A farmer and his two sons during a dust storm in Cimarron County, Oklahoma, 1936, Photo: Arthur Rothstein

The Dust Bowl, or the Dirty Thirties, was a period of severe dust storms causing major ecological and agricultural damage to American and Canadian prairie lands in the 1930s, particularly in 1934 and 1936. The phenomenon was caused by severe drought coupled with decades of extensive farming without crop rotation, fallow fields, cover crops or other techniques to prevent wind erosion.^[1] Deep plowing of the virgin topsoil of the Great Plains had displaced the natural deep-rooted grasses that normally kept the soil in place and trapped moisture even during periods of drought and high winds.

During the drought of the 1930s, without natural anchors to keep the soil in place, it dried, turned to dust, and blew away eastward and southward in large dark clouds. At times, the clouds blackened the sky, reaching all the way to East Coast cities such as New York and Washington, D.C. Much of the soil ended up deposited in the Atlantic Ocean, carried by prevailing winds, which were in part created by the dry and bare soil conditions. These immense dust storms—given names such as "black blizzards" and "black rollers"—often reduced visibility to a few feet (around a meter). The Dust Bowl affected 100,000,000 acres (400,000 km²), centered on the panhandles of Texas and Oklahoma, and adjacent parts of New Mexico, Colorado, and Kansas.^[2]

Millions of acres of farmland were damaged, and hundreds of thousands of people were forced to leave their homes; many of these families (often known as "Okies", since so many came from Oklahoma) migrated to California and other states, where they found economic conditions little better during the Great Depression than those they had left. Owning no land, many became migrant workers who traveled from farm to farm to pick fruit and other crops at starvation wages. Author John Steinbeck later wrote The Grapes of Wrath, which won the Pulitzer Prize, and Of Mice and Men, about such people.

Causes[link]

During early European and American exploration of the Great Plains, the region in which the Dust Bowl occurred was thought unsuitable for European-style agriculture; the region was known as the Great American Desert. The lack of surface water and timber made the region less attractive than other areas for pioneer settlement and agriculture. Following the Civil War, settlement was encouraged by the Homestead Act, the transcontinental railroad, and waves of new immigrants, and cultivation increased.^[3][4] An unusually wet period in the Great Plains mistakenly led settlers and the federal government to believe that "rain follows the plow" (a popular phrase among real estate promoters) and that the climate of the region had changed permanently.^[5] The initial agricultural endeavors were primarily cattle ranching, with some cultivation; however, a series of harsh winters beginning in 1886, coupled with overgrazing followed by a short drought in 1890, led to an expansion of land under cultivation.

Continued waves of immigration from Europe brought settlers to the plains at the beginning of the 20th century. A return of unusually wet weather confirmed a previously held opinion that the "formerly" semiarid area could support large-scale agriculture. Technological improvements led to increase of mechanized plowing, which allowed for cultivation on a greater scale. World War I increased agricultural prices, which also encouraged farmers to dramatically increase cultivation. In the Llano Estacado, the area of farmland doubled between 1900 and 1920, and land under cultivation more than tripled between 1925 and 1930.^[6]

Farmers did not use appropriate practices for the environment, but agricultural methods that allowed erosion.^[1] For example, cotton farmers left fields bare over winter months, when winds in the High Plains are highest, and burned the stubble (as a form of weeding prior to planting), both depriving the soil of organic nutrients and increasing exposure to erosion.

The increased exposure to erosion was revealed when severe drought struck the Great Plains through the 1930s. The native grasses that once covered the prairie lands for centuries, holding the soil in place and maintaining its moisture, had been eliminated by the intensively increased plowing. The drought conditions caused the topsoil to grow dry and friable, and was carried away by the wind.

Geographic characteristics[link]

A dust storm approaches Stratford, Texas, in 1935.

The Dust Bowl area lies principally west of the 100th meridian on the High Plains, characterized by plains which vary from rolling in the north to flat in the Llano Estacado. Elevation ranges from 2,500 feet (760 m) in the east to 6,000 feet (1,800 m) at the base of the Rocky Mountains. The area is semiarid, receiving less than 20 inches (510 mm) of rain annually; this rainfall supports the shortgrass prairie biome originally present in the area. The region is also prone to extended drought, alternating with unusual wetness of equivalent duration.^[7] During wet years, the rich soil provides bountiful agricultural output, but crops fail during dry years. The region is also subject to high winds.^[8]

Drought and dust storms[link]

A dust storm; Spearman, Texas, April 14, 1935

The unusually wet period, which encouraged increased settlement and cultivation in the Great Plains, ended in 1930. This was the year in which an extended and severe drought began which caused crops to fail, leaving the plowed fields exposed to wind erosion. The fine soil of the Great Plains was easily eroded and carried east by strong continental winds.

On November 11, 1933, a very strong dust storm stripped topsoil from desiccated South Dakota farmlands in just one of a series of bad dust storms that year. Then, beginning on May 9, 1934, a strong, two-day dust storm removed massive amounts of Great Plains topsoil in one of the worst such storms of the Dust Bowl. The dust clouds blew all the way to Chicago, where they deposited 12 million pounds of dust.^[9] Two days later, the same storm reached cities in the east, such as Buffalo, Boston, Cleveland, New York City, and Washington, D.C.^[10] That winter (1934–1935), red snow fell on New England.

On April 14, 1935, known as "Black Sunday", 20 of the worst "black blizzards" occurred throughout the Dust Bowl, causing extensive damage and turning the day to night; witnesses reported they could not see five feet in front of them at certain points.

Human displacement[link]

This catastrophe intensified the economic impact of the Great Depression in the region.

U.S.[link]

Buried machinery in a barn lot; Dallas, South Dakota, May 1936

Dust Bowl conditions fomented an exodus of the displaced from Texas, Oklahoma, and the surrounding Great Plains to adjacent regions. More than 500,000 Americans were left homeless. Over 350 houses had to be torn down after one storm alone.^[11] Many Americans migrated west looking for work. Some residents of the Plains, especially in Kansas and Oklahoma, fell ill and died of dust pneumonia or malnutrition.^[9]

The Dust Bowl exodus was the largest migration in American history within a short period of time. By 1940, 2.5 million people had moved out of the Plains states; of those, 200,000 moved to California.^[12] With their land barren and homes seized in foreclosure, many farm families were forced to leave. Migrants left farms in Oklahoma, Arkansas, Missouri, Iowa, Nebraska, Kansas, Texas, Colorado and New Mexico, but were often generally referred to as "Okies", "Arkies" or "Texies".^[11]

Characteristics of migrants[link]

This section requires expansion.

