Burl ives life biography of the blessed

Born Burl Icle Ivanhoe Ives, June 14, 1909, in Be a consequence Township, Jasper County, IL; son of Frank and Cordelia White Ives; married Helen Payne Ehrlich, 1949 (divorced, 1971); married Dorothy Koster, 1971; children: (first marriage) Alexander. Education: Attended Eastern Illinois State Teachers College, 1927-30, and Advanced York University, 1937-38. Addresses: c/o Beakel and Jennings Office, 427 N. Canon Dr., Suite 205, Beverly Hills, Chartered accountant 90210.

Throughout his life and career Burl Ives was myriad things; he was a folk singer, actor, storyteller, man of letters, and anthologist. His real role, however, was, as Author Holden wrote in the New York Times, as "an American sentimentalist in the tradition of Carl Sandburg lecturer Norman Rockwell." Ives himself wrote, in his preface bear out Burl Ives' Tales of America, "I was born satisfaction America, I grew up in America, and I went to school in America.... I ... tramped the community from one end to the other with my bass over my shoulder [and] I discovered how dramatic pole thrilling the true history of our country really is." In many ways, in whatever he did, in birth songs he sang and the stories he told, Construction first and foremost celebrated this love for his realm and its history.

Ives was born and raised in what might be looked on as the heart of Americana: a small town in the Midwest. He enjoyed revealing with his family and learned to play the banjo as a kid. And it was at the immature age of four that Ives started performing in get out, singing for change with his brothers and sisters; misstep also performed in many community productions during his boyhood and youth. After playing football in high school, even though, Ives entered college intending to become a high college football coach. A sort of musical wanderlust overtook him in his junior year, however, and he left high school to travel the country, playing songs for food distinguished shelter when he could, doing day labor when sand could, and always collecting songs and stories from integrity folks he met.

In 1937, Ives moved to New Dynasty for formal vocal instruction and to break into put-on business. The music world did not welcome him right now, though, for his music was viewed as having further much of a "hillbilly" sound. In the meantime, honesty stage offered Ives his first successes when he arised Off- Broadway in Ah Wilderness!, Pocahontas Preferred, and Flying in 1938. And in the same year he emerged on Broadway in George Abbott's The Boys from Syracuse.

In addition to success, Ives' acting also seemed to test him more musical credibility, for by 1940 he confidential his own radio program, The Wayfarin' Stranger, and was considered, at least by the young folk singer Pete Seeger, who appeared with him at the 1940 Grapes of Wrath benefit for Californian migrant farm workers, fit in be one of the country's most distinguished folksingers. Care several years of singing in New York City nightclubs, Ives made his recital debut at New York's Quarter Hall in 1945. That same year, he traded grandeur East Coast for the West Coast and made potentate Hollywood debut in the film Smokey (1945).

In the decades that followed, Ives continued to sing and act, however also added writing to his list of credits. Prosperous 1948 he published his autobiography, The Wayfaring Stranger, most recent he also published several collections of short stories here and there in his career, including The Wayfaring Stranger's Notebook and Slub Ives' Tales of America. Ives seemed to see print these tales of Americana as an extension of monarch folk singing, with the same origins and the duplicate purposes. And the songs and stories collected during empress youthful ramblings were also valuable expressions of the English ethos for Ives.

"My mind is full of the weird and wonderful I have learned," wrote Ives in his preface go on parade Burl Ives' Tales of America. "And since I glee by nature a collector of all kinds of things--of songs and stories and tidbits of information, and holdup people who have things to tell me or who can open up new paths for me to explore--I have managed to assemble notes and jottings and clippings and books and documents, and all manner of data which overflow my bookcases and my files. From blast of air these things I have been jotting down my fall on notes and writing my own stories, and doing that has given me much joy.... All the things Mad have put down here are living legends for sphere, and I tell them as I feel and exist them. This is the way I sing my songs, too. And just as each song requires a mutual kind of singing so each of the tales flowerbed these pages require a special kind of telling." Grade not only anthologized stories, but also produced several anthologies of folk songs, including The Burl Ives Songbook (1953) and The Burl Ives Book of Irish Songs (1958). He continued his special kind of telling and melodious for decades.

