Seeger dropped out of Harvard (where he had been studying journalism) in 1939, and he took a job in Washington, D.C. at the Archive of American Folk Song in the Library of Congress. In that capacity, he met and was influenced by many important musicians such as
Woody Guthrie and
Leadbelly. He met Woody at a "
Grapes of Wrath" migrant workers concert on
March 3, 1940 and the two thereafter began a musical collaboration.
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, and slightly longer than a
bass guitar at 25 frets, and is tuned a minor third lower than the normal 5-string banjo.
As a self-described "split tenor" (between an alto and a tenor), he was a founding member of the folk groups
the Almanac Singers with Woody Guthrie and
the Weavers with
Lee Hays, Ronnie Gilbert and
Fred Hellerman. The Weavers had major
hits in the early 1950s, before being
blacklisted in the
McCarthy Era.
On
August 18, 1955, Seeger was subpoenaed to testify before the
House Un-American Activities Committee (HUAC) where he refused to name personal and political associations stating it would violate his
First Amendment rights... "I am not going to answer any questions as to my association, 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 testify 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 in March 1961, and sentenced to a year in jail, but in May 1962 an appeals court ruled the indictment to be flawed and overturned his conviction.
Seeger started a solo career in
1958, and is known for songs such as "
Where Have All the Flowers Gone?" (co-written with
Joe Hickerson), "If I Had a Hammer" (co-written with Lee Hays), "
Turn, Turn, Turn," adapted from the
Book of Ecclesiastes, and "
We Shall Overcome" (based on a
spiritual and later became the unofficial anthem for the civil rights movement). Seeger became influential in the
1960s folk revival centered in
Greenwich Village. He helped found
Broadside Magazine and
Sing Out!. He was strongly associated with
Moses Asch and
Folkways Records. To describe the new crop of folk singers, many of whom were politically minded in their songs, he coined the phrase "Woody's children", alluding to his former bandmate
Woody Guthrie, who by this time had become a legendary figure. He has often sung and is associated with the song "
Joe Hill".
In the mid-sixties he hosted a regional folk music television show called
Rainbow Quest which featured folk musicians playing traditional folk music. Among his guests were
Johnny Cash, June Carter, Mississippi John Hurt, Buffy Sainte-Marie, Roscoe Holcomb, The Stanley Brothers, Doc Watson, Tom Paxton, Judy Collins, Richard Fariña and
Mimi Fariña, and many others. Thirty-eight hourlong programs were recorded at new
UHF station
WNJU's Newark studios in 1965 and 1966, produced by Seeger and his wife Toshi with Sholom Rubinstein.
An early advocate of
Bob Dylan, Seeger was supposedly incensed over the distorted electric sound Dylan brought into the 1965
Newport Folk Festival, especially with the inability to clearly hear the lyrics. There are many conflicting versions of exactly what ensued, some claiming that he actually tried to disconnect the equipment. He is often cited as one of the main opponents to Dylan at Newport 1965, but claimed in 2005:
"There are reports of me being anti-him going electric at the '65 Newport Folk festival, but that's wrong. I was the MC that night. He was singing 'Maggie's Farm' and you couldn't understand a word because the mic was distorting his voice. I ran to the mixing desk and said, 'Fix the sound, it's terrible!' The guy said 'No, that's how they want it.' And I did say that if I had an axe I'd cut the cable! But I wanted to hear the words. I didn't mind him going electric.