When James N. Gregory examined the Census Bureau statistics, as well as other surveys, he discovered some surprising percentages. For example, in 1939, the Bureau of Agricultural Economics surveyed the occupations of about 116,000 families who had arrived in California in the 1930s. It showed that only 43 percent of southwesterners were doing farm work immediately before they migrated. Nearly one-third of all migrants were professional or white collar workers.^[13]

U.S. Government response[link]

An Oklahoman boy during a dust storm, 1936

During President Franklin D. Roosevelt's first 100 days in office in 1933, governmental programs designed to conserve soil and restore the ecological balance of the nation were implemented. Interior Secretary Harold L. Ickes established the Soil Erosion Service in August 1933 under Hugh Hammond Bennett. In 1935, it was transferred and reorganized under the Department of Agriculture and renamed the Soil Conservation Service. More recently, it has been renamed the Natural Resources Conservation Service (NRCS).^[14]

Additionally, the Federal Surplus Relief Corporation (FSRC) was created after more than six million pigs were slaughtered to stabilize prices. The pigs went to waste. The FSRC diverted agricultural commodities to relief organizations. Apples, beans, canned beef, flour and pork products were distributed through local relief channels. Cotton goods were later included, to clothe the needy.^[15]

In 1935, the federal government formed a Drought Relief Service (DRS) to coordinate relief activities. The DRS bought cattle in counties which were designated emergency areas, for $14 to $20 a head. Animals unfit for human consumption – more than 50 percent at the beginning of the program – were killed. The remaining cattle were given to the Federal Surplus Relief Corporation (FSRC) to be used in food distribution to families nationwide. Although it was difficult for farmers to give up their herds, the cattle slaughter program helped many of them avoid bankruptcy. "The government cattle buying program was a God-send to many farmers, as they could not afford to keep their cattle, and the government paid a better price than they could obtain in local markets."^[16]

President Roosevelt ordered the Civilian Conservation Corps to plant a huge belt of more than 200 million trees from Canada to Abilene, Texas to break the wind, hold water in the soil, and hold the soil itself in place. The administration also began to educate farmers on soil conservation and antierosion techniques, including crop rotation, strip farming, contour plowing, terracing, and other improved farming practices.^[17][18] In 1937, the federal government began an aggressive campaign to encourage Dust Bowlers to adopt planting and plowing methods that conserved the soil. The government paid the reluctant farmers a dollar an acre to practice one of the new methods. By 1938, the massive conservation effort had reduced the amount of blowing soil by 65%.^{[dubious – discuss]} Nevertheless, the land failed to yield a decent living. In the fall of 1939, after nearly a decade of dirt and dust, the nearly decade-long drought ended, as regular rainfall finally returned to the region.

Long-term economic impact[link]

In many regions, over 75% of the topsoil was blown away by the end of the 1930s, but there was wide variation in the degree to which the land was degraded. Aside from the short-term economic consequences caused by erosion, there were severe long-term economic consequences of the Dust Bowl.

By 1940, counties that had experienced the most significant levels of erosion saw a greater decline in agricultural land values. The per-acre value of farmland declined by 28% in high-erosion counties and 17% in medium-erosion counties, relative to land value changes in low-erosion counties.^[19] Even over the long-term, the full agricultural value of the land often failed to recover. In highly eroded areas, less than 25% of the original agricultural losses were recovered. The economy adjusted predominantly through large relative population declines in more-eroded counties, both during the 1930s and through the 1950s.

The economic effects persisted, in part, because of farmers' failure to substitute to more-appropriate crops for highly eroded areas. Because the amount of topsoil had been reduced, it would have been more productive to shift from crops and wheat to animals and hay. During the Depression and through at least the 1950s, there was limited relative adjustment of farmland away from activities that became less productive in more-eroded counties.

Some of the failure to shift to more productive agricultural products may be related to ignorance about the benefits of changing land use. A second explanation is a lack of availability of credit, caused by the high rate of failure of banks in the plains states. Because banks failed in the Dust Bowl region with a higher rate of frequency than in the rest of the country, it was harder for farmers to gain access to the credit they needed to buy capital to shift crop production.^[20] Another reason is that profit margins to shift from a previously farmed crop to either animals or hay increased only slightly. Therefore, even if they knew about the benefits of changing land usage, the incentive to switch immediately was relatively small.

Influence on the arts[link]

This section requires expansion.

The crisis was documented by photographers, musicians, and authors. Many were hired by various U.S. federal agencies during the Great Depression. The Farm Security Administration hired numerous photographers to document the crisis. This helped the careers of many notable artists, including Dorothea Lange. She captured iconic images of the storms and migrant families, the most famous of which was known as "migrant mother", which depicted a gaunt-looking woman, Florence Owens Thompson, holding her three children. This picture captured the horrors of the dust bowl and caused more people to be aware of the crisis of the country. The work of independent artists, such as folk singer Woody Guthrie and American novelist John Steinbeck (The Grapes of Wrath), was also influenced by the crises of the Dust Bowl and the Depression.

Migrants leaving the Plains states took their music with them. Oklahoma migrants, in particular, were descended from rural Southerners and transplanted country music to California. Today, the "Bakersfield Sound" describes this blend, which developed after the migrants brought country music to the city. Their new music inspired a proliferation of country dance halls as far south as Los Angeles.

See also[link]

Wikimedia Commons has media related to: Dust Bowl

• 1936 North American heat wave
• Rain follows the plow
• Great Plains Shelterbelt
• Ogallala Aquifer
• The Plow That Broke the Plains

International:

• Palliser's Triangle (semiarid area of Canada)
• Goyder's Line (semiarid area of Australia)

General:

• Desertification
• Semiarid climate

References[link]

Bibliography[link]

External links[link]

Wikimedia Commons has media related to: Dust Bowl

• NASA Explains "Dust Bowl" Drought
• The Dust Bowl photo collection
• The Dust Bowl (EH.Net Encyclopedia)
• Black Sunday, April 14, 1935, Dodge City, KS
• The Bibliography of Aeolian Research
• Surviving the Dust Bowl, Black Sunday (April 14, 1935)
• Voices from the Dust Bowl: The Charles L. Todd and Robert Sonkin Migrant Worker Collection, 1940–1941 Library of Congress, American Folklife Center Online collection of archival sound recordings, photographs, and manuscripts
• YouTube Video: "The Great Depression, Displaced Mountaineers in Shenandoah National Park, and the Civilian Conservation Corps (C.C.C.)"
• Farming in the 1930s (Wessels Living History Farm)
• Flash: Out of the Dust (The Modesto Bee)
• Africa Data Dissemination Service, part of the Famine Early Warning Systems Network, U.S. Geological Service
• Encyclopedia of Oklahoma History and Culture – Dust Bowl

Ken Burns
Ken Burns, September 2007
Born	Kenneth Lauren Burns (1953-07-29) July 29, 1953 (age 58) Brooklyn, New York
Years active	1981–present
Spouse	Amy Stechler Burns (1982–1993) Julie Deborah Brown (2003–present)

Kenneth Lauren "Ken" Burns^[1] (born July 29, 1953)^[2] is an American director and producer of documentary films, known for his style of using archival footage and photographs. Among his productions are The Civil War (1990), Baseball (1994), Jazz (2001), The War (2007), The National Parks: America's Best Idea (2009) and Prohibition (2011).

Burns' documentaries have been nominated for two Academy Awards, and have won Emmy Awards, among other honors.

