The Rockwell Kent papers measure 88.0 linear feet and date from circa 1840 to 1993 with the bulk of the collection dating from 1935 to 1961. The collection provides comprehensive coverage of Kent's career as a painter, illustrator, designer, writer, lecturer, traveler, political activist, and dairy farmer.
Scope and Content Note:
The Rockwell Kent papers measure 88 linear feet and date from circa 1840 to 1993 with the bulk of the collection dating from 1935 to 1961. The collection provides comprehensive coverage of Kent's career as a painter, illustrator, designer, writer, lecturer, traveler, political activist, and dairy farmer.
Circumstances surrounding the acquisition of the papers are highlighted in an article by Garnett McCoy ("The Rockwell Kent Papers," in the Archives of American Art Journal, 12, no. 1 [January 1972]: 1-9), recommended reading for researchers interested in the collection. The collection is remarkably complete, for in the mid 1920s Kent began keeping carbon copies of all outgoing letters, eventually employing a secretary (who became his third wife and continued her office duties for the remainder of Kent's life).
Series 1: Alphabetical Files contain Kent's personal and professional correspondence, along with business records of the dairy farm and associated enterprises; also included are printed matter on a wide variety of topics and promotional literature relating to organizations and causes of interest to him. Voluminous correspondence with his three wives, five children, and other relatives, as well as with literally hundreds of friends, both lifelong and of brief duration, illuminates Kent's private life and contributes to understanding of his complex character. Among the many correspondents of note are: his art teachers William Merritt Chase, Robert Henri, and Kenneth Hayes Miller; fellow artists Tom Cleland, Arthur B. Davies, James Fitzgerald, Hugo Gellert, Harry Gottleib, Marsden Hartley, Charles Keller, and Ruth Reeves; collectors Duncan Phillips and Dan Burne Jones; critics J. E. Chamberlain and Walter Pach; and dealers Charles Daniel, Felix Wildenstein, and Macbeth Galleries. Kent corresponded with such diverse people as Arctic explorers Peter Freuchen, Knud Rasmussen, and Vilhjalmar Steffanson; composer Carl Ruggles and songwriters Lee Hays and Pete Seeger; civil rights pioneers Paul Robeson and Dr. W. E. B. Du Bois; writers Bayard Boyesen, Scott and Helen Nearing, and Louis Untermeyer; and art historian and print curator Carl Zigrosser.
Kent's interest and involvement in the labor movement are reflected in correspondence with officials and members of a wide variety and large number of unions and related organizations, among them: the Farmers' Educational and Cooperative Union of America, Farmers' Union of the New York Milk Shed, International Workers Order, National Maritime Union, and United Office and Professional Workers of America. Of special interest is his participation, often in leadership roles, in various attempts to organize artists. Files on the American Artists' Congress, Artists League of America, The Artists Union, United American Artists, and United Scenic Artists contain particularly valuable material on the movement.
A supporter of New Deal efforts to aid artists, Kent was actively interested in the various programs and often was critical of their limitations; he advocated continuing federal aid to artists after the Depression abated. The Kent papers include correspondence with the Federal Arts Project, Federal Fine Arts Project, Federal Writers Project, and the War Department, as well as correspondence with the Citizens' Committee for Government Art Projects and President Franklin D. Roosevelt on the subject.
Kent's professional correspondence documents exhibitions, sales, consignments, and reproduction of prints and paintings. He kept meticulous records of his advertising commissions and illustration work. Detailed correspondence with publishers and printers indicates Kent's involvement in the technical aspects of production and provides a good overview of the publishing industry during the mid-twentieth century.
Business records of Asgaard Farm include records of the dairy and transfer of ownership to its employees, tax and employee information, and documents concerning several related business ventures such as distributor ships for grain, feed, and farm implements.
Series 2: Writings consists of notes, drafts, and completed manuscripts by Rockwell Kent, mainly articles, statements, speeches, poems, introductions, and reviews. The Kent Collection given to Friendship House, Moscow, in 1960, was augmented later by a set of his publications and the illustrated manuscripts of many of his monographs. Also included are a small number of manuscripts by other authors.
