Silverstein was both fascinated and distressed by the amount of analysis and commentary that almost immediately began to swirl around the cartoon. “A lot of people said it was a very pessimistic cartoon, which I don’t think it is at all,” he said. “There’s a lot of hope even in a hopeless situation. They analyze it and question it. I did this cartoon because I had an idea about a funny situation about two guys.”

Silverstein’s cartoons appeared in issues of Playboy from 1957 through the mid-1970s, and one of his Playboy features was expanded into Uncle Shelby’s ABZ Book (Simon & Schuster, 1961), his first book of new, original material for adults. Because it was unclear whether some of the material was intended for adults or children, the 1985 reprint had a conspicuous cover label.

Views on his own writing

Silverstein’s editor at Harper & Row, Ursula Nordstrom, encouraged Silverstein to write children’s poetry. Silverstein said that he had never studied the poetry of others and had therefore developed his own quirky style, laid back and conversational, occasionally employing profanity and slang. In a 1975 Publishers Weekly interview, he was asked how he came to do children’s books:

“I didn’t,” Shel said, “I never planned to write or draw for kids. It was Tomi Ungerer, a friend of mine, who insisted—practically dragged me, kicking and screaming, into Ursula Nordstrom’s office. And she convinced me that Tomi was right; I could do children’s books.” The relationship between Ursula Nordstrom and Shel Silverstein is mutually rewarding. He considers her a superb editor who knows when to leave an author-illustrator alone. Asked if he would change something he had produced on an editor’s say-so, he answered with a flat “No.” But he added: “Oh, I will take a suggestion for revision. I do eliminate certain things when I’m writing for children if I think only an adult will get the idea. Then I drop it, or save it. But editors messing with content? No.” Had he been surprised by the astronomical record of The Giving Tree, his biggest seller to date and one of the most successful children’s books in years? Another emphatic no. “What I do is good,” he said. “I wouldn’t let it out if I didn’t think it was.” But The Giving Tree, which has been selling steadily since it appeared almost 10 years ago and has been translated into French, is not his own favorite among his books. “I like Uncle Shelby’s ABZ, A Giraffe and a Half, and Lafcadio, the Lion Who Shot Back—I think I like that one the most.”

Otto Penzler, in his crime anthology Murder for Revenge (1998), commented on Silverstein’s versatility:

The phrase “Renaissance man” tends to get overused these days, but apply it to Shel Silverstein and it practically begins to seem inadequate. Not only has he produced with seeming ease country music hits and popular songs, but he’s been equally successful at turning his hand to poetry, short stories, plays, and children’s books. Moreover, his whimsically hip fables, beloved by readers of all ages, have made him a stalwart of bestseller lists. A Light in the Attic, most remarkably, showed the kind of staying power on the New York Times chart—two years, to be precise—that most of the biggest names (John Grisham, Stephen King and Michael Crichton) have never equaled with their blockbusters. His unmistakable illustrative style is another crucial element to his appeal. Just as no writer sounds like Shel, no other artist’s vision is as delightfully, sophisticatingly cockeyed. One can only marvel that he makes the time to respond so kindly to his friends’ requests. In the following work, let’s be glad he did. Drawing on his characteristic passion for list making, he shows how the deed is not just in the wish but in the sublimation.

T

his anthology was the second in a series, which also included Murder for Love (1996) and Murder and Obsession (1999). All three anthologies included Silverstein contributions. He did not really care to conform to any sort of norm, but he did want to leave his mark for others to be inspired by, as he told Publishers Weekly:

I would hope that people, no matter what age, would find something to identify with in my books, pick up one and experience a personal sense of discovery. That’s great. I think that if you’re a creative person, you should just go about your business, do your work and not care about how it’s received. I never read reviews because if you believe the good ones you have to believe the bad ones too. Not that I don’t care about success. I do, but only because it lets me do what I want. I was always prepared for success but that means that I have to be prepared for failure too. I have an ego, I have ideas, I want to be articulate, to communicate but in my own way. People who say they create only for themselves and don’t care if they are published… I hate to hear talk like that. If it’s good, it’s too good not to share. That’s the way I feel about my work. So I’ll keep on communicating, but only my way. Lots of things I won’t do. I won’t go on television because who am I talking to? Johnny Carson? The camera? Twenty million people I can’t see? Uh-uh. And I won’t give any more interviews.

Songs

Silverstein studied briefly at Chicago College of Performing Arts at Roosevelt University. His musical output included a large catalog of songs; a number of them were hits for other artists, most notably the rock group Dr. Hook & The Medicine Show.[10] He wrote Tompall Glaser’s highest-charting solo single, “Put Another Log on the Fire”, “One’s on the Way” and “Hey Loretta” (both hits for Loretta Lynn, in 1971 and 1973 respectively), and “25 Minutes to Go”, sung by Johnny Cash, about a man on Death Row with each line counting down one minute closer. Silverstein also wrote one of Johnny Cash’s best known hits, “A Boy Named Sue” as well as “The Unicorn”, first recorded by Silverstein himself in 1962 but better known in its version by The Irish Rovers. Other songs co-written by Silverstein include “The Taker” written with Kris Kristofferson and recorded by Waylon Jennings, and a sequel to “A Boy Named Sue” called “Father of a Boy Named Sue”, which is less known, but he performed the song on television on The Johnny Cash Show. He also penned a song entitled “F**k ’em” which is lesser known and contained a reference to “f**k kids.”[14][15]

He wrote the lyrics and music for most of the Dr. Hook & the Medicine Show songs on their first few albums, including “The Cover of ‘Rolling Stone'”, “Freakin’ at the Freakers’ Ball,” “Sylvia’s Mother”, “The Things I Didn’t Say” and a cautionary song about venereal disease, “Don’t Give a Dose to the One You Love Most”.[10] He wrote many of the songs performed by Bobby Bare, including “Rosalie’s Good Eats Café”, “The Mermaid”, “The Winner”, “Warm and Free”, and “Tequila Sheila”. He co-wrote with Baxter Taylor “Marie Laveau”, for which the songwriters received a 1975 BMI Award.[citation needed] The third album by Tompall Glaser contained eight songs by Silverstein and three by Silverstein and others.

