Extra stuff #2: Burl Ives: Beloved Snowman or Despised Stool Pigeon?

We have two chapters in Atomic Tunes about folk musicians, but we couldn't quite squeeze this section in, about Burl Ives and Pete Seeger.
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Thanks to his role as wise old Sam the Snowman in the Christmas television special Rudolph the Red-Nosed Reindeer (1964), Burl Ives (1909-1995) has been remembered as a grandfatherly figure, a singer of songs, and a teller of stories. Less well-known, yet more intriguing, is his role in the folk-singing movement. Ives moved to New York City in 1933 and over time became closely involved with those at the nucleus of the folk music revival: Alan Lomax, Pete Seeger, Woody Guthrie, Josh White, and many others.[1] He performed at fund-raisers for traditionally left-wing causes and participated in a weekly radio show created by Alan Lomax and Nick Ray entitled Back Where I Come From (1940-1941). Along with his involvement with the folk music community in the 1940s, he pursued more commercial opportunities, including film. During World War II he was drafted into the Army. He entertained the troops and performed in Irving Berlin’s military musical This is the Army.

However, Ives’ relationship with the folk singing community began to splinter after he was listed in Red Channels (1950) as a suspected communist subversive.[2] Red Channels was a book released in June 1950 by the American Business Consultants, an anti-communist organization led by former FBI agents and supporters of the John Birch Society that also published the weekly anti-communist newsletter Counterattack. Like Senator Joseph McCarthy and the HUAC (House Un-American Activities Committee), American Business Consultants’ objective was to expose communists and communist sympathizers. The tone of Red Channels is black and white, leaving little room for gray. The introduction is quite plain in stating that the 151 persons listed were to be regarded as either communists or hapless dupes of them.[3] Thus it is no surprise that when copies of the book were sent to radio stations, television studios, and Hollywood film studios, the people listed therein were thought of as having a scarlet red “C” embroidered on their garments. Actors, directors, screenwriters, playwrights, musicians, composers, and other in the arts were blacklisted and had their careers hindered or ruined because of their political beliefs.

In order to save his career, Ives needed to act quickly to control the damage. First, he visited the New York branch of the FBI to defend himself. A letter to the director of the FBI states that “On 9/7/50, BURL IVES appeared at the Bureau and advised that he had severed all connections with communists and communism.”[4] Subsequently, Ives voluntarily appeared before the Senate Internal Security Subcommittee (SISS) on May 20, 1952, which was the Senate counterpart to the HUAC. In this appearance, he reaffirmed his distance from communism. He deftly asserted his role as a “missionary” for American folk songs, which he says led him to participate in a wide variety of events without looking closely to whom he was singing.[5] His motivation, he repeatedly asserts, was his love of music and he felt “persecuted” that anyone would associate him with communism.[6] He expounds, “I should like to state that I made a decision a good many years ago in regard to communism. I realized I was not a communist and did not believe in the communist philosophy. But having been, for many years, around New York and in what they call the general labor movement, and at the time of the New Deal, I was in the middle of all of these artistic things that were happening. As a matter of fact, my first audience as a singer was various unions and so-called progressive organizations. At this time, I sang for groups wherever I could get an audience, because nobody would listen to me before, and to have an audience to sing my songs made me very happy.”[7]

He describes organizations he participated in and performed for in a variety of terms such as “liberal, do-good organizations.”[8] He states, “During all of this time there was never a question in regard to any of these organizations of the Soviet Union or Soviet Union communism. This was purely American business, so far as I was concerned, and had to do with various positive things.”[9] Ives shifts the tone of his testimony the further he gets into the interview. He employs two rhetorical devices to support his innocence. First, he breaks into song, performing a patriotic ballad as an example of the kind of music he performed early in his career, “I Just Got My Army Call.”[10] Second, when questioned about a performance during this time, he fixates on his love of a man who shares with him a reputation for jolliness and children’s entertainment. His love for this man and his vibrant attire, not communism, motivated him, “As a matter of fact, the organization I didn’t know, and I just went because of the idea of wearing a Santa Claus suit.”[11] By pairing together the images of patriotism and Christmas nostalgia, Ives positions himself as a loyal American.