Series 3: Artwork consists mainly of drawings and sketches by Kent; also included are works on paper by other artists, many of whom are unidentified, and by children.
Series 4: Printed Matter consists of clippings, exhibition catalogs and announcements, brochures, broadsides, programs, and newsletters. These include items by and about Kent and his family, as well as articles written and/or illustrated by him, and reviews of his books. There is also material on a variety of subjects and causes of interest to him. Additional printed matter is included among the alphabetical files, mainly as attachments to correspondence.
Series 5: Miscellaneous includes biographical material, legal documents, and memorabilia. Artifacts received with papers include textile samples, a silk scarf, dinnerware, ice bucket, and rubber stamp, all featuring designs by Rockwell Kent. Also with this series are a variety of documents including a phrenological analysis of an ancestor, lists of supplies for expeditions, a hand-drawn map of an unidentified place, and technical notes regarding art materials and techniques.
Series 6: Photographs includes photographs of Kent, his family and friends, travel, and art number that over one thousand. Also included here are several albums of family and travel photographs.
Arrangement:
The collection is arranged into six series. Series 1 is arranged alphabetically. The arrangement of the remaining series is explained in each series description. Note that sealed materials that became available in 2000 were microfilmed separately on reels 5740-5741, but have integrated into this finding aid.
Missing Title
Series 1: Alphabetical Files, circa 1900-1971, undated (Reels 5153-5249, 5256, 5740-5741)
Series 2: Writings, 1906-1978, undated (Reels 5249-5252, 5741)
Series 3: Art Work, 1910-1972, undated (Reels 5252, 5741)
Series 4: Printed Matter, 1905-1993, undated (Reels 5252-5254)
Series 5: Miscellaneous, 1859-1969, undated (Reels 5254, 5741)
Series 6: Photographs, circa 1840-1970, undated (Reels 5254-5255, 5741)
Biographical Note:
Rockwell Kent (1882-1971), an energetic and multitalented man, pursued many interests and careers during his very long and active life. At various times he was an architect, draftsman, carpenter, unskilled laborer, painter, illustrator, printmaker, commercial artist, designer, traveler/explorer, writer, professional lecturer, dairy farmer, and political activist.
While studying architecture at Columbia University, Kent enrolled in William Merritt Chase's summer school at Shinnecock Hills, Long Island. He then redirected his career ambitions toward painting and continued to study with Chase in New York. Kent spent a summer working and living with Abbott H. Thayer in Dublin, New Hampshire, and attended the New York School of Art, where Robert Henri and Kenneth Hayes Miller were his teachers.
Critically and financially, Kent was a successful artist. He was very well known for his illustration work--particularly limited editions of the classics, bookplates, and Christmas cards. He was a prolific printmaker, and his prints and paintings were acquired by many major museums and private collectors. During the post-World War II era, Kent's political sympathies resulted in the loss of commissions, and his adherence to artistic conservatism and outspoken opposition to modern art led to disfavor within art circles. After many years of declining reputation in this country and unsuccessful attempts to find a home for the Kent Collection, Kent gave his unsold paintings--the majority of his oeuvre--to the Soviet Union, where he continued to be immensely popular.
An avid traveler, Kent was especially fascinated by remote, Arctic lands and often stayed for extended periods of time to paint, write, and become acquainted with the local inhabitants. Between 1918 and 1935, he wrote and illustrated several popular books about his experiences in Alaska, Tierra del Fuego, and Greenland. In the 1930s and 1940s, Kent was much in demand as a lecturer, making several nationwide tours under the management of a professional lecture bureau; he spoke mainly about his travels, but among his standard lectures were some on "art for the people."
In 1927, Kent purchased Asgaard Farm at AuSable Forks, New York, in the Adirondacks, where he lived for the remainder of his life, operating a modern dairy farm on a modest scale for many years.