Silverstein’s “The Ballad of Lucy Jordan”, first recorded by Dr. Hook in 1975, was re-recorded by Marianne Faithfull (1979), Belinda Carlisle (1996), and Bobby Bare (2005) and later featured in the films Montenegro and Thelma & Louise. “Queen of the Silver Dollar” was first recorded by Dr. Hook on their 1972 album Sloppy Seconds, and later by Doyle Holly (on his 1973 album Doyle Holly), Barbi Benton (on her 1974 album Barbi Doll), Emmylou Harris (on her 1975 album Pieces of the Sky) and Dave & Sugar (on their 1976 album Dave & Sugar).[citation needed]

Silverstein composed original music for several films and displayed a musical versatility in these projects, playing guitar, piano, saxophone and trombone. He wrote “In the Hills of Shiloh”, a poignant song about the aftermath of the Civil War, which was recorded by The New Christy Minstrels, Judy Collins, Bobby Bare and others. The soundtrack of the 1970 film Ned Kelly features Silverstein songs performed by Waylon Jennings, Kris Kristofferson and others.[9] He also co-wrote with Waylon the song ‘A Long Time Ago’.

In addition, Silverstein wrote “Hey Nelly Nelly,” a 1960s-era folk song recorded by Judy Collins.[16]

Silverstein had a popular following on Dr. Demento’s radio show. Among his best-known comedy songs were “Sarah Cynthia Sylvia Stout (Would Not Take The Garbage Out)”, “The Smoke-Off” (a tale of a contest to determine who could roll—or smoke—marijuana joints faster), “I Got Stoned and I Missed It” and “Stacy Brown Got Two.” He wrote “The Father of a Boy Named Sue”, in which he tells the story from the original song from the father’s point of view, and the 1962 song “Boa Constrictor”, sung by a person who is being swallowed by a snake (recorded by the folk group Peter, Paul, and Mary) also recorded by Johnny Cash for his 1966 album Everybody Loves A Nut although it is now better known as a children’s playground chant.[citation needed]

One of the last musical projects Silverstein completed in his lifetime was Old Dogs, a 1998 one-off album and supergroup which performed songs about getting old, all of which Silverstein wrote or co-wrote.[17]

A longtime friend of singer-songwriter Pat Dailey, Silverstein collaborated with him on the posthumously released Underwater Land album (2002). It contains 17 children’s songs written and produced by Silverstein and sung by Dailey (with Silverstein joining him on a few tracks). The album features art by Silverstein.[18]

He was a friend of Chicago songwriter Steve Goodman, for whom he wrote the final verse of “What Have You Done For Me Lately?” (refusing a songwriting credit for his contribution). Goodman also recorded Silverstein’s “Three-Legged Man”, as did Ray Stevens.[citation needed]

In 2010, Bobby Bare and his son Bobby Bare Jr produced a CD called Twistable, Turnable Man: A Musical Tribute to the Songs of Shel Silverstein which was released on Sugar Hill Records. Other artists recording Silverstein songs include the Brothers Four, Andrew Bird, My Morning Jacket and Bobby Bare, Jr.

Theater

In January 1959, Look, Charlie: A Short History of the Pratfall was a chaotic off-Broadway comedy staged by Silverstein, Jean Shepherd and Herb Gardner at New York’s Orpheum Theatre on Second Avenue in the Lower East Side.[21] Silverstein went on to write more than 100 one-act plays. The Lady or the Tiger Show (1981) and Remember Crazy Zelda? (1984) were produced in New York.[22] The Devil and Billy Markham, published in Playboy in 1979, was later adapted into a solo one-act play that debuted on a double bill with Mamet’s Bobby Gould in Hell (1989) with Dr. Hook vocalist Dennis Locorriere narrating.[23] In 1990, Silverstein’s one-act modernized version of Hamlet starred Melvin Van Peebles playing all the roles.[24] Karen Kohlhaas directed An Adult Evening of Shel Silverstein, produced by New York’s Atlantic Theater Company in September 2001 with a variety of short sketches:

• “One Tennis Shoe”—Harvey claims his wife is becoming a bag lady.
• “Bus Stop”—Irwin stands on a corner with a “bus stop” sign.
• “Going Once”—A woman auctions herself.
• “The Best Daddy”—Lisa’s daddy shot the pony he got for her birthday.
• “The Lifeboat is Sinking”—Jen and Sherwin play a game of Who-Would-You-Save-If—the family was drowning.
• “Smile”—Bender plans to punish the man responsible for the phrase “Have a nice day”.
• “Watch and Dry”—Marianne discovers her laundry has not been cleaned.
• “Thinking Up a New Name for the Act”—Pete thinks “meat and potatoes” is the perfect name for a vaudeville act.
• “Buy One, Get One Free”—Hookers offer a golden opportunity.
• “Blind Willie and the Talking Dog”—Blind Willie’s talking dog argues they could profit from his talent.

A production of An Adult Evening of Shel Silverstein was produced by a Hofstra University theater group called The Spectrum Players, which was founded by Francis Ford Coppola in 1959. The production used a “victorian sailors on shore leave watching a play” aesthetic and used live rag-time and an MC character not in the script to transition between pieces. The production was directed by Richard Traub of Chicago and starred several of Hofstra’s most promising young actors: Nick Pacifico, Amanda Mac, Mike Quattrone, Ross Greenberg, Chelsea Lando, Allie Rightmeyer, and Paolo Perez as the MC.

In December 2001, Shel’s Shorts was produced in repertory as two separate evenings under the titles Signs of Trouble and Shel Shocked by the Market Theater in Cambridge, Massachusetts. Signs of Trouble was directed by Wesley Savick, and Shel Shocked was directed by Larry Coen.

TV and film

Silverstein co-wrote the screenplay for Things Change with David Mamet. He also wrote several stories for the TV movie Free to Be… You and Me. Silverstein wrote and narrated an animated short of The Giving Tree, first produced in 1973; a remake based on Silverstein’s original screenplay but without his narration was released in 2015 by director Brian Brose. Other credits include the shorts De boom die gaf (based on his novel) and Lafcadio: The Lion Who Shot Back.

His songs have been used in many TV shows and movies, including Almost Famous (“The Cover of ‘Rolling Stone'”), Thelma & Louise (“The Ballad Of Lucy Jordan”) and Coal Miner’s Daughter (“One’s on the Way”), as well as the Dustin Hoffman film Who Is Harry Kellerman and Why Is He Saying Those Terrible Things About Me? (“Bunky and Lucille”, “Last Morning”).