​All festivity is left behind, however, when Ives begins to go on the offensive and name names. With the mention of Pete Seeger, Ives appears to be vindictive. He says his relationship with him and other left-wing folk singers was “chilly.” He elaborates, “…I am acquainted with Peter and one or two of the other people. But it has not been a warm relationship and the assistance that I have offered to them has been in the furtherance of folk music, and certainly never to further the purposes of the Soviet Union or any other organization that would be against our Government.”[12]

The questioning shifts to his participation in political events hosted by the Communist Political Association (an alternate name for the Communist Party USA) in 1944. After defending himself, he takes on a tone of hesitation as he continues, “I am very sorry to have to bring up names in this matter” and proceeds to name a number of his associates including the musician Richard Dyer-Bennett, and Allan Meltzer, who had previously worked as Ives’ publicity agent.[13] Ironically, though he wanted the committee to know that he expressed no political affiliations by attending the meetings of the CPUSA, he said that the presence of others there suggested their affiliations with the organization.[14] Ives was asked one final question by investigator Donald D. Connors, Jr.:

MR. CONNORS. Mr. Ives, do you feel that it is incumbent upon those persons who have been in some way, however slight, affiliated with the Communist Party, or the Communist Political Association, to come forward and tell of their experiences in the sense that they have a civic or a moral or patriotic duty to make this disclosure?
IVES: I believe it is the duty of every citizen to say where he stands.[15]

In light of those who were threatened, blacklisted, and sometimes even jailed for their assertion of their rights under the First and Fifth Amendments, it is perhaps Ives’ closing statement that is the most shocking.

On August 18, 1955, Pete Seeger was summoned to appear before the HUAC. Near the beginning of his testimony, he said that he loves his country deeply, had never done anything of a conspiratory nature against it, and served for three and a half years in the Armed Forces.[16] His testimony was quite different from Ives’: “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.”[17]

The folk-singing community was stunned by Ives’ testimony, given the high regard for freedom of speech that folk musicians valued. Their verbal retribution was sharp and swift. The October 1952 issue of the folk magazine Sing Out! featured an editorial on Ives’ testimony before the FBI and the SISS, denouncing his actions. It was most likely penned by editor Irwin Silber. It read, “The future of Burl Ives should be interesting. We’ve never seen anyone sing while crawling on his belly before. But maybe Burl Ives will be able to figure it out. It shouldn’t be too hard. Nothing’s too hard for a stool-pigeon—except keeping his integrity.”[18] Burl Ives was ousted from the folk singing circles, and many former friends and colleagues would no longer associate with him. Pete Seeger’s reputation and career was greatly damaged for almost two decades, in part by being called anti-American by Burl Ives. Meanwhile Ives went on to great success, winning an Academy Award for Best Supporting Actor in 1959 and becoming Sam the Snowman in 1964.

Later in his career, Ives participated in the same types of social causes championed by Seeger and others in the folk movement. For example, in the 1970s, he became part of the “This Land is Your Land—Keep it Clean” advertising campaign put out by the Bureau of Land Management. Considering the rift between Ives and folk revival community, the association of Ives with a campaign titled after Woody Guthrie’s most iconic song is tinged with irony. It wasn’t until 40 years later however, that the rift was finally repaired. Ives, Seeger, Paul Robeson Jr., Josh White Jr., Odetta and many others were invited to perform at a gala concert at the 92nd Street Y in New York City. The invitations were issued most likely by concert programmers less familiar with the uncomfortable history between Ives and his contemporary folk singers. The concert took place on May 17, 1993. Ron Olesko recalls the concert in a retrospective of Ives’ life written for Sing Out!, “Seeger and Ives were invited, to the horror of many. The two were kept separate backstage. Ives, who was still persona non grata and 83 years old at the time, was met with a cold reception by the audience. After Ives played a few songs to polite applause, Pete silently walked out on stage and without saying a word, bent over and kissed Ives on the top of his head and then started singing “Blue Tail Fly” with Ives. A simple gesture that spoke volumes.[19]

​Ives was in frail health and performed in a wheelchair. Pete Seeger, likewise, performed the concert sitting down. Given his usual stance, towering high with banjo in hand, it is clear that he took this stance as a mark of respect and forgiveness. Following Ives’ death in April 1995, Bob Edwards interviewed Pete Seeger for National Public Radio’s Morning Edition, discussing Ives’ life and music. At one point, Edwards pointedly asked Seeger how he and other folk singers felt about Ives’ testimony in the 1950s. Pete graciously replied, “Well, I don’t know how other people feel. I’m strong on the idea of forgiveness. I think Burl forgave me some of my foolishness and mistakes, and I’m willing to forgive others. I don’t think the human race will last unless we include forgiveness as an important quality of our lives.”[20] Both men’s lives were shaped by forces ultimately beyond their control. In Seeger’s statement, we see conviction and compassion that were developed across a lifetime of singing out for the betterment of those in need. But we can also read this in the larger context of the Cold War conflict: in practicing forgiveness, he advocates for the kind of societal attitude that could bring about lasting peace.

