Ebook Download Wasn't That a Time: The Weavers, the Blacklist, and the Battle for the Soul of America, by Jesse Jarnow

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Wasn't That a Time: The Weavers, the Blacklist, and the Battle for the Soul of America, by Jesse Jarnow

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Review

"Wasn't That a Time reads more like a Dickens novel than the history of a folk group. God, what a wild ride. And I remember it well."--Alan Arkin, Academy Award-winning actor and author of An Improvised Life"How many synonyms for 'essential cultural history' are there? In an amnesiac America, nothing's overlooked like our dissident legacies--and nothing's needed more these days. Jarnow's book makes this inoculation into good, gossipy fun, and musically knowledgeable enough that you'll want to reach for the soundtrack and fill in all the blanks."--Jonathan Lethem, author of The Feral Detective and Motherless Brooklyn"The Weavers inspired several generations not only to sing but to try to use music to change the world. Jarnow's deep exploration of their journey is a timely reminder of their importance both in their time and ours."--Elijah Wald, author of Dylan Goes Electric! and Escaping the Delta"In a moment when new forms of protest music are desperately needed, Jesse Jarnow's Wasn't That a Time delivers an incredibly vivid account of the kind of dedication and bravery required to change people's minds and galvanize a community through the power of song."--Ryan Walsh, author of Astral Weeks"A well-researched music biography best read with some traditional American folk songs playing in the background."―Kirkus Reviews"[A] dramatic, raucous account...Detailed and smartly reported, this work marvelously captures the four voices in a complex era that influenced pop-folk bands that followed."―Publishers Weekly (starred review)"Extensively researched, Jarnow's deep and accomplished portrait of these iconic musicians reverberates with a mastery that will appeal to both fans and everyone interested in the history of music."―Booklist "Explores...the creative, idiosyncratic, difficult personalities who briefly bottled lightning and subsequently transformed American music from Bob Dylan's output to schoolhouse sing-alongs...For fans of the Weavers and those they influenced, as well as lovers of 20th-century American folk music."―Library Journal "Chronicles the rise, fall and resurgence of one of the most influential bands in music history."―Music Connection"Wasn't That A Time does an impressive job of pulling together an array of diverse sources, from secret government files to private journals, painting a rich portrait of the strange days that the Weavers helped define...Every page of Wasn't That A Time is filled with revelations, all told with Jarnow's now-signature freewheeling style. A fantastic read."―Aquarium Drunkard

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About the Author

Jesse Jarnow is the author of Heads: A Biography of Psychedelic America and Big Day Coming: Yo La Tengo and the Rise of Indie Rock. His writing on music, technology, and culture has appeared via Pitchfork, Wired.com, Rolling Stone, the New York Times, and elsewhere, and he is a contributing editor at Relix. He lives in Brooklyn, New York; hosts The Frow Show on the independent Jersey City radio station WFMU; and tweets via @bourgwick.

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Product details

Hardcover: 304 pages

Publisher: Da Capo Press (November 6, 2018)

Language: English

ISBN-10: 0306902079

ISBN-13: 978-0306902079

Product Dimensions:

6.2 x 1 x 9.4 inches

Shipping Weight: 1.2 pounds (View shipping rates and policies)

Average Customer Review:

4.1 out of 5 stars

25 customer reviews

Amazon Best Sellers Rank:

#116,745 in Books (See Top 100 in Books)

I feel as if I have always been a fan of Woody Guthrie and Pete Seeger. I first saw Pete at a concert he did in my high school, way back when. I have seen him many times since in many iterations and admired him immensely. Learning more about his time before and with the Weavers made for good, informative reading. Unfortunately the poor writing style, the bad prose, padded and probably guesswork innuendos and the like made this a very difficult book to read. I found myself having to put it down time and again, contemplating whether I could continue reading given how weak the words were coming off. It is rare that I find a book this bad and yet I did finish it because of my love for Pete ,the Weavers and the cause. Not for the squeamish.

A wonderful, revealing look at 4 people who "made in difference" in our musical history and our political history.

I bought this as a Christmas gift for my husband, and he was thrilled to receive it. So far he’s liking it very much.