As a young man, Kent met Rufus Weeks, became committed to social justice, and joined the Socialist Party. Throughout his life, he supported left-wing causes and was a member or officer of many organizations promoting world peace and harmonious relations with the Soviet Union, civil rights, civil liberties, antifascism, and organized labor. Kent was frequently featured as a celebrity sponsor or speaker at fund-raising events for these causes. In 1948, he ran unsuccessfully as the American Labor Party's candidate for Congress. Kent's unpopular political views eventually led to the dissolution of his dairy business, resulted in a summons to appear before the House Un-American Activities Committee, and prompted the U.S. State Department to deny him a passport, an action that subsequently was overturned by the U.S. Supreme Court.
Kent wrote two autobiographies, This Is My Own (1940) and It's Me, O Lord (1955). In 1969, he was the subject of an oral history interview conducted by Paul Cummings for the Archives of American Art.
Provenance:
In 1969, Rockwell Kent donated his papers to the Archives of American Art; textile samples were received in 1979, and his widow gave additional papers in 1971 and 1996. Letters to Rockwell Kent from wives Frances and Sally, sealed during Sally Kent Gorton's lifetime, became available for research after her death in 2000, and further material was donated to the Archives of American Art in 2001 by the Estate of Sally Kent [Shirley Johnstone] Gorton.
Restrictions:
The microfilm of this collection has been digitized and is available online via AAA's website. Use of material not microfilmed or digitized requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
(correspondence about the labor movement, Hays's songwriting and performances, People's Songs, Inc.; see also: Peoples' Songs, Inc.
Radical Groups--Sharecroppers)
Collection Restrictions:
The microfilm of this collection has been digitized and is available online via AAA's website. Use of material not microfilmed or digitized requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Rockwell Kent papers, circa 1840-1993, bulk 1935-1961. Archives of American Art, Smithsonian Institution.
(correspondence about songbook, and request for drawing for newsletter cover and help in scheduling fund raisers; see also: Hays, Lee)
Collection Restrictions:
The microfilm of this collection has been digitized and is available online via AAA's website. Use of material not microfilmed or digitized requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Rockwell Kent papers, circa 1840-1993, bulk 1935-1961. Archives of American Art, Smithsonian Institution.
Darling Corey.--Kisses sweeter than wine.--Pay me my money down.--Greensleeves.--Rock Island Line.--Around the world.--Wimoweh.--Venga Jaleo.--Suliram.--Sholom chavarim.--Lonesome traveller.--I know where I'm going.--Woody's rag and 900 miles.--Sixteen tons.--Follow the drinking gourd.--When the saints go marching in.--I've got a home in that rock.--Hush little baby.--Go where I send thee.--Goodnight Irene.
Track Information:
