Abraham and Thomas Lincoln: Sons and Fathers in History and Song

Abraham Lincoln Reading on Horse StatueAs in the excellent movie Lincoln (2012), we generally picture Abraham Lincoln full-grown as the great president.  So it is easy to forget that he grew up as a child living in the wilderness dealing with normal family issues. One of the struggles of the young Abraham’s life was that he and his father Thomas Lincoln were very different.

Michael Burlingame’s detailed two-volume biography, Abraham Lincoln: A Life (2008), noted that many contemporaries of the Lincolns reported that the father and son did not get along.  The friction may have been partly created because Thomas lacked ambition and disdained the fact that his son sought to educate himself.

The young Abraham was not afraid to speak up around strangers to ask precocious questions, and his father would often whip the young boy for his assertiveness. One time, the young Abe received a beating for releasing a bear cub from one of his father’s traps.

Lincoln Birthplace As the young Abe grew into a man, he continued to dislike his father. When Lincoln became a lawyer in Springfield, Illinois, he never invited his father to visit him.

And, when Thomas was dying in 1851 and asked his son to visit him, the son refused, telling his step-brother to tell Thomas, “if we could meet now, it is doubtful whether it would be more painful than pleasant.” Lincoln did not attend Thomas’s funeral or put a tombstone on the grave. Two years later in 1853, though, Lincoln named his fourth son after his father. The beloved child would soon be nicknamed “Tad.” (Burlingame, pp. 10-11.)

Fathers and Sons in Song

It is speculation to wonder how Lincoln’s relationship with his father affected his later life.  But the father-son struggle helps us humanize a man we know as an icon etched in stone. His father-son dynamic is not unusual, as sons strive to find their places in the world.  And this struggle occasionally appears in films like Field of Dreams (1989), as well as in popular songs such as Harry Chapin‘s “Cats in the Cradle.”

One of the best father-son songs is by Cat Stevens, now known as Yusuf Islam. The beautiful “Father and Son,” which appeared on Tea for the Tillerman (1970).  Yusuf Islam originally wrote the song for a play that was never completed.

The song is a conversation between father and son where the son tries to explain to his father why he is leaving. When Yusuf Islam recorded the song, he had only experienced being a son.  But by the time he did the following performance, which appears to be from 2015, he was a grandfather, giving the song new meaning.

Bruce Springsteen has spoke openly about his own difficulties with his father Douglas “Dutch” Springsteen.  He has captured that complicated relationship in songs such as “Adam Raised a Cain,” from Darkness on the Edge of Town (1978), “My Father’s House” from Nebraska (1982), and “Independence Day,” from The River (1980). The latter song, like “Father and Son,” is about a son leaving his father.

Springsteen’s “Independence Day” is slightly more bitter than “Father and Son.”  The bitterness may come from the fact that Springsteen had a rockier relation with his father than Yusuf Islam did. But it is also a heavyhearted father-son conversation.

In the above video from 1980, Springsteen begins by telling the audience how the music he heard on the radio inspired him to seek a different life, just as Lincoln’s books inspired him. Similarly, as in Lincoln’s message to his dying father, the singer in “Independence Day” tells his father “Papa go to bed now, it’s late. / There’s nothing we can say can change anything now.”

As Springsteen learned as he got older, the sins of the father also makes the man that the son becomes. So, for this celebration of Abraham Lincoln’s birthday, remember the man’s first years with his father. One may look back on Thomas Lincoln for his faults in the way he treated our beloved Abraham Lincoln. But the father, struggling to carve out a place for his family in the wilderness, did something right because his son turned out pretty well.

Ultimately, the son Abraham, perhaps remembering Thomas’s lack of ambition or remembering his own beatings, carried his concerns for the suffering of others with him when he left on his own Independence Day and when he went to the White House. And although Abraham Lincoln had a long way to travel for his own education, maybe The Great Emancipator contained a little of the boy who saw a suffering bear cub and freed it, knowing he would face his father’s wrath but defying his father anyway.

{Photos via: me, taken around the 1990s. The statue is located at New Salem, Illinois. The farm is the place of Abraham Lincoln’s birth in Hodgenville, Kentucky.}

What is your favorite song about fathers and sons? Leave your two cents in the comments.

Watch Night, Emancipation, and “Mary Don’t You Weep”

On New Year’s Eve in 1862, people held in slavery in the American South waited to see if President Lincoln would fulfill a promise to issue an order of emancipation the next day.

Emancipation Proclamation
First Reading of the Emancipation Proclamation of President Lincoln

On December 31, 1862, people held in slavery in the American South and black churches around the country awaited news whether President Abraham Lincoln would issue the final Emancipation Proclamation. He had issued a “Preliminary Emancipation Proclamation” on September 22 warning of the coming emancipation to the states in rebellion.

Thus, on December 31 as a nation waited for Lincoln to fulfill his promise, was born Watch Night.