Awards

Silverstein’s “A Boy Named Sue” won a 1970 Grammy. He was nominated for an Oscar and a Golden Globe Award for his song “I’m Checkin’ Out” in the film Postcards from the Edge.

Together with longtime friend and producer Ron Haffkine, he released “Where the Sidewalk Ends” on cassette in 1983, and as an LP phonograph record in 1984, winning the 1984 Grammy Award for Best Recording For Children.

He was posthumously inducted into the Nashville Songwriters Hall of Fame in 2002. Silverstein was inducted into the Chicago Literary Hall of Fame in 2014.

Personal life

Silverstein lived on a Sausalito houseboat between c.1967 to about 1975, and additionally he owned homes in Greenwich Village, Martha’s Vineyard, and Key West.

Silverstein never married. He did, according to the 2007 biography A Boy Named Shel, sleep with “hundreds, perhaps thousands of women.” He was also a frequent presence at Hugh Hefner’s Playboy Mansion and Playboy Clubs.

He had one daughter, Shoshanna Jordan Hastings, born June 30, 1970, with Susan Taylor Hastings of Sausalito, California, whom he reportedly met at the Playboy Mansion. Susan died on June 29, 1975, one day before Shoshanna’s fifth birthday, and Shoshanna went to live with her uncle and aunt in their Baltimore home. Shoshanna died April 24, 1982, at age 11, of a cerebral aneurysm. The book A Light in the Attic is dedicated to her.

He also had a son named Matthew, born November 10, 1984, with Sarah Spencer of Key West, Florida; Sarah drove a tourist trackless train and inspired Shel’s song “The Great Conch Train Robbery.”

On May 10, 1999, Silverstein died at age 68 of a heart attack in Key West, Florida and was subsequently buried in Westlawn Cemetery in Norridge, Illinois.

On June 25, 2019, The New York Times Magazine listed Shel Silverstein among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.

Brewster Martin Higley VI (November 30, 1823 – December 9, 1911) was an otolaryngologist who became famous for writing “My Western Home.” Originally written in 1872 and published under the title “My Western Home” in the Smith County Pioneer in December 1873, this poem later became the original lyrics for the famous American folk song “Home on the Range.”

Because Higley wrote “Home on the Range” while living in Smith County, Kansas, and because Kansans felt it described their state very well, the Kansas legislature voted to make “Home on the Range” the official state song on April 8, 1947.

Early life and medical career

Born in Rutland, Ohio, the grandson of Rutland’s founder Brewster Higley IV,[2][3] Higley VI began studying medicine at La Porte Medical College in La Porte, Indiana at the age of eighteen. After graduating in 1849, he resettled in Pomeroy, Ohio and established his first medical practice.[4] He briefly practiced medicine in Indiana and finally moved to Kansas in 1871 to claim land under the Homestead Act of 1862.

Family and later life

Dr. Higley married five times and fathered several children.[7] His first three marriages are reported to have ended tragically when his wives succumbed to injury or disease, but there is some dispute whether this was the case with his second wife.[7][8][9] Following the dissolution of his first three marriages, Brewster married Mrs. Mercy Ann McPherson, a widow, on February 28, 1866. The two had a tumultuous relationship, and Dr. Higley felt compelled to leave his children with relatives in Illinois and secretly move away.[7] He found his way to Smith County in 1871 and his marriage to Mrs. McPherson dissolved by default on February 9, 1875. One month later, on March 8, 1875, he married Sarah Clemons, his final wife.

Spouses and children

1. Maria Winchell Higley (wife), died in 1852 from disease
2. Eleanor Page Higley (wife), mother of Brewster Higley VII (son). It was reported that she died soon after the birth of their son. However, it was also reported that Eleanor may have taken their child and left Dr. Higley to live with her previous husband, David A. Smith. She likely died between 1853 and 1870.
3. Catherine Livingston Higley (wife), mother of Estella (daughter) and Arthur Herman (son), injured in 1864 and died subsequently.
4. Mrs. Mercy Ann McPherson (wife); Higley quite literally ran from the tumultuous marriage in 1871 to move to Kansas.
5. Sarah Clemens (wife).

Brewster spent most of his remaining days in Kansas, but died in Shawnee, Oklahoma in 1911, where he is buried in Fairview Cemetery

 

Harry Von Tilzer (born Harry Gumm, July 8, 1872 – January 10, 1946) was an American composer, songwriter and vaudeville performer.

Early life

Von Tilzer was born in Detroit, Michigan. His parents, Sarah (Tilzer) and Jacob Gumbinsky, were Polish Jewish immigrants. Harry ran away and joined a traveling circus at age 14, where he adopted his mother’s maiden name as his own, seeking to make it sound even classier by tacking on a “Von.” So impressive seemed the transformation that eventually all his brothers changed their last name to match his.

Career

Harry proved successful playing piano and calliope and writing new tunes and incidental music for shows. He continued doing this for burlesque and vaudeville shows for some years, writing many tunes which were not published or which he sold to entertainers for one or two dollars. In 1898, he sold his song “My Old New Hampshire Home” to a publisher for $15, and watched it become a national hit, selling over two million copies of the sheet music. This prompted him to become a professional songwriter.

He was made a partner of the Shapiro Bernstein Publishing Company. His 1900 number “A Bird in a Gilded Cage” became one of the biggest hits of the time. Von Tilzer became one of the best-known Tin Pan Alley songwriters. In 1902, Von Tilzer formed his own publishing company, where he was soon joined by his younger brother Albert Von Tilzer.

Harry Von Tilzer’s hits included “A Bird in a Gilded Cage,” “The Cubanola Glide,” “Wait ‘Til The Sun Shines Nellie,” “Old King Tut,” “All Alone,” “Mariutch,” “The Ragtime Goblin Man,” “I Love My Wife, But Oh You Kid!” “They Always Pick On Me,” “I Want A Girl (Just Like The Girl That Married Dear Old Dad)” (with lyrics by William Dillon), “And The Green Grass Grew All Around,” “On the Old Fall River Line,” “Under the Anheuser Bush,” and many others.