101 Darling Corey / Weavers (Musical group), Lee Hays, Pete Seeger. Banjo,Guitar.
102 Kisses Sweeter than Wine / Weavers (Musical group), Lee Hays, Pete Seeger. Banjo,Guitar.
103 Pay Me My Money Down / Weavers (Musical group), Lee Hays, Pete Seeger. Banjo,Guitar.
104 Greensleeves / Weavers (Musical group), Lee Hays, Pete Seeger. Banjo,Guitar.
105 Rock Island Line / Weavers (Musical group), Lee Hays, Pete Seeger. Banjo,Guitar.
106 Flop Eared Mule / Weavers (Musical group), Lee Hays, Pete Seeger. Banjo,Guitar.
106 Bright Shines the Moon / Weavers (Musical group), Lee Hays, Pete Seeger. Banjo,Guitar.
106 Artza Aleinu / Weavers (Musical group), Lee Hays, Pete Seeger. Banjo,Guitar.
106 Hey Li-Lee Hey Li-Lee Lo / Weavers (Musical group), Lee Hays, Pete Seeger. Banjo,Guitar.
107 Wimoweh / Weavers (Musical group), Lee Hays, Pete Seeger. Banjo,Guitar.
108 Venga Jaleo / Weavers (Musical group), Lee Hays, Pete Seeger. Banjo,Guitar.
109 Suliram (Indonesian Lullaby) / Weavers (Musical group), Lee Hays, Pete Seeger. Banjo,Guitar.
110 Sholom Chavarim / Weavers (Musical group), Lee Hays, Pete Seeger. Banjo,Guitar.
201 Lonesome Traveler / Weavers (Musical group), Lee Hays, Pete Seeger. Banjo,Guitar.
202 I Know Where I'm Going / Weavers (Musical group), Lee Hays, Pete Seeger. Banjo,Guitar.
203 Woody's Rag / Weavers (Musical group), Lee Hays, Pete Seeger. Banjo,Guitar.
203 900 Miles / Weavers (Musical group), Lee Hays, Pete Seeger. Banjo,Guitar.
204 Sixteen Tons / Weavers (Musical group), Lee Hays, Pete Seeger. Banjo,Guitar.
205 Follow the Drinking Gourd / Weavers (Musical group), Lee Hays, Pete Seeger. Banjo,Guitar.
206 When the Saints Go Marching In / Weavers (Musical group), Lee Hays, Pete Seeger. Banjo,Guitar.
207 I've Got a Home in That Rock / Weavers (Musical group), Lee Hays, Pete Seeger. Banjo,Guitar.
208 Hush Little Baby / Weavers (Musical group), Lee Hays, Pete Seeger. Banjo,Guitar.
209 Children, Go Where I Send Thee / Weavers (Musical group), Lee Hays, Pete Seeger. Banjo,Guitar.
210 Irene (Goodnight Irene) / Weavers (Musical group), Lee Hays, Pete Seeger. Banjo,Guitar.
Local Numbers:
FW-ASCH-LP-0652
Vanguard.9010
Publication, Distribution, Etc. (Imprint):
New York Vanguard
Date/Time and Place of an Event Note:
Recorded in: New York (N.Y.), United States, New York, 1955.
General:
The Weavers consist of Pete Seeger, Ronnie Gilbert, Lee Hays and Fred Hellerman. Ballads and folk-songs performed by the Weavers; with acc. of banjo, guitars, and recorder. Durations on labels. "Electronically re-recorded to simulate stereo." Program notes on container. Production notes: Recorded Dec. 24, 1955 at Carnegie Hall, New York.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
This land is your land / Woody Guthrie --Aweigh, Santy Ano --Wild goose grasses --Meet the Johnson boys --Aunt Rhodie --Tina --Eres alta --Come little donkey / Fred Hellerman --Kum bachura --All night long --You old fool -- Every night --Let the midnight special --Bury me -- Almost done --Empty pockets blues / Lee Hays, Pete Seeger --Howard's dead and gone.
Track Information:
