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UNIVERSITY OF CINCINNATI DATE: 13 May 2002 I, Amber Good , hereby submit this as part of the requirements for the degree of: Master of Music in: Music History It is entitled: ``Lady, What Do You Do All Day?'': Peggy Seeger's Anthems of Anglo-American Feminism Approved by: Dr. bruce mcclung Dr. Karin Pendle Dr. Stephanie P. Schlagel 1 “LADY, WHAT DO YOU DO ALL DAY?”: PEGGY SEEGER’S ANTHEMS OF ANGLO-AMERICAN FEMINISM A thesis submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of MASTER OF MUSIC in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music 2002 by Amber Good B.M. Vanderbilt University, 1997 Committee Chair: Dr. bruce d. mcclung 2 ABSTRACT Peggy Seeger’s family lineage is indeed impressive: daughter of composers and scholars Charles and Ruth Crawford Seeger, sister of folk icons Mike and Pete Seeger, and widow of British folksinger and playwright Ewan MacColl. Although this intensely musical genealogy inspired and affirmed Seeger’s professional life, it has also tended to obscure her own remarkable achievements. The goal of the first part of this study is to explore Peggy Seeger’s own history, including but not limited to her life within America’s first family of folk music. Seeger’s story is distinct from that of her family and even from that of most folksingers in her generation. The second part of the thesis concerns Seeger’s contributions to feminism through her songwriting, studies, and activism. Chapter Two recounts the story of “I’m Gonna be an Engineer,” her first and most famous women’s song. Her personal involvement with the women’s movement begins with the composition of this hallmark feminist anthem. The following chapter outlines trends within her songwriting, which alternately engage with and depart from women’s issues. Her recording and publishing output give credence to these patterns. The final chapter is an examination of Peggy Seeger’s women’s songs as they pertain to the larger fields of women’s history and feminist theory. One of her major contributions to folk music is the development of this comprehensive body of women’s songs. Her songs tell previously untold stories about the experiences of women and demonstrate that Seeger, although rarely active in the women’s movement, absorbed and documented the dialectical trends of late twentieth-century feminism. 3 Words and music to “I’m Gonna be an Engineer,” copyright © 1979 by Stormking Music, Inc. Reprinted by permission of Peggy Seeger. Words to “Another Side of Engineering,” copyright © 1977 by Bob Conway. The author has made a concerted but unsuccessful attempt to contact the owner of this material. 4 ACKNOWLEDGEMENTS I wish to thank the staff of Ruskin College in Oxford, England—especially Christine Keable and Roland Birchby—for their help and for their patience with this American researcher. Many thanks to Irene Pyper-Scott and Calum and Neill MacColl, who willingly provided me a close perspective on Peggy Seeger’s life in England. I am eternally grateful to the many kind folks who have read part or all of this paper, including Leanna Booze, Karla Jurgemeyer, Leilani Endicott, Alex MacKay, Judith Booze, Mary Ann Good, and Brian Heck Cook. Thanks to my reading committee, Dr. Karin Pendle and Dr. Stephanie P. Schlagel, and to my most patient advisor, Dr. bruce mcclung. Above all thanks to Peggy Seeger herself, for living such an interesting life and for her willingness to recount it for me. 1 CONTENTS LIST OF FIGURES ……………………………………………………………………… 2 INTRODUCTION..………………………………………………………………………... 3 Chapter 1. A LIFE INTERRUPTED: THE STORY OF PEGGY SEEGER ……………… 5 2. PEGGY SEEGER DISCOVERS THE WOMEN’S MOVEMENT…………… 41 3. THE WOMEN’S MOVEMENT DISCOVERS PEGGY SEEGER…………… 64 4. PEGGY SEEGER’S WOMEN’S SONGS AND TWENTIETH-CENTURY FEMINIST THEORY…………………………….……………………………. 94 5. CONCLUSION………………………………………………………………… 117 BIBLIOGRAPHY………………………………………………………………………….. 120 Appendix 1. COMPLETE LIST OF RADIO-BALLADS………………………………….. 130 2. SELECTED EWAN MACCOLL-PEGGY SEEGER DISCOGRAPHY ……. 131 3. “I’M GONNA BE AN ENGINEER” SCORE……………………………….. 133 4. COMPARISON OF BLACKTHORNE AND ROUNDER VERSIONS OF PENELOPE ISN’T WAITING ANYMORE………………………………….. 135 5. SELECTED ANNOTATED BIBLIOGRAPHY OF WOMEN’S FOLK SONGBOOKS ………………………………………………………………. 136 6. FEMINIST THEORIES EVIDENT IN PEGGY SEEGER’S WOMEN’S SONGS …………………………………………………………. 138 2 FIGURES Figure Page 1. Complete Lyrics to “I’m Gonna Be an Engineer” ………………………………… 46 2. Complete Lyrics to “Another Side of Engineering”……………………………….. 60 3. Magazine clipping from Ewan MacColl-Peggy Seeger Archive ………………….. 