Death

He died in New York City on January 10, 1946.

Jules Leonard “Buddy” Kaye (January 3, 1918 New York City – November 21, 2002 Rancho Mirage, California) was an American songwriter, musician, producer, author and music publisher. His songs were recorded by top performers, including Frank Sinatra, Bob Dylan, Sarah Vaughan, Dinah Washington, Ella Fitzgerald, McGuire Sisters, Glenn Miller, Sammy Kaye, Perry Como, Elvis Presley, Charles Aznavour, Tony Bennett, Cliff Richard, Pat Boone, Harry Belafonte, Little Richard, Barry Manilow, Karen Carpenter, Diana Krall, and Dusty Springfield. He scored number 1 hits on the Billboard charts in 1945 with “Till The End Of Time”, recorded by Perry Como, and in 1949 with “‘A’ You’re Adorable (The Alphabet Song)”, recorded by Como and the Fontaine Sisters.[1] Among his most recognizable tunes in pop culture is the co-written theme song to the television series I Dream of Jeannie. In 1976, he won a Grammy Award for best children’s album for his production of The Little Prince, narrated by Richard Burton.

As an author he had four published books, including: The Wisdom of Baltasar Gracian (Pocket Books, Simon & Shuster), Method Songwriting (St. Martin’s Press), The Gift of Acabar – co-authored with Og Mandino (Lippincott, Bantam Books, Penguin, Random House) and “‘A’ You’re Adorable” (Candlewick Press).

Kaye completed the book and lyrics to When Garbo Talks!, his final work, in 2002. The stage musical had its world premiere at International City Theatre, Long Beach Performing Arts Center, October 15, 2010. In 2015, seventy years after first being recorded by Frank Sinatra, Bob Dylan released a cover version of “Full Moon and Empty Arms” on his Shadows in the Night album of Sinatra standards and then praised Buddy Kaye in his MusiCares Person of the Year speech as one of the great songwriters who may not be well known in these times but deserves recognition.

In celebration of the centennial birthdate of Buddy Kaye, January 3, 2018, the American Society of Composers, Authors and Publishers (ASCAP) recognized the achievements and success of Golden Circle member Buddy Kaye referring to him in a published article as “A lyricist for the ages”. On April 29, 2018, in Brooklyn, NY, the James Madison Alumni Association added Buddy Kaye to the Madison Wall of Distinction.

Ella Jane Fitzgerald (April 25, 1917 – June 15, 1996) was an American jazz singer, sometimes referred to as the First Lady of Song, Queen of Jazz, and Lady Ella. She was noted for her purity of tone, impeccable diction, phrasing, timing, intonation, and a “horn-like” improvisational ability, particularly in her scat singing.

After a tumultuous adolescence, Fitzgerald found stability in musical success with the Chick Webb Orchestra, performing across the country but most often a*sociated with the Savoy Ballroom in Harlem. Her rendition of the nursery rhyme “A-Tisket, A-Tasket” helped boost both her and Webb to national fame. After taking over the band when Webb died, Fitzgerald left it behind in 1942 to start her solo career.

Her manager was Moe Gale, co-founder of the Savoy, until she turned the rest of her career over to Norman Granz, who founded Verve Records to produce new records by Fitzgerald. With Verve she recorded some of her more widely noted works, particularly her interpretations of the Great American Songbook.

While Fitzgerald appeared in movies and as a guest on popular television shows in the second half of the twentieth century, her musical collaborations with Louis Armstrong, Duke Ellington, and The Ink Spots were some of her most notable acts outside of her solo career. These partnerships produced some of her best-known songs such as “Dream a Little Dream of Me”, “Cheek to Cheek”, “Into Each Life Some Rain Must Fall”, and “It Don’t Mean a Thing (If It Ain’t Got That Swing)”.

In 1993, after a career of nearly 60 years, she gave her last public performance. Three years later, she died at the age of 79 after years of declining health. Her accolades included fourteen Grammy Awards, the National Medal of Arts, and the Presidential Medal of Freedom.

Early life

Fitzgerald was born on April 25, 1917, in Newport News, Virginia.She was the daughter of William Fitzgerald and Temperance “Tempie” Henry. Her parents were unmarried but lived together in the East End section of Newport News for at least two and a half years after she was born. In the early 1920s, Fitzgerald’s mother and her new partner, a Portuguese immigrant named Joseph Da Silva, moved to Yonkers, in Westchester County, New York. Her half-sister, Frances Da Silva, was born in 1923. By 1925, Fitzgerald and her family had moved to nearby School Street, a poor Italian area. She began her formal education at the age of six and was an outstanding student, moving through a variety of schools before attending Benjamin Franklin Junior High School in 1929.

Starting in third grade, Fitzgerald loved dancing and admired Earl Snakehips Tucker. She performed for her peers on the way to school and at lunchtime. She and her family were Methodists and were active in the Bethany African Methodist Episcopal Church, where she attended worship services, Bible study, and Sunday school. The church provided Fitzgerald with her earliest experiences in music.

Fitzgerald listened to jazz recordings by Louis Armstrong, Bing Crosby, and The Boswell Sisters. She loved the Boswell Sisters’ lead singer Connee Boswell, later saying, “My mother brought home one of her records, and I fell in love with it…I tried so hard to sound just like her.”

In 1932, when Fitzgerald was fifteen, her mother died from injuries sustained in a car accident. Her stepfather took care of her until April 1933 when she moved to Harlem to live with her aunt. This seemingly swift change in her circumstances, reinforced by what Fitzgerald biographer Stuart Nicholson describes as rumors of “ill treatment” by her stepfather, leaves him to speculate that Da Silva might have abused her.

Fitzgerald began skipping school, and her grades suffered. She worked as a lookout at a bordello and with a Mafia-affiliated numbers runner. She never talked publicly about this time in her life. When the authorities caught up with her, she was placed in the Colored Orphan Asylum in Riverdale in the Bronx. When the orphanage proved too crowded, she was moved to the New York Training School for Girls, a state reformatory school in Hudson, New York.