The reason the folk group the Weavers existed was to get people to sing along. They wanted people to feel what they felt when singing songs like “This Land is Your Land” and “If I Had a Hammer.” They had political motivations, and at times some of them were members of the Communist Party, but it was always the songs that were the reason the four of them got on stage together.Some of the Weavers, like other leftists who came of age in the 1930s and during the years of the Popular Front, inherited their radicalism from their parents, who were socialists before there was a Russian Revolution.For instance, Charles Seeger, Pete's father, was an avant-garde composer and musicologist who belonged to the Composers' Collective, which wrote modernist music for proletarians.Several people in Wasn't That a Time by music historian Jesse Jarnow describe Pete Seeger as distant. That may be partly because he was sent to boarding school at the age of four.Ronnie Gilbert's mother Sarah was a dressmaker who emigrated from Poland and was a member of the Communist Party. Ronnie Gilbert inherited her desire to sing and make music, and not just her politics, from her mother, who sang with the Jewish Bund Chorus.Sarah Gilbert took Ronnie to a political rally in the Garment District, where Ronnie was struck by the power of Paul Robeson singing “Go Down, Moses.”At a Socialist summer camp for workers' children, singing was part of every activity. They were taught that singing was a form of battle. Ronnie Gilbert later wrote that they thought the Cold War would be won by singers and songwriters.Lee Hays and Fred Hellerman were other two voices. They originally were known as the Almanac Singers (which described various groupings of musicians and singers who came and went from a domicile known as Almanac House). Pete Seeger, Ronnie Gilbert, Lee Hays, and Fred Hellerman eventually took the name the Weavers from a play by Gerhart Hauptmann.The Weavers were mentioned in Counterattack, the bible of the blacklist on the East Coast, and they lost a job hosting a TV summer replacement show.Pete Seeger was the so-called spark plug of the group, always active. At a show in Omaha he threw his banjo through a table. Lee Hays had a problem with alcohol. Fred Hellerman was the most professional and the one willing to make the compromises necessary to be successful in show business. Ronnie Gilbert was easy going and, after Pete, the one most committed to the cause. She identified the song “This Land is Your Land” as one the Weavers should record immediately.As the McCarthy Era was coming to a close and the Weavers were able to work on television again, the group decided to do a cigarette commercial. However Pete's mother-in-law had just been diagnosed with cancer and other things about touring bothered him. They'd been on the verge of breaking up ever since they got together. Erik Darling, from the folk group the Tarriers, replaced Pete, if any other musician could replace Pete Seeger.When the Weavers went on tour again, they in Britain at the height of the skiffle craze after Lonnie Donegan's hit with “Rock Island Line.” A lot of music histories treat skiffle as merely a precursor to rock 'n' roll. But skiffle was political in its own way (as Billy Bragg shows in his book on that era, Roots, Radicals and Rockers: How Skiffle Changed the World).A new folk revolution was led by Bob Dylan, Joan Baez, and the Kingston Trio. Jesse Jarnow doubts that Pete Seeger threatened Bob Dylan's amplifier with an ax at the Newport Folk Festival. Ronnie Gilbert and Fred Hellerman experimented with LSD. Lee Hays finally found some peace among his friends.The Weavers never stopped asking us to sing along.

Marking this one did-not-finish at page 124.The premise sounded interesting: a very popular musical group whose socialist ideals ran afoul of the government during the Red Scare at the beginning of the Cold War. It’s what I call a ‘social or cultural history.’ Unfortunately this seems to be a borderline-hagiography of The Weavers.It might not be so bad except it’s clearly written with fans of the group in mind. I knew nothing of them to begin with. I’d heard of Pete Seeger and Woody Guthrie (I think), but didn’t know anything about them. The book isn’t a good introduction to them (except there seems to be some hero-worship, especially toward Guthrie). In fact, it’s not a good introduction to the topics of folk music or anti-communism either. I wasn’t even exactly sure what constituted “folk music” and had to look it up, and same with “hootenanny,” because neither are ever really defined in the book. But it was the writing style that most turned me off. It pretty much glosses over all the unpalatable aspects of the members of the group, often twisting itself into knots explaining how they “technically” weren’t lying when they made various statements. But when it started mixing in modern terms such as “fake news” and “marginalized,” I decided I’d had enough. It’s just not for me.

The Weavers were an integral part of my childhood: their 1950 recording of “Goodnight, Irene” was one of my favorites and I sang it over and over and over and over again. I watched the HUAC hearings on black and white television and saw them in movie theatre newsreels. But I didn’t understand them – or the Weavers until some time later. I had a slight acquaintanceship with each of them in the late 1950s/early 1960s. And that was right around the time I became very interested in politics and discovered that the Weavers, especially Pete Seeger, were very political. Seeger, in fact, was a devoted Stalinist well into the 1990s. Author Jesse Jarnow makes no secret of his political leanings and, in fact, they intrude upon his narrative. His portraits of each of the Weavers are detailed, sometimes to the point of tedium. Likewise, he describes the internal dynamics of the group, which I was totally unaware of, in considerable detail. Overall, this is an informative book, though I think the politics on al sides could have been handled better. As it is, though I loathed Seeger’s sympathies for Stalin, I never tired of the Weavers and their music.Jerry

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