Biography[link]

Early life and career[link]

Ken Burns was born in 1953 in Brooklyn, New York City, New York, according to his official website,^[3] though some sources give Ann Arbor, Michigan,^[4] and some, including The New York Times, give both Brooklyn and Ann Arbor.^[1][5] The son of Lyla Smith (née Tupper) Burns,^[6] a biotechnician,^[7] and Robert Kyle Burns, at the time a graduate student in cultural anthropology at Columbia University, in Manhattan.^[6] Ken Burns' brother is the documentary filmmaker Ric Burns.

Burns' academic family moved frequently, and lived in Saint-Véran, France; Newark, Delaware; and Ann Arbor, where his father taught at the University of Michigan.^[7] Burns' mother was diagnosed with breast cancer when Burns was 3, and died when he was 11,^[7] a circumstance that he said helped shape his career; he credited his father-in-law, a psychologist, with a signal insight: "He told me that my whole work was an attempt to make people long gone come back alive.".^[7] Well-read as a child, he absorbed the family encyclopedia, preferring history to fiction. Upon receiving an 8 mm film movie camera for his 17th birthday, he shot a documentary about an Ann Arbor factory. Turning down reduced tuition at the University of Michigan, he attended the new Hampshire College, an alternative school in Amherst, Massachusetts with narrative evaluations rather than letter grades and self-directed academic concentrations instead of traditional majors.^[7] He worked in a record store to pay his tuition.^[7]

Studying under photographers Jerome Liebling and Elaine Mayes and others, Burns earned his Bachelor of Arts degree in film studies and design^[2] in 1975. At 22, upon graduation, he co-founded with two college friends Florentine Films^[2] in Walpole, New Hampshire.^[3][5] As of 2010, there is a Ken Burns Wing at the Jerome Liebling Center for Film, Photography and Video at Hampshire College.^[8] He worked as a cinematographer for the BBC, Italian television, and others, and in 1977, after having completed some documentary short films, he began work on adapting David McCullough's book The Great Bridge, about the construction of the Brooklyn Bridge.^[2] Developing a signature style of documentary filmmaking in which he "adopted the technique of cutting rapidly from one still picture to another in a fluid, linear fashion. He then pepped up the visuals with 'first hand' narration gleaned from contemporary writings and recited by top stage and screen actors",^[5] he made the feature documentary Brooklyn Bridge (1981) which earned an Academy Award nomination for Best Documentary and ran on PBS in the United States.

Following another documentary, The Shakers: Hands to Work, Hearts to God (1984), Burns was Oscar-nominated again for The Statue of Liberty (1985).

Later life and career[link]

He went on to a long, successful career directing and producing well-received television documentaries and documentary miniseries on subjects as diverse as politicians (Thomas Jefferson, 1997), sports (Baseball, 1994, updated with 10th Inning, 2010), music (Jazz, 2001), arts and letters (Thomas Hart Benton, 1988, Mark Twain, 2001), historical technology and mass media (Empire of the Air: The Men Who Made Radio, 1991), and war (the 15-hour World War II documentary The War, 2007, and the 11-hour The Civil War, 1990, which All Media Guide says "many consider his 'chef d'oeuvre'").^[5]

Personal life[link]

In 1982, Burns married Amy Stechler, with whom he had two daughters, Sarah and Lily,^[2] born circa 1983 and 1987, respectively.^[4] That marriage ended in divorce.^[9] As of 2011, Burns resides in Walpole, New Hampshire, with his second wife, Julie Deborah Brown, whom he married on October 18, 2003.^[9]

Politics[link]

Burns is a longtime supporter of the Democratic Party, with almost $40,000 in political donations.^[10] In 2008, the Democratic National Committee chose Burns to produce the introductory video for Senator Edward Kennedy's August 2008 speech to the Democratic National Convention, a video described by Politico as a "Burns-crafted tribute casting him [Kennedy] as the modern Ulysses bringing his party home to port."^[11][12] In August 2009 Kennedy died, and Burns produced a short eulogy video at his funeral. In endorsing Barack Obama for the U.S. presidency in December 2007, Burns compared Obama to Abraham Lincoln.^[13] He said he had planned to be a regular contributor to Countdown with Keith Olbermann on Current TV.^[14]

Awards and honors[link]

• 1982 nomination, Academy Award for Documentary Feature: Brooklyn Bridge (1981)
• 1986 nomination, Academy Award for Documentary Feature: The Statue of Liberty (1985)
• 1995 Emmy Award for Outstanding Informational Series: Baseball' (1994)
• 2010 Emmy Award for Outstanding Non-fiction Series: The National Parks: America's Best Idea (2009)

Burns is the recipient of more than 20 honorary degrees.^{[citation needed]}

The Civil War has received more than 40 major film and television awards,^{[citation needed]} including two Emmy Awards, two Grammy Awards, the Producer of the Year Award from the Producers Guild of America, a People's Choice Award, a Peabody Award, a duPont-Columbia Award, a D.W. Griffith Award, and the $50,000 Lincoln Prize.

Style[link]

Burns frequently incorporates simple musical leitmotifs or melodies. For example, The Civil War features a distinctive violin melody throughout, "Ashokan Farewell", which was performed for the film by the musician Jay Ungar. One critic noted, "One of the most memorable things about The Civil War was its haunting, repeated violin melody, whose thin, yearning notes seemed somehow to sum up all the pathos of that great struggle."^[15]

Burns often gives "life" to still photographs by slowly zooming in on subjects of interest and panning from one subject to another. For example, in a photograph of a baseball team, he might slowly pan across the faces of the players and come to rest on the player who is the subject of the narrator. This technique, possible in many professional and home software applications, is termed "The Ken Burns Effect" in Apple's iPhoto and iMovie software applications.

As a museum retrospective noted, "His PBS specials [are] strikingly out of step with the visual pyrotechnics and frenetic pacing of most reality-based TV programming, relying instead on techniques that are literally decades old, although Burns reintegrates these constituent elements into a wholly new and highly complex textual arrangement."^[2]

In a 2011 interview, Burns stated that he admires and is influenced by filmmaker Errol Morris.^[16]

Filmography[link]

• Brooklyn Bridge (1981)
• The Shakers: Hands to Work, Hearts to God (1984)
• The Statue of Liberty (1985)
• Huey Long (1985)
• The Congress (1988)
• Thomas Hart Benton (1988)
• The Civil War (1990)
• Empire of the Air: The Men Who Made Radio (1991)
• Baseball (1994), updated with the 10th Inning (2010)
• Thomas Jefferson (1997)
• Lewis & Clark: The Journey of the Corps of Discovery (1997)
• Frank Lloyd Wright (1998)
• Not For Ourselves Alone: Elizabeth Cady Stanton and Susan B. Anthony (1999)
• Jazz (2001)
• Mark Twain (2001)
• Horatio's Drive: America's First Road Trip (2003)
• Unforgivable Blackness: The Rise and Fall of Jack Johnson (2005)
• The War (2007)
• The National Parks: America's Best Idea (2009)
• Prohibition, with Lynn Novack (2011)^[17]