 

Early career

While she seems to have survived during 1933 and 1934 in part from singing on the streets of Harlem, Fitzgerald made her most important debut at age 17 on November 21, 1934, in one of the earliest Amateur Nights at the Apollo Theater. She had intended to go on stage and dance, but she was intimidated by a local dance duo called the Edwards Sisters and opted to sing instead. Performing in the style of Connee Boswell, she sang “Judy” and “The Object of My Affection” and won first prize. She won the chance to perform at the Apollo for a week but, seemingly because of her disheveled appearance, the theater never gave her that part of her prize.

In January 1935, Fitzgerald won the chance to perform for a week with the Tiny Bradshaw band at the Harlem Opera House. She was introduced to drummer and bandleader Chick Webb, who had asked his recently signed singer Charlie Linton to help find him a female singer. Although Webb was “reluctant to sign her…because she was gawky and unkempt, a ‘diamond in the rough,'” he offered her the opportunity to test with his band when they played a dance at Yale University.

Met with approval by both audiences and her fellow musicians, Fitzgerald was asked to join Webb’s orchestra and gained acclaim as part of the group’s performances at Harlem’s Savoy Ballroom. Fitzgerald recorded several hit songs, including “Love and Kisses” and “(If You Can’t Sing It) You’ll Have to Swing It (Mr. Paganini)”. But it was her 1938 version of the nursery rhyme, “A-Tisket, A-Tasket”, a song she co-wrote, that brought her public acclaim. “A-Tisket, A-Tasket” became a major hit on the radio and was also one of the biggest-selling records of the decade.

Webb died of spinal tuberculosis on June 16, 1939, and his band was renamed Ella and Her Famous Orchestra with Fitzgerald taking on the role of bandleader. She recorded nearly 150 songs with Webb’s orchestra between 1935 and 1942. In addition to her work with Webb, Fitzgerald performed and recorded with the Benny Goodman Orchestra. She had her own side project, too, known as Ella Fitzgerald and Her Savoy Eight.

Decca years

In 1942, with increasing dissent and money concerns in Fitzgerald’s band, Ella and Her Famous Orchestra, she started to work as lead singer with The Three Keys, and in July her band played their last concert at Earl Theatre in Philadelphia. While working for Decca Records, she had hits with Bill Kenny & the Ink Spots, Louis Jordan, and the Delta Rhythm Boys. Producer Norman Granz became her manager in the mid-1940s after she began singing for Jazz at the Philharmonic, a concert series begun by Granz.

With the demise of the swing era and the decline of the great touring big bands, a major change in jazz music occurred. The advent of bebop led to new developments in Fitzgerald’s vocal style, influenced by her work with Dizzy Gillespie’s big band. It was in this period that Fitzgerald started including scat singing as a major part of her performance repertoire. While singing with Gillespie, Fitzgerald recalled, “I just tried to do [with my voice] what I heard the horns in the band doing.”

Her 1945 scat recording of “Flying Home” arranged by Vic Schoen would later be described by The New York Times as “one of the most influential vocal jazz records of the decade….Where other singers, most notably Louis Armstrong, had tried similar improvisation, no one before Miss Fitzgerald employed the technique with such dazzling inventiveness.” Her bebop recording of “Oh, Lady Be Good!” (1947) was similarly popular and increased her reputation as one of the leading jazz vocalists.

Verve years

Fitzgerald made her first tour of Australia in July 1954 for the Australian-based American promoter Lee Gordon.This was the first of Gordon’s famous “Big Show” promotions and the ‘package’ tour also included Buddy Rich, Artie Shaw and comedian Jerry Colonna.

Although the tour was a big hit with audiences and set a new box office record for Australia, it was marred by an incident of racial discrimination that caused Fitzgerald to miss the first two concerts in Sydney, and Gordon had to arrange two later free concerts to compensate ticket holders. Although the four members of Fitzgerald’s entourage – Fitzgerald, her pianist John Lewis, her a*sistant (and cousin) Georgiana Henry, and manager Norman Granz – all had first-class tickets on their scheduled Pan-American Airlines flight from Honolulu to Australia, they were ordered to leave the aircraft after they had already boarded and were refused permission to re-board the aircraft to retrieve their luggage and clothing. As a result, they were stranded in Honolulu for three days before they could get another flight to Sydney. Although a contemporary Australian press report quoted an Australian Pan-Am spokesperson who denied that the incident was racially based, Fitzgerald, Henry, Lewis and Granz filed a civil suit for racial discrimination against Pan-Am in December 1954 and in a 1970 television interview Fitzgerald confirmed that they had won the suit and received what she described as a “nice settlement”.

Fitzgerald was still performing at Granz’s Jazz at the Philharmonic (JATP) concerts by 1955. She left Decca, and Granz, now her manager, created Verve Records around her. She later described the period as strategically crucial, saying, “I had gotten to the point where I was only singing be-bop. I thought be-bop was ‘it’, and that all I had to do was go some place and sing bop. But it finally got to the point where I had no place to sing. I realized then that there was more to music than bop. Norman … felt that I should do other things, so he produced Ella Fitzgerald Sings the Cole Porter Song Book with me. It was a turning point in my life.”

On March 15, 1955, Ella Fitzgerald opened her initial engagement at the Mocambo nightclub in Hollywood, after Marilyn Monroe lobbied the owner for the booking. The booking was instrumental in Fitzgerald’s career. Bonnie Greer dramatized the incident as the musical drama, Marilyn and Ella, in 2008. It had previously been widely reported that Fitzgerald was the first black performer to play the Mocambo, following Monroe’s intervention, but this is not true. African-American singers Herb Jeffries, Eartha Kitt, and Joyce Bryant all played the Mocambo in 1952 and 1953, according to stories published at the time in Jet magazine and Billboard.

Ella Fitzgerald Sings the Cole Porter Song Book, released in 1956, was the first of eight Song Book sets Fitzgerald would record for Verve at irregular intervals from 1956 to 1964. The composers and lyricists spotlighted on each set, taken together, represent the greatest part of the cultural canon known as the Great American Songbook. Her song selections ranged from standards to rarities and represented an attempt by Fitzgerald to cross over into a non-jazz audience. The sets are the most well-known items in her discography.

Ella Fitzgerald Sings the Duke Ellington Song Book was the only Song Book on which the composer she interpreted played with her. Duke Ellington and his longtime collaborator Billy Strayhorn both appeared on exactly half the set’s 38 tracks and wrote two new pieces of music for the album: “The E and D Blues” and a four-movement musical portrait of Fitzgerald. The Song Book series ended up becoming the singer’s most critically acclaimed and commercially successful work, and probably her most significant offering to American culture. The New York Times wrote in 1996, “These albums were among the first pop records to devote such serious attention to individual songwriters, and they were instrumental in establishing the pop album as a vehicle for serious musical exploration.”

