Lee Hays
Lee Elhardt Hays was an American folk singer and songwriter, best known for singing bass with the Weavers. Throughout his life, he was concerned with overcoming racism, inequality, and violence in society. He wrote or cowrote "Lonesome Traveller", "Wasn't That a Time?", "If I Had a Hammer", and "Kisses Sweeter than Wine", which became hits and Weavers' staples. He also familiarized audiences with songs of the 1930s labor movement, such as "We Shall Not Be Moved".
Childhood
Hays came naturally by his interest in folk music since his uncle was the eminent Missouri and Arkansas folklorist Vance Randolph, author of, among other works, the bestselling Pissing in the Snow and Other Ozark Folktales and Who Blewed Up the Church House?. Hays' social conscience was ignited when at age five he witnessed public lynchings of African-Americans.He was born in Little Rock, Arkansas, the youngest of the four children of William Benjamin Hays, a Methodist minister, and Ellen Reinhardt Hays, who before her marriage had been a court stenographer. William Hays's vocation of ministering to rural areas took him from parish to parish, so, as a child, Lee lived in several towns in Arkansas and Georgia. He learned to sing Sacred Harp music in his father's church. Both his parents valued learning and books. Mrs. Hays taught her four children to type before they began learning penmanship in school, and all were excellent students. There was a gap in age of ten years between Lee and next oldest sibling, his brother Bill.
In 1927, when Lee was thirteen, his childhood came to an abrupt end as tragedy struck the family. The Reverend Hays was killed in an automobile accident on a remote road and soon afterward Lee's mother had to be hospitalized for a mental breakdown from which she never recovered. Lee's sister, who had begun teaching at Hendrix-Henderson College, also broke down temporarily and had to quit her job to move in with their oldest brother in Boston, Massachusetts.
Teenage years
The period immediately following his father's death was so painful that Lee Hays could not bring himself to talk much about it, even to Doris Willens, the writer he selected to be his biographer. His brothers, both recently married, sent him to Emory Junior College in Georgia from which he graduated in 1930 at sixteen. He traveled alone to enroll at Hendrix-Henderson College in Arkansas, the Methodist school that his father and siblings had attended, but the expense of their mother's institutionalization and the effects of the Wall Street Crash of 1929 meant that college tuition money was not available for Lee. Instead he moved to Cleveland, Ohio, where his oldest brother, Reuben, who worked in banking, was then located. Reuben found Lee a job as a page in a public library. There the rebellious Hays embarked on an extensive program of self-education, becoming radicalized in the process:Every book that was considered unfit for children to read was marked with a black rubber stamp. So I'd go through the stacks and look for these black stamps. Always the very best books. They weren't locked-up books, just books that would not normally issued to children—D. H. Lawrence, a number of European novels. Reading those books was like doors opening. Don't forget that the fundamentalist South was a closed, fixed society. The world was made in six days; everything was foreordained and fixed in the universe.... This was the time of the Great Depression... the whole country was in the grip of a terrible sickness, which troubled me as it did everyone else. And I didn't understand it until I started reading Upton Sinclair and the little mag.... Somewhere along in there I became some kind of Socialist, just what kind, I have never figured out.
In 1932, Hays moved out of his brother's house into a room at the Cleveland YMCA, where he stayed for two years. Hearing about the activities of the radical white Presbyterian minister Claude C. Williams, a Christian Marxist who had become converted to the cause of racial equality and was trying to organize a coal miners' union in Paris, Arkansas, Hays decided to return to Arkansas and join Williams in his work. He enrolled at the University of the Ozarks in Clarksville, Arkansas, a Presbyterian school that allows students to work in lieu of tuition, intending to study for the ministry and devote his life to the poor and dispossessed. There he met a fellow student, Zilphia Johnson, another acolyte of Williams, who was to become almost as important in Hays' life as Williams himself. An accomplished musician and singer, Zilphia had broken with her father, who was the owner of the Arkansas coal mine that Williams was trying to organize, and had become a union organizer herself. Hays moved in with Williams and his family: "I got to be his chief helper for quite a while", he later wrote. From 1934 to 1940, writes Doris Willens, "Williams was the dominant figure in Hays' life—a surrogate father—a man of the cloth but with a radical difference". The following year, Williams was dismissed by the elders of his Paris, Arkansas, church for being too radical and was subsequently jailed, beaten, and almost killed when he tried to organize an interracial hunger march of tenant farmers in Fort Smith, Arkansas, near the Oklahoma border. His life was saved only because his activities attracted newspaper publicity and the attention of northerners. One of these was Willard Uphaus, a professor of divinity at Yale University, who had recently been appointed executive secretary of the National Religion and Labor Foundation, and who became Williams' admirer and supporter. After his release from jail, Williams moved his family away from Fort Smith to Little Rock to get them out of harm's way. Hays dropped out of school in order to follow them, living on odd jobs for a time. He then went to visit Zilphia, who had married Myles Horton, a founder and the director of the Highlander Folk School, an adult education and labor organizing school in Monteagle, Tennessee.