Future releases

• The Dust Bowl (scheduled for 2012)^[18]
• The Central Park Five (2013)^[19]
• The Roosevelts (2014)^[19]
• Jackie Robinson (2015)^[19]
• Vietnam (2016)^[20]
• Country Music (2018)^[20]
• Ernest Hemingway (2019)^[20]

Under Burns's name only

• The West (1996) (Executive producer; directed by Stephen Ives)

Short films

• William Segal (Biography) (1992)
• Vezelay (1996)
• In the Marketplace (2000)

Film roles

• Gettysburg (1993)—Hancock's staff officer

References[link]

External links[link]

Wikimedia Commons has media related to: Ken Burns

• Florentine Films—Ken Burns's production company
• Ken Burns at AllRovi
• Ken Burns at the Internet Movie Database
• Ken Burns at MyNorthwest.com
• Ken Burns on PBS
• Ken Burns bibliography
• Speaking Profile—Ken Burns's profile and lecture topics on the Random House Speakers Bureau

Interviews[link]

• Ken Burns interviewed on Conversations from Penn State
• Blue Ridge Country—Ken Burns: The Interview with Blue Ridge County Magazine
• "Ken Burns". WriteTV.org, The Oklahoma Center for Poets and Writers, Oklahoma State University–Tulsa. Undated. http://ra.okstate.edu/osu_tulsa/WritingOutLoud/KenBurns/video.htm. 
• "Ken Burns". Interview, Archive of American Television. October 19, 2007. Archived from the original on July 25, 2011. http://www.emmytvlegends.org/interviews/people/ken-burns. Retrieved September 23, 2011. 

Joe Bonamassa
Bonamassa in Manchester, 2010
Background information
Born	(1977-05-08) May 8, 1977 (age 35) New Hartford, New York United States
Genres	Blues rock, hard rock, rock and roll
Occupations	Musician, singer-songwriter
Instruments	Vocals, guitar, theremin
Years active	1989–present
Labels	J&R Adventures, Provogue
Associated acts	Bloodline, Black Country Communion, Beth Hart
Website	Official website
Notable instruments
Gibson Les Paul Gibson ES335 Fender Stratocaster Fender Telecaster Gibson Flying V

Joe Bonamassa (born May 8, 1977) is an American blues rock guitarist and singer. He began his career playing guitar in the band Bloodline, which featured the offspring of several famous musicians (such as Miles Davis, Robby Krieger and Berry Oakley of The Allman Brothers Band)^[1]. He released his first solo album A New Day Yesterday in 2000, and has since released nine more solo studio albums, four live albums and three live DVDs, along with two albums with the band Black Country Communion and one album in collaboration with vocalist Beth Hart^[2]. He tours the world regularly, and has developed a large following in the U.K. especially. His most recent album, Driving Towards The Daylight, reached #2 on the U.K. Top 40 Albums Chart, and he completed an arena tour there in 2012. In 2009 he was the recipient of the Classic Rock Magazine "Breakthrough Artist of the Year" award^[3], and The Guardian said of him: "the 32-year-old from upstate New York has consolidated a reputation as the pre-eminent blues-rock guitarist of his generation"^[4].

Bonamassa has collaborated with numerous artists, including B.B. King, Eric Clapton, Beth Hart, Paul Rodgers, Leslie West, Jon Lord, Vince Gill, Sandi Thom and Glenn Hughes. He also plays with Hughes in Black Country Communion, along with Jason Bonham and Derek Sherinian^[5].

Joe Bonamassa's music contains a mix of several different genres: although it is primarily blues rock, since relocating to Santorini, Greece in 2009 to record the album Black Rock (named after the studios in which it was created), his music has gained eastern influences, with the addition of instruments such as the bouzouki and clarino (for instance, on Black Lung Heartache from Dust Bowl and Athens to Athens from Black Rock ^[6]). He has also covered songs by John Hiatt and Leonard Cohen^[7].

Early life[link]

Bonamassa was born and raised in New Hartford, New York. His parents owned and ran a guitar shop. He is a fourth-generation musician; with a great-grandfather and grandfather who both played trumpet, and a father who plays guitar, Bonamassa credits his parents with fostering an appreciation of music in his life as early as he can remember. When he was a young child, he would listen to his parents' large record collection. He recalls at age 7, sitting with his parents on Saturdays and listening to Guitar Slim, Bonnie Raitt, Crosby, Stills, Nash, and Young, Eric Clapton, and Jethro Tull. Thus, he sees his music as an amalgam of all the various rock and blues he heard as a child.^[8]

He received his first guitar from his father at the age of 4, and by age 7 he was playing Stevie Ray Vaughan and Jimi Hendrix tunes note for note. At the age of 11, during a short period of being mentored by Danny Gatton, he learned such styles as country and jazz as well as polka. During this time with Gatton, Bonamassa sat in with Gatton's band whenever they played in New York. He first opened for B. B. King at 12 years of age. At 14, he was invited to attend a Fender guitar event; during that trip to the West Coast he met Berry Oakley, Jr., with whom he founded the group Bloodline, along with Miles Davis' son Erin and Robby Krieger's son Waylon. They released one album which produced two chart singles — "Stone Cold Hearted", and "Dixie Peach." He has since played with Buddy Guy, Foreigner, Robert Cray, Stephen Stills, Joe Cocker, Gregg Allman, Steve Winwood, Paul Jones, Steve Lukather, Ted Nugent, Warren Haynes, Eric Clapton, Derek Trucks, and Jack Bruce.

Influences[link]

Unlike other successful blues-rock guitarists, Bonamassa cited his influences as being British and Irish blues acts, rather than American artists. Within the blues genre, hearing the traditional blues players, as with Guitar Slim, Robert Johnson, Muddy Waters, and all the traditional American blues players, (with the exception of B.B. King), comparing the music in the United States to the "European" versions of the blues, Bonamassa found the English blues, fostered by the Jeff Beck Group, Eric Clapton and the Irish blues player Rory Gallagher, to be far more interesting to him than the original Delta blues players.^[8] In an interview in Guitarist magazine (issue 265), he cited the three albums that had the biggest influence on his playing: John Mayall & the Bluesbreakers with Eric Clapton (the Beano album), Rory Gallagher's Irish Tour and Goodbye by Cream. He also stated that Stevie Ray Vaughan's Texas Flood was a big influence at a young age.

Bonamassa performing in Stafford, Texas, 2007

He elaborated further on his influences in his interview:

"You know, my heroes were the Columbine guys – Paul Kossoff, Peter Green, Eric Clapton. There’s so many - there’s Gary Moore, Rory Gallagher – another Irish musician who played the same things, but don’t tell him that. But those guys were my guys – Jeff Beck, Jimmy Page. There’s a certain sophistication to their approach to the blues that I really like, more so than the American blues that I was listening to. B. B. King’s a big influence – he’s probably my biggest traditional influence. I love Muddy Waters, Robert Johnson and T-Bone Walker and stuff like that, but I couldn’t sit down… I was always forcing myself to listen to whole records by them, where I’d rather listen to Humble Pie do "I'm Ready" than Muddy Waters, you know? I think, the English interpretation of the blues just hit me a lot better, you know?"