Days after Fitzgerald’s death, The New York Times columnist Frank Rich wrote that in the Song Book series Fitzgerald “performed a cultural transaction as extraordinary as Elvis’ contemporaneous integration of white and African American soul. Here was a black woman popularizing urban songs often written by immigrant Jews to a national audience of predominantly white Christians.” Frank Sinatra, out of respect for Fitzgerald, prohibited Capitol Records from re-releasing his own recordings in separate albums for individual composers in the same way.[citation needed]

Fitzgerald also recorded albums exclusively devoted to the songs of Porter and Gershwin in 1972 and 1983; the albums being, respectively, Ella Loves Cole and Nice Work If You Can Get It. A later collection devoted to a single composer was released during her time with Pablo Records, Ella Abraça Jobim, featuring the songs of Antônio Carlos Jobim.

While recording the Song Books and the occasional studio album, Fitzgerald toured 40 to 45 weeks per year in the United States and internationally, under the tutelage of Norman Granz. Granz helped solidify her position as one of the leading live jazz performers. In 1961 Fitzgerald bought a house in the Klampenborg district of Copenhagen, Denmark, after she began a relationship with a Danish man. Though the relationship ended after a year, Fitzgerald regularly returned to Denmark over the next three years and even considered buying a jazz club there. The house was sold in 1963, and Fitzgerald permanently returned to the United States.

There are several live albums on Verve that are highly regarded by critics. At the Opera House shows a typical Jazz at the Philharmonic set from Fitzgerald. Ella in Rome and Twelve Nights in Hollywood display her vocal jazz canon. Ella in Berlin is still one of her best-selling albums; it includes a Grammy-winning performance of “Mack the Knife” in which she forgets the lyrics but improvises magnificently to compensate.

Verve Records was sold to MGM in 1963 for $3 million and in 1967 MGM failed to renew Fitzgerald’s contract. Over the next five years she flitted between Atlantic, Capitol and Reprise. Her material at this time represented a departure from her typical jazz repertoire. For Capitol she recorded Brighten the Corner, an album of hymns, Ella Fitzgerald’s Christmas, an album of traditional Christmas carols, Misty Blue, a country and western-influenced album, and 30 by Ella, a series of six medleys that fulfilled her obligations for the label. During this period, she had her last US chart single with a cover of Smokey Robinson’s “Get Ready”, previously a hit for the Temptations, and some months later a top-five hit for Rare Earth.

The surprise success of the 1972 album Jazz at Santa Monica Civic ’72 led Granz to found Pablo Records, his first record label since the sale of Verve. Fitzgerald recorded some 20 albums for the label. Ella in London recorded live in 1974 with pianist Tommy Flanagan, guitarist Joe Pass, bassist Keter Betts and drummer Bobby Durham, was considered by many to be some of her best work. The following year she again performed with Joe Pass on German television station NDR in Hamburg. Her years with Pablo Records also documented the decline in her voice. “She frequently used shorter, stabbing phrases, and her voice was harder, with a wider vibrato”, one biographer wrote. Plagued by health problems, Fitzgerald made her last recording in 1991 and her last public performances in 1993.

Film and television

In her most notable screen role, Fitzgerald played the part of singer Maggie Jackson in Jack Webb’s 1955 jazz film Pete Kelly’s Blues. The film costarred Janet Leigh and singer Peggy Lee. Even though she had already worked in the movies (she had sung briefly in the 1942 Abbott and Costello film Ride ‘Em Cowboy),[46] she was “delighted” when Norman Granz negotiated the role for her, and, “at the time … considered her role in the Warner Brothers movie the biggest thing ever to have happened to her.” Amid The New York Times pan of the film when it opened in August 1955, the reviewer wrote, “About five minutes (out of ninety-five) suggest the picture this might have been. Take the ingenious prologue … [or] take the fleeting scenes when the wonderful Ella Fitzgerald, allotted a few spoken lines, fills the screen and sound track with her strong mobile features and voice.”

After Pete Kelly’s Blues, she appeared in sporadic movie cameos, in St. Louis Blues (1958) and Let No Man Write My Epitaph (1960).

She made numerous guest appearances on television shows, singing on The Frank Sinatra Show, The Andy Williams Show, The Pat Boone Chevy Showroom, and alongside other greats Nat King Cole, Dean Martin, Mel Tormé, and many others. She was also frequently featured on The Ed Sullivan Show. Perhaps her most unusual and intriguing performance was of the “Three Little Maids” song from Gilbert and Sullivan’s comic operetta The Mikado alongside Joan Sutherland and Dinah Shore on Shore’s weekly variety series in 1963. A performance at Ronnie Scott’s Jazz Club in London was filmed and shown on the BBC. Fitzgerald also made a one-off appearance alongside Sarah Vaughan and Pearl Bailey on a 1979 television special honoring Bailey. In 1980, she performed a medley of standards in a duet with Karen Carpenter on the Carpenters’ television program Music, Music, Music.

Fitzgerald also appeared in TV commercials, her most memorable being an ad for Memorex. In the commercials, she sang a note that shattered a glass while being recorded on a Memorex cassette tape. The tape was played back and the recording also broke another glass, asking: “Is it live, or is it Memorex?” She also appeared in a number of commercials for Kentucky Fried Chicken, singing and scatting to the fast-food chain’s longtime slogan, “We do chicken right!” Her last commercial campaign was for American Express, in which she was photographed by Annie Leibovitz.

Ella Fitzgerald Just One of Those Things is a film about her life including interviews with many famous singers and musicians who worked with her and her son. It was directed by Leslie Woodhead and produced by Reggie Nadelson. It was released in the UK in 2019.

Sarah Vaughn/Johnny Mercer

KEY OF C

6 6 7 7
Lis-ten big boy

-8 -8 -7 6 6 6
now that I’ve got you made.

-8 -8 -7 6 6 6
Good-ness but I’m af-raid.

7 5 6 7 -7 -4 -5 -6
Some-thing’s gon-na hap-pen to you.