The Emancipation Proclamation

The next day, on January 1, 1863, despite speculation to the contrary, Lincoln released the Emancipation Proclamation.  The document technically only freed the slaves in the Confederate states fighting against the Union.  But it sent a symbolic message to all of the nearly four million slaves.   The message was that the war that began out of a battle to preserve the country would eventually bring an end to slavery.

The proclamation also told the public that the Union military could enlist blacks into the Union’s armed forces.  In reality, many already had been serving in some capacities. (James McPherson, Battle Cry of Freedom, p. 563.)

The language of the proclamation is less poetic than many of our nation’s great documents like the Declaration of Independence, probably because the lawyer president knew it was a legal document written to have legal effect. Nevertheless, the meaning of words such as “forever free” in the following opening paragraph are beautiful:

“That on the first day of January, in the year of our Lord one thousand eight hundred and sixty-three, all persons held as slaves within any State or designated part of a State, the people whereof shall then be in rebellion against the United States, shall be then, thenceforward, and forever free; and the Executive Government of the United States, including the military and naval authority thereof, will recognize and maintain the freedom of such persons, and will do no act or acts to repress such persons, or any of them, in any efforts they may make for their actual freedom.”

emancipation proclamationIn the tradition of Watch Night, often there are scheduled events in the nation’s capital and around the country. The National Archives in Washington, D.C. has hosted a midnight display of the Emancipation Proclamation along with other national documents and readings, songs and bell ringing. President Lincoln’s Cottage in Washington, where Lincoln started writing the proclamation, also has held special midnight events. The Metropolitan African Methodist Episcopal Church in D.C. holds midnight services. In 2013, the U.S. Postal Service unveiled an Emancipation Proclamation stamp.

“Mary Don’t You Weep”

I have been reading John W. Blassingame’s excellent book about American slavery, The Slave Community: Plantation Life in the Antebellum South (1972). In the book, Blassingame tells how slaves created songs with coded messages. Several of their songs were about Egypt because the American slaves could sing about slavery from another time under the noses of the slaveholders.

The passage made me think of one of my favorite songs on Bruce Springsteen’s CD tribute to Pete Seeger, “Mary Don’t You Weep.” Hearing the reference to Exodus and the parting of the Red Sea — “Pharaoh’s army got drown-ded!” — has a different meaning when you think of slaves in the fields of the South singing the song. It is a song of uprising, hope, and freedom. And they got away with singing it.

The song is not about Jesus’ mother, but about Mary of Bethany, the sister of Lazarus, who Jesus raised from the dead. “Mary Don’t You Weep” can be joyful, defiant, spiritual, comforting or all of those things combined. One of the most popular versions of the song was the version recorded by the Caravans in 1958.

Other Versions of “Mary Don’t You Weep”

The following version features Georgia field workers singing “Mary Don’t You Weep.” It was recorded around the late 1920s or early 1930s.

Thus, this version by the field workers is separated by decades from slavery.  But you can still hear the connection of an earlier time. It’s beautiful.

In the video below, a young Aretha Franklin performs a short version of the song on Soul Train. In her more sorrowful version of “Mary Don’t You Weep,” which she had recorded on her 1972 live gospel album Amazing Grace, she plays down the defiance of the song and focuses on the comforting aspect.

“Mary Don’t You Weep” has been recorded through the years. It was popular during the 1950s and 1960s during the Civil Rights movement, when it also provided the music for another Civil Rights anthem, “If You Miss Me From the Back of the Bus.”

Covers of “Mary Don’t You Weep” include a contemplative version by Mississippi John Hurt, a lively folk version by Leadbelly, another soulful version by Aretha Franklin, and the New Orleans influenced rousing Bruce Springsteen and the Seeger Sessions Band version. The song has even been adapted in the Greek language.

One of the most popular versions was by the Swan Silvertones. Lead singer Claude Jeter’s additional line in the song, “I’ll be a bridge over deep water if you trust in my name” inspired Paul Simon in writing his classic “Bridge over Troubled Water.”

So every New Year’s Eve, as you celebrate the incoming year and say goodbye to the last, take a moment to remember Watch Night and a time in midst of misery and war, when a nation found a great reason to celebrate a president’s promise fulfilled. And have a safe and happy new year.

Well, one of these nights around twelve o’clock,
This old town’s gonna really rock.
Didn’t Pharaoh’s army get drowned?
Oh, Mary, don’t you weep.

What’s your favorite version of “Mary Don’t You Weep”? Leave your two cents in the comments.  Heading Photo via:  First Reading of the Emancipation Proclamation of President Lincoln by Francis Bicknell Carpenter (public domain).

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    The Sound of “Lincoln”

    Lincoln's Watch

    In this interesting video, sound designer Ben Burtt discusses how he added special authentic sound touches to Steven Spielberg’s Lincoln (2012). Although there are no known recordings of Abraham Lincoln’s voice, Burtt was able to capture some other sounds from the 1860s.

    For example, they sought out the sounds from clocks and doors in the White House from Lincoln’s time. As part of Burtt’s research, he also was able to track down two pocket watches owned by Abraham Lincoln. For the watch that was in Lincoln’s pocket when he was killed, the Kentucky Historical Society allowed the filmmakers to wind the watch so they could capture its sound for the movie. Check out “The Sound of Lincoln” below.