[1] Ronald D. Cohen, Depression Folk: Grassroots Music and Left-Wing Politics in 1930s America (Chapel Hill: The University of North Carolina Press, 2016), 136-137.

[2] American Business Consultants. Red Channels: The Report of Communist Influence in Radio and Television (New York: American Business Consultants, 1950), 87-88.

[3] American Business Consultants. Red Channels, 1-7.

[4] “Re Los Angeles Airtel to NY, 3/2/55” in “Burl Ives Part 01 of 01.” FBI Records: The Vault. Federal Bureau of Investigation website, p. 50. https://vault.fbi.gov/burl-ives/Burl%20Ives%20Part%2001%20of%2001/view

[5] Burl Ives, in United States. Congress. Senate. Committee on the Judiciary. Subcommittee to Investigate the Administration of the Internal Security Act and Other Internal Security Laws. Subversive Infiltration of Radio, Television and the Entertainment Industry: Hearings before the Subcommittee to Investigate the Administration of the Internal Security Act and Other Internal Security Laws of the Committee on the Judiciary, United States Senate, Eighty-Second Congress, First and Second Sessions. (Washington: United States Government Printing Office, 1952), 208. https://babel.hathitrust.org/cgi/pt?id=umn.31951d02120689q;view=1up;seq=137

[6] Burl Ives, in United States. Congress. Senate. Committee on the Judiciary, Subversive Infiltration of Radio, Television and the Entertainment Industry, 209.

[7] Burl Ives, in United States. Congress. Senate. Committee on the Judiciary, Subversive Infiltration of Radio, Television and the Entertainment Industry, 208.

[8] Burl Ives, in United States. Congress. Senate. Committee on the Judiciary, Subversive Infiltration of Radio, Television and the Entertainment Industry, 214.

[9] Burl Ives, in United States. Congress. Senate. Committee on the Judiciary, Subversive Infiltration of Radio, Television and the Entertainment Industry, 208.

[10] Burl Ives, in United States. Congress. Senate. Committee on the Judiciary, Subversive Infiltration of Radio, Television and the Entertainment Industry, 216.

[11] Burl Ives, in United States. Congress. Senate. Committee on the Judiciary, Subversive Infiltration of Radio, Television and the Entertainment Industry, 215.

[12] Burl Ives, in United States. Congress. Senate. Committee on the Judiciary, Subversive Infiltration of Radio, Television and the Entertainment Industry, 216.

[13] Ronald D. Cohen, Rainbow Quest: The Folk Music Revival and American Society, 1940-1970 (Amherst: University of Massachusetts Press, 2002), 80.

[14] Burl Ives, in United States. Congress. Senate. Committee on the Judiciary, Subversive Infiltration of Radio, Television and the Entertainment Industry, 221.

[15] Burl Ives, in United States. Congress. Senate. Committee on the Judiciary, Subversive Infiltration of Radio, Television and the Entertainment Industry, 228.

[16] Pete Seeger, in Thirty Years of Treason: Excerpts from Hearings before the House Committee on Un-American Activities, 1938-1968, ed. Eric Bentley (New York: The Viking Press, 1971), 687-688.

[17] Pete Seeger, in Thirty Years of Treason, 688.

[18] “Burl Ives Sings a Different Song,” Sing Out! 3, no. 2 (October 1952): 2.

[19] Ron Olesco, “Remembering Burl Ives on the 100th Anniversary of His Birth,” Sing Out! (June 14, 2009) https://singout.org/2009/06/14/remembering-burl-ives-on-the-100th-anniversary-of-his-birth/

[20] Pete Seeger, interviewed by Bob Edwards in segment “In Memoriam: Burl Ives according to Pete Seeger” on NPR’s radio program Morning Edition, April 14, 1995.