6 6 7 7
Lis-ten big boy.

-8 -8 -7 6 6 6
You’ve got me hooked and how.

(CHORUS)

9 9 9 -9 -9 8 8
But-ton up your o-ver-coat.

-8 -8 -8 7 -7
when the wind is free

-6 6 -6 6 -6 6
Take good care of your-self

9 -9 8 7 7
you bel-ong to me

9 9 9 -9 -9 8 8
Eat an ap-ple ev-ry day.

-8 -8 -8 7 -7
Get to bed by three

-6 6 -6 6 -6 6
Take good care of your-self

9 -9 8 7 7
you be-long to me

7 -8 8 -9 -9 -9 -10 -9
Be care-ful cros-sing streets. ooh, ooh

8 8 8 9 8
Don’t eat meats ooh, ooh.

7 7 7 8 7
Cut out sweets, ooh, ooh.

-7 -7 -7 7 7 -8 -8 8 -9 9
You’ll get a pain and ru-in your tum tum.

9 9 9 -9 -9 8 8
Keep a-way from boot-leg hootch,

-8 7 -8 7 -7
when you’re on a spree

-6 6 -6 6 -6 6 9 -9 8 7 7
Take good care of your-self you be-long to me

By B.G. Desylva, Lew Brown, Ray Henderson
From: “Follow Thru”
Sarah Vaughan, Johnny Mercer
Key: G

-5 5* -5 5 5 -4 -4
But-ton up your o-ver-coat,
-3 3* -3 3 -2*
When the wind is free,
2 -1 2 -1* 2 -1
Take good care of your-self,
-5 5 -4 3 3
You be-long to me!
-5 5* -5 5 5 -4 -4
Eat an ap-ple ev-‘ry day,
-3 3* -3 3 -2*
Get to bed by three,
2 -1 2 -1* 2 -1
Take good care of your-self,
-5 5 -4 3 3
You be-long to me!

3 -3 -4 5 5 5 6 5
Be care-ful cross-ing streets, ooh-ooh,
-4 -4 -4 -5 -4
Don’t eat meat, ooh-ooh,
3 3 3 -4 3
Cut out sweets, ooh-ooh,
-2* -2* 3 3 -3 -3 -4 -4 5 5*
You’ll get a pain and ru-in your tum-tum!
-5 5* -5 5 5 -4 -4
Keep a-way from boot-leg hooch
-3 3* -3 3 -2*
When you’re on a spree,
2 -1 2 -1* 2 -1
Take good care of your-self,
-5 5 -4 3 3
You be-long to me!

Wear your flan-nel un-der-wear,
When you climb a tree,
Oh, take good care of your-self,
You be-long to me!

Button up your overcoat,
When the wind is free,
Oh, take good care of yourself,
You belong to me!
Boop-boop-a-doop!

When you sass a traffic cop,
Use diplomacy;
Just take good care of yourself,
You belong to me!

Beware of frozen ponds, ooh-ooh,
Stocks and bonds, ooh-ooh,
Peroxide blondes, ooh-ooh,
You’ll get a pain and ruin your bankroll!

Keep the spoon out of your cup,
When you’re drinking tea,
Oh, take good care of yourself,
You belong to me!

Don’t sit on hornet’s tails, ooh-ooh!
Or on nails, ooh-ooh!
Or third rails, ooh-ooh!
You’ll get a pain and ruin your tum-tum!

W: Dorothy Fields
M: Jimmy McHugh
Nat King Cole, Sarah Vaughn
Key: C

3 -3* -3
Don’t blame me
3 -2 -2 -2 2 2 -1
For fall-ing in love with you
1 -2 -2 -2 2
I’m un-der your spell
-1 3 3 3 -2 2
But how can I help it?
-3 -4 3
Don’t blame me

3 -3* -3
Can’t you see
3 -2 -2 -2 2 2 -1
When you do the things you do?
1 -2 -2 -2 2
If I can’t con-ceal
-1 3 3 3 -2 2
The thrill that I’m feel-ing

-3 -3 4
Don’t blame me
3* -3 3* -3
I can’t help it
-3* -4 -3 -4 -5 5 5
If that dog-goned moon a-bove
-5 4 4
Makes me need
-1 -2* -4 -3 3* 3
Some-one like you to love?

3 -3* -3
Blame your kiss
3 -2 -2 -2 2 2 -1
As sweet as a kiss can be
1 -2 -2 -2 2
And blame all your charms
-1 3 3 3 -2
That melt in my arms
2 -3 -3 4
But don’t blame me

W: William Rose, Edward Eliscu
M: Vincent Youmans
From: “Great Day”
Sarah Vaughn
Key: Eb
Harp: Bb

-3” 3 -3” 3 -3”
When you’re down and out
3 -2” 3 -3” 3 -3”
Lift up your head and shout
3 -2” 3 -3”-2” 3 -2”
There’s gon-na be a great day
4 -3’ 4 -3’ 4
An-gels in the sky
-3’ -3” -3’ 4 -3’ 4
Prom-ise that bye and bye
-3’ -3”-3’ 4 -3” -3’ -3”
There’s gon-na be a great day
-3’ 4 -4 5 -5 -2”
Ga-bri-el will warn you
-3” 4 -5 5 -2”
Some ear-ly morn you
3 -3 5 -4 -1 2 -2” 3
Will hear his horn root-y, toot-in’
-3” 3 -3” 3 -3”
It’s not far a-way
3 -2” 3 -3” 3 -3”
Hold up your hands and say
3 -2” 3 -3”-2” 3 -2”
There’s gon-na be a great day

By: Ray Brown & Steve Allen
Joe Williams, Sarah Vaughan
Key: C

2 3 -3 3 -3 3 -2 -3
Miss Mi-ran-da’s in the kit-chen
5 6 5 -5 5
this glor-i-ous day
6 5 -5 5 -3* 5 -3*
Smell the gra-vy sim-mer-in’
3 -3 3 -2 2 -1 1
Near-ly half a mile a-way
2 3 -3 3 -3 3
La-dy Morn-ing Glo-ry,
-2 -3 5 6 5 -5 5
I say good morn-ing to you
6 5 -5 5 -3* 5 -3*
Chir-py lit-tle chick-a-dee
3 -3 3 -2 2 1 -1 1
told me that my ba-by was true