101 This Land is Your Land / Weavers (Musical group), Lee Hays, Pete Seeger. Guitar,Banjo.
102 Aweigh, Santy Ano / Weavers (Musical group), Fred Hellerman, Ronnie Gilbert. Guitar,Banjo.
103 Wild Goose Grasses / Weavers (Musical group), Lee Hays, Pete Seeger. Guitar,Banjo.
104 Meet the Johnson Boys / Weavers (Musical group), Lee Hays, Pete Seeger. Guitar,Banjo.
105 Go Tell Aunt Rhodie / Weavers (Musical group), Lee Hays, Pete Seeger. Guitar,Banjo.
106 Tina / Weavers (Musical group), Lee Hays, Pete Seeger. Guitar,Banjo.
107 Eres Alta / Weavers (Musical group), Lee Hays, Pete Seeger. Guitar,Banjo.
108 Come Little Donkey / Weavers (Musical group), Lee Hays, Pete Seeger. Guitar,Banjo.
109 Kum Bachura / Weavers (Musical group), Lee Hays, Pete Seeger. Guitar,Banjo.
201 All Night Long / Weavers (Musical group), Lee Hays, Pete Seeger. Guitar,Banjo.
202 You Old Fool (Our Goodman) (Child No. 274)/ Weavers (Musical group), Lee Hays, Pete Seeger. Guitar,Banjo.
203 Every Night / Weavers (Musical group), Lee Hays, Pete Seeger. Guitar,Banjo.
204 The Midnight Special / Weavers (Musical group), Lee Hays, Pete Seeger. Guitar,Banjo.
205 Bury Me Beneath the Willow / Weavers (Musical group), Lee Hays, Pete Seeger. Guitar,Banjo.
206 On a Monday (Almost Done) / Weavers (Musical group), Lee Hays, Pete Seeger. Guitar,Banjo.
207 Empty Pocket Blues (Barrel of Money Blues) / Weavers (Musical group), Lee Hays, Pete Seeger. Guitar,Banjo.
208 Poor Howard (Howard's Dead and Gone) / Weavers (Musical group), Lee Hays, Pete Seeger. Guitar,Banjo.
Local Numbers:
FW-ASCH-LP-1619
Vanguard.9024
Publication, Distribution, Etc. (Imprint):
New York Vanguard 1958
General:
Sung in English, Xhosa, Spanish or Hebrew. Notes: Ballads and folk-songs, with instrumental acc. Program notes on container. Performer(s): Weavers (Pete Seeger, vocals, banjo ; Ronnie Gilbert, vocals ; Fred Hellerman, vocals, guitar ; Lee Hayes, vocals); some works replace Seeger with Erik Darling, vocals, banjo.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Poor Howard --Peter Gray --Run come see --Silvy --Hullabaloo --Peat bog soldiers --Deep blue sea --Pay me my money down --By'm by --Michael, row the boat ashore -- Little Maggie --Brown eyes --There's a hole in the bottom of the sea --Banuwa --Room enough --Keep your hand on that plow.
Track Information:
101 Poor Howard / Folk Singers, Erik Darling. Banjo,Guitar.
102 Peter Gray / Folk Singers, Erik Darling. Banjo,Guitar.
103 Run, Come See / Folk Singers, Erik Darling. Banjo,Guitar.
104 Bring Me a Little Water, Silvy / Folk Singers, Erik Darling. Banjo,Guitar.
105 Hullabaloo / Folk Singers, Erik Darling. Banjo,Guitar.
106 Moorsoldaten (Peat Bog Soldiers) / Folk Singers, Erik Darling. Banjo,Guitar.
107 Deep Blue Sea / Folk Singers, Erik Darling. Banjo,Guitar.
108 Pay Me My Money Down / Folk Singers, Erik Darling. Banjo,Guitar.
201 By'm By / Folk Singers, Erik Darling. Banjo,Guitar.
202 Michael, Row the Boat Ashore / Folk Singers, Erik Darling. Banjo,Guitar.
203 Little Maggie / Folk Singers, Erik Darling. Banjo,Guitar.
204 Brown Eyes / Folk Singers, Erik Darling. Banjo,Guitar.
205 There's a Hole in the Bottom of the Sea / Folk Singers, Erik Darling. Banjo,Guitar.
206 Banuwa / Folk Singers, Erik Darling. Banjo,Guitar.
207 Room Enough / Folk Singers, Erik Darling. Banjo,Guitar.
208 Keep Your Hand on That Plough (Gospel Plow) / Folk Singers, Erik Darling. Banjo,Guitar.
Local Numbers:
FW-ASCH-LP-2407
Elektra.157
Publication, Distribution, Etc. (Imprint):
New York Elektra 1959
General:
Descriptive notes by Lee Hays [of the Weavers] on container. Performer(s): Folk songs; Erik Darling ; Dylan Todd ; Don Vogel ; Caroly Wilcox.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Shuckin' of the corn --Sweet potato --Johnson boys -- Rubin Ranzo --Oh Mona --Midnight Special --Out after beer -- Crying holy --Dance boatman --Puttin' on the style --Ezekiel -- Home in that rock --Oxtail rag-out --Walking cane --Away Rio.