And in his October 2008 interview with Express & Star:

“When I heard Kossoff playing "Mr. Big" and when I heard Clapton playing "Crossroads" and when I heard Rory Gallagher playing "Cradle Rock", I was like, 'This is way cooler'.... "British blues are my thing. When I heard Rod Stewart and the Jeff Beck Group singing "Let Me Love You", it changed my life. I knew exactly what I wanted to do. Those are my influences".

These influences are evident in his music, but Bonamassa has been influenced by other artists; notable examples include B.B. King, Robert Johnson, Danny Gatton, Eric Johnson, Albert Collins, Stevie Ray Vaughan and Buddy Guy. Bonamassa's style of playing incorporates rock, blues-rock, Delta blues, electric blues, jazz, country - and even prog rock as evidenced by Yes's "Heart of the Sunrise" and the "Würm" section of "Starship Trooper" being regular features of live performances.

Solo career[link]

Bonamassa's solo début, in 2000, was his Top 10 Blues disc A New Day Yesterday, named after the 1969 Jethro Tull classic that Bonamassa makes his own with what allmusic.com called “a jaw-dropping performance”. Produced by the late Tom Dowd, the album featured guest shots by Gregg Allman, Rick Derringer and Leslie West. "Miss You, Hate You" remains a cornerstone of Bonamassa's repertoire, as does "Cradle Rock". Bonamassa followed it up in 2002 with "So, It's Like That", which included "Pain And Sorrow". The album was his first to hit #1 on Billboard's Blues Chart.

Joe Bonamassa performing at the Manchester Apollo, October 2010

In 2003 – designated "Year Of The Blues" by Congress – Bonamassa returned with Blues Deluxe. In the liner notes, Harris Cohen observed that Bonamassa, "never loses touch with the raw emotion that makes the blues what it is." Reviewing "Blues Deluxe", former Creem editor Jaan Uhelszki added, "New York guitar phenom walks tall in the blues tradition…jettisoning fiery riffs inspired by John Lee Hooker, B.B. King, Elmore James, and Albert Collins into the future with furious playing, a hard-rock sensibility, and a grizzled voice that owes a debt to Gregg Allman. Equally inspired by the Delta blues and the mid-'60s British blues boom, the young firebrand … is able to fuse those two schools together, creating edgy blues rock." Had To Cry Today followed in 2004.

In 2006, Bonamassa released his fifth full-length studio album, You & Me. This album also reached #1 on the Billboard Blues Album Chart. For the recording of this album, he enlisted Jason Bonham, while "Your Funeral And My Trial", featured harmonica player L.D. Miller, and the bassist Carmine Rojas. The title of the album was taken from the Django Reinhardt song "Vous et Moi" (1942). The violin introduction of that song inspired Bonamassa to write "Django", the seventh track on the album. Longer live versions would later appear on Live From Nowhere in Particular in 2009, and at the Royal Albert Hall Concert (Live DVD). For this tour, Bonamassa used former Johnny Winter Bassist Mark Epstein and former Kenny Wayne Shepherd drummer Bogie Bowles.

Bonamassa performing on a double necked guitar in Madrid, Spain on June 2, 2009

Sloe Gin was released in August 2007, and spent several weeks at the top of the Billboard Blues Chart. Bonamassa's touring band underwent another change for this album's tour; bassist Carmine Rojas replaced Mark Epstein, and keyboardist Rick Melick was added. Both of the new band members took part in the recordings of You & Me and Sloe Gin, and toured on select dates during promotion of You & Me.

Bonamassa presented his first live show as a DJ on the UK radio station Planet Rock on November 9, 2008, playing tracks from B.B. King, Muddy Waters, Rory Gallagher and Eric Clapton.

In November 2008, Bonamassa announced he would be playing at the Royal Albert Hall in London on May 4, 2009. Tickets for the concert sold out in less than a week. Bonamassa described the event to the Express & Star as "the complete culmination of 20 years of work for me."^{[citation needed]}

At the Royal Albert Hall concert, Bonamassa mentioned that the first song that he learned to play was "Further on Up the Road" and he then introduced Eric Clapton and together they performed the song. Later Bonamassa paid tribute to the Paul Jones Radio Hour on BBC Radio for playing his material on the air, then introduced Paul Jones who played the harmonica on a Sonny Boy Williamson II song, "Your Funeral, My Trial."

In March 2010, Bonamassa released his tenth full-length solo album Black Rock^[9] which debuted at #1 on the Billboard Blues Charts and #38 on the Billboard 200.

In May 2010, Ian Anderson guested at his concert at London's Hammersmith Apollo, and they played "A New Day Yesterday" along with "Locomotive Breath". At the end of 2010, Bowles announced his departure and Tal Bergman took over as touring drummer.

The Bonamassa, Glenn Hughes, Jason Bonham, Derek Sherinian supergroup is now called Black Country Communion. The band were forced to add 'Communion' to their original name Black Country after another band with the same name raised an objection.

In March 2011, Bonamassa released his eleventh full-length solo album, Dust Bowl, followed in September of the same year by a collaboration with Beth Hart called "Don't Explain".

In early 2012, Bonamassa completed the recording of his twelfth studio album. The title was confirmed by Bonamassa in a post on his official Facebook page on March 12 2012 as Driving Towards The Daylight^[10]. Bonamassa debuted the title track during his UK Tour in the same month^[11]

Discography[link]

DVDs[link]

Live at the Rockpalast was released in 2005, and recorded at the Burg Satzvey in Mechernich, Germany.^[12]

A live DVD titled A New Day Yesterday, Live was given away for a short period of time with So, It's Like That. This concert was later re-released as a full CD and DVD.

An instructional DVD, Signature Sounds, Styles and Techniques, was released in 2006.

A live DVD, Joe Bonamassa: Live From Royal Albert Hall was released in September 2009, featuring Eric Clapton as a guest performer.

Bonamassa's performance with pedal-steel guitarist Robert Randolph, Randolph's Family Band and Pino Daniele at the 2010 edition of Crossroads Guitar Festival appears on the Crossroads 2010 DVD. The song they played is Going Down.

A live DVD, "Joe Bonamassa Live from New York Beacon Theatre" was released in 2012.