61 3 INTRODUCTION In 1996 I attended a “First Night” in Harrisonburg, Virginia. These family-oriented celebrations—designated alcohol-free in an effort to reduce drunk driving over the New Year’s holiday—are known for their quality musicians, who perform throughout the evening in downtown churches or municipal buildings. I noticed Peggy Seeger’s name on the performance schedule and thought to myself, “I think I know who that is.” (This is the response that I would later get from anyone who inquired as to the topic of my thesis.) After attending her concert, I tried to find more information about her, with little success. After reading article after article about Seeger’s father, mother, brothers, and husband, I decided it was time someone asked about her. A newly archived set of materials at Ruskin College in Oxford, England was tremendously helpful in tracing the details of Seeger’s work and personal life, a life that has been so full that one can become exhausted merely reading about it. In researching I was fortunate to find Seeger and her family willing to share stories (and their homes) with me. In interviewing her two sons in London, I found them quite eager to set the record straight, having recognized that Seeger is often overshadowed by her more famous relatives. Her current partner, Irene Pyper-Scott, granted me an interview in the Soho (London) restaurant where the couple often dines and received a phone call from Seeger as we walked toward the Tube. My interview with Seeger herself stretched into a two-day event, which could easily have continued through the following week. In each of these encounters, I felt that I was treading on virgin territory, each person so full of stories and opinions, and delighted to be asked about this person for whom they hold such affection and respect. 4 The task of compressing notebooks full of biographical information into one chapter was difficult. This study opens with a forty-page biographical sketch of Peggy Seeger, from her childhood in Washington, D.C. through her adulthood in England, and then to her present life in Asheville, North Carolina. I hope one day to see this story told by Seeger herself, whose unpublished memoirs were the source of much of the information on her childhood. The next two chapters detail Seeger’s feminist work, beginning with a look at “I’m Gonna be an Engineer,” her first and most successful feminist song, and continuing with a study of her feminist activism (and inactivism) in the years following its composition. The fourth and final chapter examines Seeger’s women’s songs by subject, using the tools of feminist theory. Steeped in the discourse of feminist musicology, I approached this study from a feminist perspective. I was interested in placing the story of Peggy Seeger on the academic map, and in examining her extensive contributions to the world of feminist folk song. A more die-hard folk scholar would have approached this differently, and I hope someday she or he will. Seeger’s contributions to the folk world as a transcriber, accompanist, instrumentalist, song collector, and ethnologist have been largely omitted in this study. This is hardly the final word on Peggy Seeger, if for no other reason than she is now sixty-six years old and, if the path of her half- brother Pete (eighty-three and still actively performing) is any indication, she has a lot of work left to do. 5 CHAPTER 1 A LIFE INTERRUPTED: THE STORY OF PEGGY SEEGER On a 1942 reel-to-reel tape, a seven-year-old Peggy Seeger performs a succession of folk tunes, singing a few lines each of several dozen songs. She delivers them with the obliging humor of a child reciting the alphabet or her multiplication tables—getting bored here and there, putting extra verve into her favorite selections. At one point she breathes in as she sings, as if she is exasperated with the activity and ready to go somewhere else. One doubts, however, that there would have been a place to go in the Seeger household that would have been free from music. Margaret “Peggy” Seeger was born on 17 June 1935 into a family already famous for its musical activity. Her father, Charles Seeger, was an established member of the musical academy. Raised in privilege and described as a “quintessential nineteenth-century New England gentleman,”1 Charles was educated at Harvard and sent to Europe for musical training. He studied conducting and composition, at one time hoping to write “the first American opera of any stature.”2 While his musical education, pursued in Germany and France, influenced his future work, it was his exposure to radical political thought that changed him most profoundly. Shortly after his return to the United States, Charles received a job offer from the University of California at Berkeley, where he located in 1912 with his new wife, Constance.3 At Berkeley Charles was entrusted with the fledgling music department, where he taught 1Ann Pescatello, Charles Seeger: A Life in American Music (Pittsburgh: University of Pittsburgh Press, 1992), 3. 2Charles Seeger, dictated to Penny Seeger Cohen, April 22, 1977, quoted in ibid., 43.

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