Track Information:
101 Shuckin' of the Corn / Shanty Boys, Lionel Kilberg, Roger Sprung. Banjo,Guitar.
102 Sweet Potato / Shanty Boys, Roger Sprung. Banjo,Guitar.
103 Johnson Boys / Shanty Boys, Roger Sprung. Banjo,Guitar.
104 Reuben Ranzo / Shanty Boys, Roger Sprung. Banjo,Guitar.
105 Oh, Mona / Shanty Boys, Roger Sprung. Banjo,Guitar.
106 The Midnight Special / Shanty Boys, Roger Sprung. Banjo,Guitar.
107 Out After Beer / Shanty Boys, Roger Sprung. Banjo,Guitar.
108 Crying Holy / Shanty Boys, Roger Sprung. Banjo,Guitar.
201 Dance Boatman / Shanty Boys, Roger Sprung. Banjo,Guitar.
202 Putting on the Style / Shanty Boys, Roger Sprung. Banjo,Guitar.
203 Ezekial Saw the Wheel / Shanty Boys, Roger Sprung. Banjo,Guitar.
204 Home in That Rock / Shanty Boys, Roger Sprung. Banjo,Guitar.
205 Ox-tail Rag Out / Shanty Boys, Roger Sprung. Banjo,Guitar.
206 Walking Cane / Shanty Boys, Roger Sprung. Banjo,Guitar.
207 Away Rio / Shanty Boys, Roger Sprung. Banjo,Guitar.
Local Numbers:
FW-ASCH-LP-2621
Elektra.142
Publication, Distribution, Etc. (Imprint):
New York Elektra 1959
General:
American folk songs. Program notes by Lee Hays on container; lyrics ([8] p.) inserted. Performer(s): The Shanty Boys: Mike Cohen, guitar & lead vocals ; Lionel Kilberg, Brownie bass ; Roger Sprung, banjo.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Talking union--Union train--Which side are you on--Get behind thee, Satan--Union maid--I don't want your millions, mister (All I got)
Track Information:
101 Talking Union / Almanac Singers, Pete Seeger. Banjo,Guitar.
102 Union Train / Almanac Singers, Lee Hays. Banjo,Guitar.
103 Which Side are You On? / Almanac Singers, Pete Seeger. Banjo,Guitar.
104 Get Thee Behind Me, Satan / Almanac Singers, Lee Hays. Banjo,Guitar.
105 Union Maid / Almanac Singers, Pete Seeger. Banjo,Guitar.
106 I Don't Want Your Millions, Mister (All I Want) / Almanac Singers, Pete Seeger. Banjo,Guitar.
Local Numbers:
FW-ASCH-7RR-1536
Date/Time and Place of an Event Note:
Recorded in: New York, United States.
General:
Folkways 85
CDR copy- Disc 463
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
5. Now That It's all Over (ACT-680) 6. Army Life (ACT-680) 7. Put It On the Ground (ACT-924) 8. Put It On the Ground (ACT-924) 9. Put It On the Ground (ACT-924) 10. Lonesome Traveler (Lee Hays Featured) (ACT-924) 11. Lonesome Traveler (Lee Hays Featured) (ACT-924) 12. Tom Glazer and the Lincoln Brigade-Jarama Valley (ACT-1434) 13. Pete Seeger- Fuck -Em All (ACT-2189) 14. Listen Mr. Bilbo (ACT-3646) 15. Newspaper Men Meet the Most Interesting People (ACT-3646) 16. Talking Blues (Now That It's all Over) (ACT-799) 17. Wandering (ACT-707) 18. Come All You Fair Maids (ACT-707) 19. Come All You Fair Maids (ACT-707) 20. Careless Love (ACT-708) 21. East Virginia (ACT-708) 22. East Virginia (ACT-708) 23. Darling Corey (ACT-708) 24. Banjo Breakdown (Cripple Creak, Black-Eyed Suzy, Old Joe Clark, Ida Red) (ACT-709) 25. Banjo Breakdown (Cripple Creak, Black-Eyed Suzy, Old Joe Clark, Ida Red) (ACT-709) 26. Keep Your Skillet Good and Greasy (ACT-710) 27. Hush-a-bye (ACT-710) 28. Hush-a-bye (ACT-710) 29. I Had a Wife (ACT-710) 30. Tom Dooley (ACT-710) 31. Polly Wolly Doodle (ACT-715) 32. Polly Wolly Doodle (ACT-715) 33. Polly Wolly Doodle (ACT-715) 34. Buffalo Gals (ACT-1251) 35. OPA Shout (ACT-2076) 36. OPA Shout (ACT-2076) 37. OPA Shout (ACT-2076)
Track Information:
