Pete Seeger: The Power of Song Reviews
Seeger is certainly a character from another time (he built, for example, his family's home from scratch, by himself, out of logs from trees he chopped down himself, with a small axe). And yet, his time was not only one that very much pre-dated him, but also post-dated him (he married a Japanese woman; I feel like this didn't happen often in the 1940s; additionally, he was a major labor union and civil rights activist, as well as a card-carrying Communist). The first talking head flashed up on the screen was Bob Dylan, another character from another time (the same time, and a time that pre-dated both of themÔ??a specifically American time of Depression, coffee and pie, freight trains, hitched rides, cross-country travel on foot, with nothing but the suit on your back and the shoes on your feet. . . that's early Dylan, of course, but Seeger seemed never to grow out of it the way Bob did).
Dylan was followed by a whole parade of folk-influenced heavy-hitters (Springstein, Joan Baez, Peter Yarrow and Mary Travers, and even a Dixie Chick) who spoke on Seeger's musical (and political) heroism. What I find most fascinating about Seeger, though, is that he's a mere musician, not a song writer. That someone who didn't write his own songs (and always performed the songs he sang straight, without any vocal embellishment, lengthy guitar solos, etc.) could have such a lasting effect on musicians who do is counter-intuitive at best.