    What do you think of the lengths Burtt went to capture authentic sounds? Was it worth it? Leave your two cents in the comments.

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    Witness to Lincoln’s Assassination

    lincoln assassinationThis video below features a man who witnessed the April 14, 1865 assassination of Abraham Lincoln. In this February 1956 clip from the TV show “I’ve Got a Secret,” 96-year-old Samuel J. Seymour tries to stump the panelists who try to figure out his claim to fame.

    The host of “I’ve Got a Secret” was Gary Moore, and this episode’s panelists are Bill Cullen, Jayne Meadows, Henry Morgan, and Lucille Ball. Check out the witness to Lincoln’s assassination.

    Samuel Seymour was five-years old when he went to see “Our American Cousin” at Ford’s Theatre with his godmother. One may wonder how witnessing the event would impact the child.

    Seymour passed away on April 13, 1956 not long after appearing on “I’ve Got a Secret.”

    Bonus History Tidbit: In 1863, President Lincoln issued a proclamation making the last Thursday in November a national day of thanksgiving.

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    “Lincoln” As Both Icon and Human Being (Short Review)

    Lincoln film Spielberg I recall hearing a story how after Director John Ford approached Henry Fonda to play Abraham Lincoln in Young Mr. Lincoln (1939), Fonda declined the role because he could not imagine filling the shoes of the great president. But Ford explained that he was not asking Fonda to play the Great Emancipator, he was asking him to play a young country lawyer. With that assurance, Fonda agreed to the part.

    Director Steven Spielberg could not make such an assurance to Daniel Day-Lewis, who also was reluctant to take on the part of one of America’s biggest icons, because Spielberg’s film focuses on Lincoln during a key moment of his presidency as the president pushed for Congress to pass the Thirteenth Amendment banning slavery. Although Spielberg’s Lincoln (2012) follows the president as a war leader and politician, Day-Lewis, like Henry Fonda, found in the character’s core the country lawyer with a great mind and great compassion.

    In a screenplay by Tony Kushner based in part on a book by Doris Kearns Goodwin, Lincoln focuses on a short time period in Lincoln’s life, allowing Day-Lewis and Spielberg to delve into the man’s character and tell a story while avoiding the pitfalls of some historical dramas that suffer by trying to cover too much. One might argue Lincoln falls into this trap at the end when it speeds forward to show us the end of the Civil War and Lincoln’s death, but I doubt the movie could have ended earlier when audiences already know the end of the story and want to see the resolution.

    Lincoln is a glorious film with a great story, great drama, and great acting. Day-Lewis chose to portray the president in a voice that probably sounded more like Lincoln than the traditional deep-voiced portrayals. The choice to use the high pitched twangy voice, similar to what was used by Lincoln co-star Hal Holbrook in his own 1974 portrayal of the president, seems to have freed him to search for the human qualities of the icon as the character relays his humorous tales to anyone who will listen. I suspect that the voice of Lincoln in Lincoln will forever change our perception of how Lincoln is portrayed in future films.

    While the movie cannot completely escape Lincoln-as-bigger-than-life, Spielberg probably does the best one could do by choosing a lesser known story from Lincoln’s presidency. Additionally, audiences may be able to feel some human connection to Lincoln’s struggles with Congress if they think of current political struggles in Washington in our own time.

    The acting is uniformly good with several excellent actors appearing in the film. Sally Field, who had to convince Spielberg she was right for the part despite her age, humanizes Mary Todd Lincoln, helping show the good qualities and the faults of both the First Lady and her husband. David Strathairn is great as William Seward. Tommy Lee Jones plays the abolitionist Thaddeus Stevens, who is faced with a difficult choice. James Spader adds some comic relief as someone working behind the scenes to help Lincoln get the Congressional votes he needs. Jackie Earle Haley, who always makes me recall Breaking Away (1979), is perfect as Confederate Vice-President Alexander Stephens. And the list goes on.

    Conclusion? There is something enjoyable about spending a few hours with one of the greatest figures in American history, and Spielberg and Day-Lewis do an excellent job of bringing Abraham Lincoln alive. Although Lincoln is 149 minutes long, it did not seem long and I hated for the film to end. If you do not mind that the film focuses on political negotiating and is not a war film, you will find Lincoln completely engaging.

    Bonus Reviews Because Why Should You Trust Me?: Rotten Tomatoes currently gives Lincoln a 90% critics rating and an 83% audience rating, perhaps reflecting some audience disappointment that the film is about politics. Kimberley Jones of The Austin Chronicle loved the film, writing, “Master shape-shifter Daniel Day-Lewis delivers a monumental portrayal of a man so firmly monumented in our nation’s history.” Austin Kennedy at Film Geek Central was disappointed, noting, “I expect spectacular things from Spielberg, so when he delivers something that’s just average, it’s a bit of a letdown.”

    What did you think of “Lincoln”? Leave your two cents in the comments.

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