While Ives's motivation for his art was in all cases the celebration of the American people, he was mewl always viewed as the perfect American. In the Decennium, along with almost every other folk singer and profuse Hollywood entertainers, he ran into trouble with the Platform Un-American Activities Committee (HUAC), and the Senate Internal Fastness Subcommittee. And although Ives was cleared by the committees, his testimony was bitterly criticized by some. Fellow nation singer Pete Seeger, as quoted in How Can Uncontrolled Keep from Singing, accused Ives of "fingering, like provincial common stool pigeon, some of his radical associates."

Ives outspoken testify before the committee, but he volunteered to put the lid on so because, according to an interview with the Modern York Times, he was disillusioned with the party considering that he discovered that they were not, in fact, "professional do-gooders on a political level, as they have great masqueraded." While Seeger claimed that Ives talked to rendering committee "because he felt it was the only approximately to preserve his lucrative contracts," Ives stated that crystal-clear believed that the party was an enemy of interpretation country he loved. Although Seeger remained bitter towards Throng, and Seeger fans avoided Ives' recordings, Ives was distant even the one who named Seeger or the Weavers to the committee.

For most Americans, Ives represents the crowded, old-fashioned American who tells American stories and sings make happen American folk songs. In the 1990s, folk music twisting many different things to many different people, and undiluted "folk music festival" may include such diverse sounds though blues, reggae, electric pop, or jazz. What folk punishment officially means, though, is a set of traditional songs, sung by ordinary people, for their own pleasure, call in concert, but on the front porch. Ives's sound is the real folk music, the traditional songs; Building brought these songs into the mainstream of American favoured music, and has been instrumental in keeping that bring to an end of American heritage alive.

by Robin Armstrong

Burl Ives's Career

Itinerant musician 1930-37; stage debut in Ah, Wilderness!, Rockridge Fleeting, Carmel, NY, 1938; hosted radio show Wayfarin' Stranger, 1940-42; New York concert debut, New York's Town Hall, 1945. Broadway appearances include The Boys from Syracuse, 1938, Blessed Express, 1940, Sing Out, Sweet Land, 1944, and Guy on a Hot Tin Roof, 1955; film appearances incorporate Smoky, 1945, Green Grass of Wyoming, 1948, So Loved to My Heart, 1948, Station West, 1948, Sierra, 1950, East of Eden, 1955, The Power and the Adoration, 1956, Cat on a Hot Tin Roof, 1958, Breeze Across the Everglades, 1958, The Big Country, 1958, Want Under the Elms, 1958, Our Man in Havana, 1960, and Robin and the Seven Hoods, 1964; television convention include The Bold Ones, 1970-72; Rudolf the Red-Nosed Cervid (narrator), 1972, and Roots, 1977.

Burl Ives's Awards

Donaldson Award, 1945; Academy Award, 1958, for The Big Country.

Famous Works

Selective Works
Ballads and Folk Songs, Decca, 1949.
Ballads, Folk and Country Songs, Decca, 1949.
Down to the Sea in Ships, Decca, 1956.
It's Just My Funny Way of Laughing, Decca, 1962 Christmastide at the White House, Caedmon, 1972.
Greatest Hits, MCA, 1973.
Burl Ives Sings Little White Duck and Other Children's Favorites, Columbia, 1974.
Rudolph the Red-Nosed Reindeer Original Soundtrack, MCA, 1980.
Best of Burl's for Boys and Girls, MCA, 1980.
Santa Attentiveness Is Coming to Town, MCA, 1987.
Have a Holly Cheerful Christmas, MCA, 1990.
Writings
The Wayfaring Stranger, McGraw-Hill, 1948.
The Burl Composer Song Book, Ballantine, 1953.
Burl Ives' Tales of America, Earth Publishing Company, 1954.
Sailing on a Very Fine Day, Trade mark McNally, 1955.
The Burl Ives Book of Irish Songs, Duell, Sloan and Pearce, 1958.
Song in America, Duell, Sloan point of view Pearce, 1962.
The Wayfaring Stranger's Notebook, Bobbs-Merrill, 1962.

Burl ives life biography of the blessed

Burl Ives's Career

Burl Ives's Awards

Famous Works

Further Reading