1 -1* 3*-2-1*1-1*-2 2 3 4 -4 4
Miss Mi-ran-da ran to get her fry-ing pan
-2*-2-1* -2* -2 3 -3*
When she saw me com-ing
-2* -2 -1* 1 -1* -2 2 3 4 -4 4
Gon-na get a taste be-fore it goes to waste
-2* 3 -3 -4 4 -5
This hon-ey-bee’s hum-ming
2 3 -3 3 -3 3
Mis-ter Weep-ing Wil-low,
-2 -3 5 6 5 -5 5
I’m thru with all of my faults
6 5 6 5 -3* 5 -3* 3
‘cause Mi-ran-da’s rea-dy to do
-3 3 -2 2 1 -1 1
the ev-er new gra-vy waltz

1 -1* 3*-2-1*1-1*-2 2 3 4 -4 4
Miss Mi-ran-da ran to get her fry-ing pan
-2*-2-1* -2* -2 3 -3*
When she saw me com-ing
-2* -2 -1* 1 -1* -2 2 3 4 -4 4
Gon-na get a taste be-fore it goes to waste
-2* 3 -3 -4 4 -5
This hon-ey-bee’s hum-ming
2 3 -3 3 -3 3
Mis-ter Weep-ing Wil-low,
-2 -3 5 6 5 -5 5
I’m thru with all of my faults
6 5 6 5 -3* 5 -3* 3
‘cause Mi-ran-da’s rea-dy to do
-3 3 -2 2 1 -1 1
the ev-er new gra-vy waltz

The top row of numbers is for tremolo players, the bottom row is for
diatonic players.

7 7 7 -8 -8 -8 -8 7
6 6 6 -7 -7 -7 -7 6
I had a gal in old St. Paul
-8 -8 -9 -8 -7
-7 -7 -8 -7 -6
Fare thee well, Molly Kay
-8 -8 7 7 -8 -8 7
-7 -7 6 6 -7 -7 6
Didn稚 give me no lovin at all
-5 -5 6 -6 7
-4 -4 5 -5 6
Boys I知 on my way,
7 -5 6 -6 7
6 -4 5 -5 6
Yes I知 goin a-way

Chorus
-7 -7 6 6 6 -7 -7
-6 -6 5 5 5 -6 -7
Got no luck with the women
-8 -8 7 7 -8
-7 -7 6 6 -7
Got no luck at all
8 8 9 9 -9 -9 -8
7 7 8 8 -8 -8 -7
Just when I get hold of one
-8 -5 -5 6 -6 7
-7 -4 -4 5 -5 6
I知 bound to take a fall

I had a gal in Louisville
Fare thee well, Sally Ann
She got drunk on liver pills
Died with the bottle in her hand
Boys she died with the bottle in her hand
chorus

I got a gal in Baltimore
Fare thee well Laurie Lee
Danced around till her feet got sore
Down at the bottom of the sea
Yes down at the bottom of the sea
Chorus

I had a gal in Little Rock
Fare thee well, Sarah Jane
Put my old guitar in hock
It値l never be the same
Boys it値l never be the same
Chorus

I had a gal in New Orleans
Fare thee well, Jennie Jo
She fed me on kidney beans
Boys I had to go
Yes I really had to go
chorus

I got a gal in Memphis Town
How d馳a do, Mary Sue
Got her a rifle and she shot me down
Honey I値l be true to you
I mean it honey I値l be true to you

Final chorus:
Got no luck with the women
Got no luck at all
When she got ahold of me
She took me for a fall
Straight down to the parson痴 hall

Sarah Jane Hadley
Key: Em
Time: 3/4
Trad. shaped note folk

-3”-34 -3 -3” 3 4 5 -4 5
-6-7 7 -7 -6 6 7 8 -8 8
Oh, La-dy Sar-ah she was fair

6 6 -5 5 4 4-3”-3
9 9 -9 8 7 7-6 -7
But she had lived with sor-row

3 4 -3 -3” 3 4 5 -4 5
6 7 -7 -6 6 7 8 -8 8
For they have slain her sweet-est swain

6 6 -6 -4 6 -5 5 -56-5 5
9 9 -10 -8 9 -9 8 -99-9 8
In the lone-ly glens of Yar-row

4 5 -4 4 -3 -3” -3”
7 8 -8 7 -7 -6 -6
The lone-ly glens of Yar-row

Sarah Jane Hadley
Key: Em
Time: 3/4
Trad. shaped note folk

2-2* 3 -2* 2 -1 3-4 -3 -4
Oh, La-dy Sar-ah she was fair
-5 -5 4 -4 3 3 2 -2*
But she had lived with sor-row
-1 3 -2* 2 -1 3 -4 -3 -4
For they have slain her sweet-est swain
-5 -5 6 -3 -5 5 -4 5-55 -4
In the lone-ly glens of Yar-row
3 -4 -3 3 -2* 2 2
The lone-ly glens of Yar-row

W: Paul Madeira
M: Jimmy Dorsey
Ella Fitzgerald, Frank Sinatra, Sarah Vaughan
Key: F

2 2 2 2 -3 -3 2 2 -1* -1*
In this world of or-di-nar-y peo-ple
-1* 3* 3* -1*-1* -1 -1
Ex-tr’o-di-nar-y peo-ple
-1 2 -2 3 4
I’m glad there is you
4 4 4 4 6 6 -5 -5 -3* -3*
In this world of ov-er-rat-ed pleas-ures
-3*-5 -5 4 4 -3 -3
Of un-der-rat-ed treas-ures
-3 4 -3* -3 3
I’m glad there is you
-3 -3* 4 4
I’ll live to love,
-2 3 -3 4 -3* -2 3 -3 -3
I’ll love to live with you be-side me
2 -2 3 -3
This role so new,
2 -2 3 -3 3 2 -2 -1 2
I’ll mud-dle thru’ with you to guide me
2 2 2 2 -3 -3
In this world where man-y,
2 2 -1* -1* -1*
Man-y play at love
-1* 3* 3* -1*-1* -1 -1 -1
And hard-ly an- y stay in love
-1 2 -2 3 4
I’m glad there is you
4 4* -5 -6 -2 -3 -3 -3 -2
More than ev-er, I’m glad there is you