References[link]

External links[link]

Wikimedia Commons has media related to: Joe Bonamassa

• Official website
• Joe Bonamassa Experience official website
• Joe Bonamassa Official Fan Website
• European Joe Bonamassa Website

Woody Guthrie
Woody Guthrie with guitar labeled "This Machine Kills Fascists"
Background information
Birth name	Woodrow Wilson Guthrie
Born	(1912-07-14)July 14, 1912 Okemah, Oklahoma, United States
Died	October 3, 1967(1967-10-03) (aged 55) New York City, New York, United States
Genres	Folk, protest song, country
Occupations	Singer-songwriter
Instruments	Vocals, guitar, harmonica, mandolin, fiddle
Years active	1930–1956
Associated acts	Almanac Singers
Notable instruments
Martin 000-18, Gibson Southern Jumbo, Gibson J-45

Woodrow Wilson "Woody" Guthrie (July 14, 1912 – October 3, 1967) is best known as an American singer-songwriter and folk musician, whose musical legacy includes hundreds of political, traditional and children's songs, ballads and improvised works. He frequently performed with the slogan This Machine Kills Fascists displayed on his guitar. His best-known song is "This Land Is Your Land." Many of his recorded songs are archived in the Library of Congress.^[1] Such songwriters as Bob Dylan, Phil Ochs, Bruce Springsteen, John Mellencamp, Pete Seeger, Joe Strummer, Billy Bragg and Tom Paxton have acknowledged Guthrie as a major influence.

Guthrie traveled with migrant workers from Oklahoma to California and learned traditional folk and blues songs. Many of his songs are about his experiences in the Dust Bowl era during the Great Depression, earning him the nickname the "Dust Bowl Troubadour."^[2] Throughout his life Guthrie was associated with United States communist groups, though he was seemingly not a member of any.^[3]

Guthrie was married three times and fathered eight children, including American folk musician Arlo Guthrie. He is the grandfather of musician Sarah Lee Guthrie.^[4] Guthrie died from complications of Huntington's disease, a progressive genetic neurological disorder. During his later years, in spite of his illness, Guthrie served as a figurehead in the folk movement, providing inspiration to a generation of new folk musicians, including mentor relationships with Ramblin' Jack Elliott and Bob Dylan.

Woody Guthrie was inducted into the Oklahoma Music Hall of Fame in 1997.

Biography[link]

Early life: 1912–30[link]

Woody Guthrie's Okfuskee County, Oklahoma, childhood home as it appeared in 1979

Guthrie was born in Okemah, a small town in Okfuskee County, Oklahoma, the son of Nora Belle (née Sherman) and Charles Edward Guthrie.^[4] His parents named him after Woodrow Wilson, then Governor of New Jersey and the Democratic candidate soon to be elected President of the United States.

Charles Guthrie was an industrious businessman, owning at one time up to 30 plots of land in Okfuskee County. He was actively involved in Oklahoma politics and was a Democratic candidate for office in the county. When Charles was making stump speeches, he would often be accompanied by his son.^[5] Charles Guthrie was involved in the 1911 lynching of Laura and Lawrence Nelson. His son wrote three songs about the event and said that his father was later a member of the revived Ku Klux Klan.^[6]

Guthrie's early family life was affected by several fires, including one that caused the loss of his family's home in Okemah. His sister Clara later died in a coal-oil (used for heating) fire when Guthrie was seven, and Guthrie's father was severely burned in a subsequent coal-oil fire.^[7] The circumstances of these fires, especially that in which Charley was injured, remain unclear. It is unknown whether they were accidents or the result of actions by Guthrie's mother Nora, who was afflicted with Huntington's disease, although the family did not know this at the time. It leads to dementia as well as muscular effects.^[8]

Nora Guthrie was eventually committed to the Oklahoma Hospital for the Insane, where she died in 1930 from Huntington's disease. Judging from the circumstances of her father's death by drowning, researchers suspect that George Sherman suffered from the same hereditary disease.^[9]

When Nora Guthrie was institutionalized, Woody Guthrie was 14. His father Charley was living and working in Pampa, Texas, to repay his debts from unsuccessful real estate deals. Woody and his siblings were on their own in Oklahoma; they relied on their eldest brother Roy for support. The 14-year-old Woody Guthrie worked odd jobs around Okemah, begging meals and sometimes sleeping at the homes of family friends. According to one story, Guthrie made friends with an African-American blues harmonica player named "George", whom he would watch play at the man's shoe shine booth. Before long, Guthrie bought his own harmonica and began playing along with him. In another interview 14 years later, Guthrie claimed he learned how to play harmonica from a boyhood friend, John Woods, and that his earlier story about the shoe-shining player was false.^[10]

He seemed to have a natural affinity for music and easily learned to "play by ear." He began to use his musical skills around town, playing a song for a sandwich or coins.^[11] Guthrie easily learned old ballads and traditional English & Scots songs from the parents of friends. Although he did not excel as a student (he dropped out of high school in his fourth year and did not graduate), his teachers described him as bright. He was an avid reader on a wide range of topics. Friends recall his reading constantly.^[12]

Eventually, Guthrie's father sent for his son to come to Texas, but little changed for the aspiring musician. Guthrie, then 18, was reluctant to attend high school classes in Pampa and spent much time learning songs by busking on the streets and reading in the library at Pampa's city hall. He was growing as a musician, gaining practice by regularly playing at dances with his father's half-brother Jeff Guthrie, a fiddle player. At the library, he wrote a manuscript summarizing everything he had read on the basics of psychology. A librarian in Pampa shelved this manuscript under Guthrie's name, but it was later lost in a library reorganization.^[12]

1930s: traveling[link]

At age 19, Guthrie met and married his first wife, Mary Jennings, with whom he had three children,^[13] Gwendolyn, Sue, and Bill, all of whom would later die prematurely. With the advent of the Dust Bowl era, Guthrie left Texas, leaving Mary behind, and joined the thousands of Okies who were migrating to California looking for work. Many of his songs are concerned with the conditions faced by these working class people.

California[link]

During the late part of that decade, he achieved fame with radio partner Maxine "Lefty Lou" Crissman as a broadcast performer of commercial "hillbilly" music and traditional folk music.^[15] Guthrie was making enough money to send for his family, who were still living in Texas. While appearing on the commercial radio station KFVD, owned by a populist-minded New Deal Democrat Frank W. Burke, Guthrie began to write and perform some of the protest songs that would eventually appear on Dust Bowl Ballads.

It was at KFVD that Guthrie met newscaster Ed Robbin. Robbin was impressed with a song Guthrie wrote about Thomas Mooney, believed by many to be a wrongly convicted man who was, at the time, a leftist cause célèbre.^[16] Robbin, who became Guthrie's political mentor, introduced Guthrie to socialists and communists in Southern California, including Will Geer. He remained Guthrie's lifelong friend, and helped Guthrie book benefit performances in the communist circles in Southern California. Notwithstanding Guthrie's later claim that "the best thing that I did in 1936 was to sign up with the Communist Party,"^[17] he was never a member of the Party. He was noted as a fellow traveler—an outsider who agreed with the platform of the party while not subject to party discipline.^[18] Guthrie requested to write a column for the Communist newspaper, The Daily Worker. The column, titled "Woody Sez," appeared a total of 174 times from May 1939 to January 1940. "Woody Sez" was not explicitly political, but was about current events as observed by Guthrie. He wrote the columns in an exaggerated hillbilly dialect and usually included a small comic;^[19] they were published as a collection after Guthrie's death.^{[dead link][3]} Steve Earle said of Guthrie, "I don't think of Woody Guthrie as a political writer. He was a writer who lived in very political times."^[20]

With the outbreak of World War II and the nonaggression pact the Soviet Union had signed with Germany in 1939, the owners of KFVD radio did not want its staff "spinning apologia" for the Soviet Union. Both Robbin and Guthrie left the station.^[21] Without the daily radio show, his prospects for employment diminished, and Guthrie and his family returned to Pampa, Texas. Although Mary Guthrie was happy to return to Texas, the wanderlusting Guthrie soon after accepted Will Geer's invitation to New York City and headed east.