At Highlander, Zilphia Horton directed music, theater, and dance workshops. During a miners' union meeting in Tennessee, she recruited Hays as a song leader: "When Zilphia got up and said, 'Brother Lee Hays will now lead us in singing', I damn near dropped through the floor. There was no backing out; I had to take the plunge and I've been doing it ever since." Later, he wrote that "Claude and Zilphia did more to change and shape my life than any people I can recall."
In her drama classes at Highlander Zilphia borrowed the techniques of the New Theater League in New York, which encouraged participants to create plays out of their own experience, which would then be staged at labor conferences. It was a revelation for Hays to see how the arts could serve to empower people for social action. He decided to go to New York and study playwrighting himself.
Armed with a letter of introduction from Claude Williams and Willard Uphaus, Hays became a resident at a student program at New York City's progressive Judson Memorial Church. There, he and a friend, Alan Hacker, a photojournalist, raised funds to make a documentary film about the plight of Southern sharecroppers and about efforts at Highlander and elsewhere to organize the Southern Tenant Farmers Union, one of the first racially integrated labor unions in the United States. In preparation, Hays and Hacker took classes with photographer Paul Strand, among others. They shot the film in Mississippi at an experimental Quaker-run cooperative inter-racial cotton farm. Even so, they were harassed by local planters and their scripts and notebooks were stolen and had to be recreated from memory. The film, America's Disinherited, which due to limited funds was quite brief, premiered at the Judson Church in May 1937 and was shown in schools and other venues. It demonstrates the use of singing in building a movement: "The turning point in the film is when an image of clenched black and white hands is followed by one of biracial strikers marching and singing 'Black and white together / We shall not be moved'". Shortly after it was completed, Alan Hacker died of an illness he had contracted during the filming.
During this period Hays also wrote a play about the STFU, Gumbo, which was produced at Highlander.
Commonwealth College
In 1937, when Claude Williams was appointed director of Commonwealth College in Mena Arkansas, a labor organizing school, he hired Hays to direct a theater program. The school newspaper, the Commonwealth Fortnightly, announced that:Lee Hays, a native of Little Rock, will join Commonwealth's faculty at the beginning of the fall quarter... to teach Workers' Dramatics and to supervise Commonwealth's drama groups.
The announcement noted that as former assistant to the drama director at Highlander Folk School and a member of the Sharecropper Film Committee which produced America's Disinherited: "Lee brings with him to Commonwealth valuable experience and ability."
While at Commonwealth, Hays and his drama group wrote and produced numerous plays, of which one by Hays, One Bread, One Body, toured with considerable success. He also compiled a 20-page songbook of union organizing songs based on hymns and spirituals. Playwright and fellow student said that Hays "was deeply religious and extremely creative and imaginative and firmly believed in the Brotherhood of Man." Waldemar Hille, who was the dean of music at Elmhurst College near Chicago and who had spent Christmas of 1937 at Commonwealth, thought that Hays was the most talented person at the college and was particularly enchanted with the folk songs and singing he encountered there. By the next year, however, another observer noted that the "brilliant" and hitherto energetic Hays appeared "disheveled" and was "sick all the time". Doris Willens, his biographer, speculates that Hays's physical and mental states were possibly a response to the ongoing tribulations of his mentor and of Commonwealth College.
Long subject to the virulent hostility of its neighbors and in dire financial straits, the embattled school was riven by internecine struggles between its more radical members and the more moderate socialists on its board. In 1940 the board expelled the avowedly Marxist Claude Williams for allegedly allowing Communist infiltration and for being excessively preoccupied with the issue of racial discrimination, and soon after, the institution was disbanded.