1940s: building a legacy[link]

New York City[link]

Arriving in New York, Guthrie, known as "the Oklahoma cowboy," was embraced by its leftist folk music community. For a time, he slept on a couch in Will Geer's apartment. Guthrie made his first recordings—several hours of conversation and songs recorded by the folklorist Alan Lomax for the Library of Congress—as well as an album, Dust Bowl Ballads, for Victor Records in Camden, New Jersey.^[22]

	"This Land is Your Land" noicon Sample of Woody Guthrie's song, "This Land is Your Land"
Problems listening to this file? See media help.

Guthrie was tired of the radio overplaying Irving Berlin's "God Bless America." He thought the lyrics were unrealistic and complacent.^[23] Partly inspired by his experiences during a cross-country trip and his distaste for "God Bless America," he wrote his most famous song, "This Land Is Your Land," in February 1940; it was subtitled "God Blessed America for Me." The melody is adapted from an old gospel song, "Oh My Loving Brother." This was best known as "When The World's On Fire," sung by the country group The Carter Family. Guthrie signed the manuscript with the comment, "All you can write is what you see, Woody G., N.Y., N.Y., N.Y."^[24] He protested against class inequality in the fourth and sixth verses:

As I went walking, I saw a sign there,

And on the sign there, It said "no trespassing." [In another version, the sign reads "Private Property"]

But on the other side, it didn't say nothing!

That side was made for you and me.

In the squares of the city, In the shadow of a steeple;

By the relief office, I'd seen my people.

As they stood there hungry, I stood there asking,

Is this land made for you and me?

These verses were often omitted in subsequent recordings, sometimes by Guthrie. Although the song was written in 1940, it was four years before he recorded it for Moses Asch in April 1944.,^[25] Sheet music was not produced and given to schools by Howie Richmond until later.^[26]

In March 1940, Guthrie was invited to play at a benefit hosted by The John Steinbeck Committee to Aid Farm Workers, to raise money for migrant workers. There he met the folksinger Pete Seeger, and the two men became good friends.^[27] Later, Seeger accompanied Guthrie back to Texas to meet other members of the Guthrie family. He recalled an awkward conversation with Mary Guthrie's mother, in which she asked for Seeger's help to persuade Guthrie to treat her daughter better.^[28]

Guthrie had some success in New York at this time as a guest on CBS's radio program Back Where I Come From and used his influence to get a spot on the show for his friend Huddie "Lead Belly" Ledbetter. Ledbetter's Tenth Street apartment was a gathering spot for the leftwing musician circle in New York at the time, and Guthrie and Ledbetter were good friends, as they had busked together at bars in Harlem.^[29]

In September 1940 Guthrie was invited by the Model Tobacco Company to host their radio program, Pipe Smoking Time. Guthrie was paid $180 a week, an impressive salary in 1940.^[30] He was finally making enough money to send regular payments back to Mary. He also brought her and the children to New York, where the family lived briefly in an apartment on Central Park West. The reunion represented Woody's desire to be a better father and husband. He said "I have to set ['sic'] real hard to think of being a dad."^[30] Guthrie quit after the seventh broadcast, claiming he had begun to feel the show was too restrictive when he was told what to sing.^[31] Disgruntled with New York, Guthrie packed up Mary and his children in a new car and headed west to California.^[32]

Pacific Northwest[link]

In May 1941, after a brief stay in Los Angeles, Guthrie moved the family north to Washington state on the promise of a job. Gunther von Fritsch was directing a documentary about the Bonneville Power Administration's construction of the Grand Coulee Dam on the Columbia River, and needed a narrator. Alan Lomax had recommended Guthrie to narrate the film and sing songs onscreen. The original project was expected to take 12 months, but as filmmakers became worried about casting such a political figure, they minimized Guthrie's role. The Department of the Interior hired him for one month to write songs about the Columbia River and the construction of the federal dams for the documentary's soundtrack. Guthrie toured the Columbia River and the Pacific Northwest. Guthrie said he "couldn't believe it, it's a paradise",^[33] which appeared to inspire him creatively. In one month Guthrie wrote 26 songs, including three of his most famous: "Roll On Columbia", "Pastures of Plenty", and "Grand Coulee Dam".^[34] The surviving songs were released as Columbia River Songs. The film was never completed and was released only in a limited form.

At the conclusion of the month in Oregon and Washington, Guthrie wanted to return to New York. Tired of the continual uprooting, Mary Guthrie told him to go without her and the children.^[35] Although Guthrie would see Mary again, once on a tour through Los Angeles with the Almanac Singers, it was essentially the end of their marriage. Divorce was difficult, since Mary was a member of the Catholic Church, but she reluctantly agreed in December 1943.^[36]

Woody Guthrie, 1943

Almanac Singers[link]

Following the conclusion of his work in Washington State, Guthrie corresponded with Pete Seeger about Seeger's newly formed folk-protest group, the Almanac Singers. Guthrie returned to New York with plans to tour the country as a member of the group.^[37] The singers originally worked out of a loft in New York City hosting regular concerts called "hootenannys", a word Pete and Woody had picked up in their cross-country travels. The singers eventually outgrew the space and moved into the cooperative Almanac House in Greenwich Village.

Initially Guthrie helped write and sing what the Almanacs Singers termed "peace" songs; while the Nazi-Soviet Pact was in effect, until Hitler invaded the Soviet Union in June 1941, the Communist line was that World War II was a capitalist fraud. After Hitler's invasion of the Soviet Union, the group wrote anti-fascist songs. The members of the Almanac Singers and residents of the Almanac House were a loosely defined group of musicians, though the 'core' members included Guthrie, Pete Seeger, Millard Lampell and Lee Hays. In keeping with common socialist ideals, meals, chores and rent at the Almanac House were shared. The Sunday hootenannys were good opportunities to collect donation money for rent. Songs written in the Almanac House had shared songwriting credits among all the members, although in the case of "Union Maid", members would later state that Guthrie wrote the song, ensuring that his children would receive residuals.^[38]

In the Almanac House, Guthrie added authenticity to their work, since he was a "real" working-class Oklahoman. "There was the heart of America personified in Woody....And for a New York Left that was primarily Jewish, first or second generation American, and was desperately trying to get Americanized, I think a figure like Woody was of great, great importance", a friend of the group, Irwin Silber, would say.^[39] Woody routinely emphasized his working-class image, rejected songs he felt were not in the country blues vein he was familiar with, and rarely contributed to household chores. House member Agnes "Sis" Cunningham, another Okie, would later recall that Woody, "loved people to think of him as a real working class person and not an intellectual".^[40] Guthrie contributed songwriting and authenticity in much the same capacity for Pete Seeger's post-Almanac Singers project People's Songs, a newsletter and booking organization for labor singers, founded in 1945.^[41]

[edit] Bound for Glory

Guthrie was a prolific writer, penning thousands of pages of unpublished poems and prose, many written while living in New York City. After a recording session with Alan Lomax, Lomax suggested Guthrie write an autobiography. Lomax thought Guthrie's descriptions of growing up were some of the best accounts he had read of American childhood.^[42] During this time Guthrie met Marjorie Mazia, a dancer in New York who would become his second wife. Mazia was an instructor at the prestigious Martha Graham Dance School, where she was assisting Sophie Maslow with her piece Folksay. Based on the folklore and poetry collected by Carl Sandburg, Folksay included the adaptation of some of Guthrie's Dust Bowl Ballads for the dance.^[43] Guthrie continued to write songs and began work on his autobiography. The end product, Bound For Glory was completed due to the patient editing assistance of Mazia and was first published by E.P. Dutton in 1943.^[44] It is vividly told in the artist's down-home dialect, with the flair and imagery of a true storyteller. Library Journal complained about the "Too careful reproduction of illiterate speech."^[45] But Clifton Fadiman, reviewing the book in the New York Times, paid the author a fine tribute: "Some day people are going to wake up to the fact that Woody Guthrie and the ten thousand songs that leap and tumble off the strings of his music box are a national possession like Yellowstone and Yosemite, and part of the best stuff this country has to show the world."^[45] A film adaptation of Bound for Glory was released in 1976.^[46]

The Asch recordings[link]

In 1944, Guthrie met Moses "Moe" Asch of Folkways Records, for whom he first recorded "This Land Is Your Land". Over the next few years, he recorded "Worried Man Blues", along with hundreds of other songs. These recordings would later be released by Folkways and Stinson Records, which had joint distribution rights.^[47] The Folkways recordings are available (through the Smithsonian Institute online shop); the most complete series of these sessions, culled from dates with Asch, is titled The Asch Recordings.

World War II years[link]

Guthrie believed performing his anti-fascist songs and poems at home was the best use of his talents; Guthrie lobbied the United States Army to accept him as a USO performer instead of conscripting him as a soldier in the draft. When Guthrie's attempts failed, his friends Cisco Houston and Jim Longhi pressured Guthrie to join the U.S. Merchant Marine.^[48] Guthrie followed their advice: he served as a mess man and dishwasher and frequently sang for the crew and troops to buoy their spirits on transatlantic voyages. Guthrie made attempts to write about his experience in the Merchant Marine but was never satisfied with the results. Longhi later wrote about these experiences in his book Woody, Cisco and Me.^[49] The book offers a rare first-hand account of Guthrie during his Merchant Marine service. In 1945, Guthrie's association with communism made him ineligible for further service in the Merchant Marine, and he was drafted into the U.S. Army.^[50]

While he was on furlough from the Army, Guthrie and Marjorie were married.^[51] After his discharge, they moved into a house on Mermaid Avenue in Coney Island and over time had four children. One of their children, Cathy, died as a result of a fire at age four, sending Guthrie into a serious depression.^[52] Their other children were Joady, Nora and Arlo. Arlo followed in his father's footsteps as a singer-songwriter. During this period, Guthrie wrote and recorded Songs to Grow on for Mother and Child, a collection of children's music, which includes the song "Goodnight Little Arlo (Goodnight Little Darlin')", written when Arlo was about nine years old.

A 1948 crash of a plane carrying 28 Mexican farm workers from Oakland, California, in deportation back to Mexico inspired Woody to write "Deportee (Plane Wreck At Los Gatos)".^[53]

In 1949 Guthrie's music was featured in the film Columbia River;^[54] Guthrie had been commissioned in 1941 to provide songs for the project, but it had been postponed due to WWII.^[55]

Mermaid Avenue[link]

This page from a collection of Guthrie's sheet music published in 1946 includes his Mermaid Avenue address and one of his anti-fascist slogans

The years living on Mermaid Avenue were among Guthrie's most productive periods as a writer. His extensive writings from this time were archived and maintained by Marjorie and later his estate, mostly handled by Guthrie's daughter, Nora. Several of the manuscripts contain scribblings by a young Arlo and the other Guthrie offspring.^[56]

During this time Ramblin' Jack Elliott studied extensively under Guthrie, visiting his home and observing how he wrote and performed. Elliott, like Bob Dylan later, idolized Guthrie and was inspired by his idiomatic performance style and repertoire. Due to Guthrie's suffering Huntington's disease, Dylan and Guthrie's son Arlo later claimed they learned much of Guthrie's performance style from Elliott. When asked about Arlo's claim, Elliott said, "I was flattered. Dylan learned from me the same way I learned from Woody. Woody didn't teach me. He just said, If you want to learn something, just steal it—that's the way I learned from Lead Belly."^{[citation needed][not in citation given][57]}

1950s and 1960s[link]

Deteriorating health[link]

By the late 1940s, Guthrie's health was declining, and his behavior was becoming extremely erratic. He received various diagnoses (including alcoholism and schizophrenia), but in 1952, it was finally determined that he was suffering from Huntington's disease, a genetic disorder inherited from his mother. Believing him to be a danger to their children, Marjorie suggested he return to California without her; they eventually divorced.^[58]

Upon his return to California, Guthrie lived at the Theatricum Botanicum, a summer-stock type theatre founded and owned by Will Geer; with blacklisted singers and actors, he waited out the anti-communist political climate. As his health worsened, he met and married his third wife, Anneke Van Kirk. They had a child, Lorinna Lynn. The couple moved to Fruit Cove, Florida, briefly. They lived in a bus on land called Beluthahatchee, owned by his friend Stetson Kennedy. Guthrie's arm was hurt in a campfire accident when gasoline used to start the campfire exploded. Although he regained movement in the arm, he was never able to play the guitar again. In 1954, the couple returned to New York.^[59] Shortly after, Anneke filed for divorce, a result of the strain of caring for Guthrie. Anneke left New York and allowed friends to adopt Lorinna Lynn. Lorinna had no further contact with her birth parents and died in 1973 at the age of nineteen in a car accident in California. After the divorce, Guthrie's second wife, Marjorie, re-entered his life and cared for him until his death.

Guthrie, increasingly unable to control his muscles, was hospitalized at Greystone Park Psychiatric Hospital from 1956 to 1961, at Brooklyn State Hospital until 1966,^[60] and finally at Creedmoor Psychiatric Center until his death.^[61] Marjorie and the children visited Guthrie at Greystone every Sunday. They answered fan mail and played on the hospital grounds. Eventually a longtime fan of Guthrie invited the family to his nearby home for the Sunday visits. This lasted until Guthrie was moved to the Brooklyn State Hospital, which was closer to where Marjorie lived.