101 Now That's It All Over (He'll Go Back to Selling Shoes)(ACT- 680) / Pete Seeger. Banjo.
102 Gee, But I Want to Go Home (Army Life)(ACT-680) / Pete Seeger. Banjo.
103 Put it on the Ground (ACT-924) / Pete Seeger. Banjo.
110 Lonesome Traveler (ACT-924) / Lee Hays. Banjo,Guitar.
112 Jarama Valley (ACT-1434) / Pete Seeger, Abraham Lincoln Battalion, Tom Glazer. Guitar.
113 Bless 'Em All- Wellington's (ACT-2189) / Pete Seeger. Banjo.
114 Listen, Mr. Bilbo (ACT-3646) / Pete Seeger. Banjo.
115 Newspapermen (ACT-3646) / Pete Seeger. Banjo.
116 Now That's It All Over (He'll Go Back to Selling Shoes)(ACT- 799) / Pete Seeger. Banjo.
117 Wandering (ACT-707) / Pete Seeger. Banjo.
118 Come All You Fair and Tender Maidens (ACT-707) / Pete Seeger. Banjo.
120 Careless Love (ACT-708) / Pete Seeger. Banjo.
121 East Virginia (ACT-708) / Pete Seeger. Banjo.
123 Darling Corey (ACT-709) / Pete Seeger. Banjo.
124 Cripple Creek (ACT-709) / Pete Seeger. Banjo.
124 Black Eyed Suzy (ACT-709) / Pete Seeger. Banjo.
124 Old Joe Clark (ACT-709) / Pete Seeger. Banjo.
124 Cindy (ACT-709) / Pete Seeger. Banjo.
125 Keep My Skillet Good and Greasy (ACT-710) / Pete Seeger. Banjo.
127 Hush A Bye (ACT-710) / Pete Seeger. Banjo.
129 I Had a Wife (ACT-710) / Pete Seeger. Banjo.
130 Tom Dooley (ACT-710) / Pete Seeger. Banjo.
131 Polly Wolly Doodle (ACT-715) / Pete Seeger. Banjo.
134 Buffalo Gals (ACT-1251) / Pete Seeger. Banjo.
137 OPA Shout (ACT-2076) / Pete Seeger. Banjo.
Local Numbers:
FP-CFP-CDR-0282-7
FLP.123695
Date/Time and Place of an Event Note:
Recorded in: New York, United States.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
1. ACT-763 Brownie McGhee and Sonny Terry and the Union Boys "Move Into Germany" 2. ACT-2880-101 Pete Seeger and the Union Boys "Martins and Coys" 3. ACT-2880-102 Brownie McGhee and the Union Boys "All You Fascists Bound to Lose" 4. ACT-3704 Josh White "Beloved Comrade" 5. ACT-741 Union Boys? "Quartermaster's Store/ Maggie May/ When the War is Over" 6. ACT-492 Pete Seeger "It's Hard on the Poor Farmer" 7. ACT-3309 unknown- People's Songs "Let's March on to Victory" 8. ACT-617 Butch Hawes "Arthritis Blues" 9. ACT-487 Pete Seeger "Island Commander" 10. ACT-422-101 Pete Seeger "Tin Can" 11. ACT-422-102 Pete Seeger "The Chief" 12. ACT-424 John Henry Faulk "Atomic Bomb Skit" 13. ACT-799 Pete Seeger "He'll Go Back to Selling Shoes" 14. ACT-657 Lee Hays "The Rankin Tree" 15. ACT-816-101 Lee Hays "The Rankin Tree" 16. ACT-816-201 Pete Seeger "Looking for a Home" 17. ACT-816-202 Pete Seeger "Looking for a Home" 18. ACT-924-101 Pete Seeger "Put it in the Ground" 19. ACT-924-102 Lee Hays and Group "Lonesome Traveler (This Whole World's in a Sad Condition)" (2 takes) 21.ACT-488 Pete Seeger "Joe Hill" (2 takes) 23. ACT-488 Pete Seeger and group "Roll the Union On" (2 takes)
Track Information:
101 Move into Germany (ACT-763) / Union Boys, Brownie McGhee, Sonny Terry. Guitar,Harmonica.
102 Martins and Coys (ACT-2880) / Union Boys, Pete Seeger. Guitar.
103 You Fascists Bound to Lose (ACT-2880) / Union Boys, Brownie McGhee. Guitar.
105 Quartermaster's Store (ACT-741) / Union Boys. Guitar.
105 Maggie May (ACT-741) / Wallace House. Guitar.
105 When the War is Over (ACT-741) / Wallace House. Guitar.
106 It's Hard on the Poor Farmer (ACT-492) / Pete Seeger. Guitar.
107 Let's March to Victory (ACT-3309) demo to Peoples Songs / Guitar.
108 Arthritis Blues (ACT-617) / Butch Hawes. Guitar.
110 Glory, Glory What a Helluva Way to Live (ACT-422) / Pete Seeger. Banjo.
111 Chief, The (ACT-422) / Pete Seeger. Banjo.
112 Atomic Bomb Skit (fragment)(ACT-424) / John Henry Faulk.
113 Now That's It's All Over (He'll Go Back to Selling Shoes)(AC T-799) / Pete Seeger. Banjo.
109 Island Commander (ACT-487) / Pete Seeger. Banjo.
114 Rankin Tree (ACT-657,816) / Lee Hays. Guitar.
116 Looking for a Home (ACT-816) / Pete Seeger. Banjo.
118 Put it on the Ground (ACT-924) / Pete Seeger. Banjo.
119 Lonesome Traveler (This Whole World's in a Sad Condition) (A CT-924) / Lee Hays. Guitar.
121 Joe Hill (ACT-488) / Pete Seeger. Banjo.
123 Roll the Union On (ACT-488) / Pete Seeger, Lee Hays. Banjo.
Local Numbers:
FP-CDR-0015
FLP.80813
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
124 Round and Round Hitler's Grave (ACT-1477) / Almanac Singers, Pete Seeger. Guitar.
125 So Long, It's Been Good to Know You (WWII Version) / Woody Guthrie. Guitar.
126 When the Yanks Mo Marching In (ACT-758) / Cisco Houston, Woody Guthrie. Guitar.
Local Numbers:
FP-CDR-0013
Date/Time and Place of an Event Note:
1993.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
115 National Defense Blues (ACT-292) / Lead Belly. Guitar.
116 Landlord (ACT-614) / Josh White. Guitar.
117 Henry Wallace He's Our Man (ACT-661) / Sis Cunningham.
118 Parnell Thomas Blues (ACT-660) / Sis Cunningham.
119 Passing Through (ACT-1625) / Dick Blakeslee. Guitar.
Local Numbers:
FP-CDR-0016
Date/Time and Place of an Event Note:
1992.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
1/5. ACT-008 Pete Seeger, Lee Hays et. al from People's Songs Hootenanny "Scabs Crawl In' ,"We Pity the Bosses Five', "Union Train", "Keep That Line Movin' ", "Roll the Union On" 6. ACT-009 Woody Guthrie "Choo Choo" 7. ACT-015 Woody Guthrie "900 Miles" 8/15 ACT-016 Lead Belly with Moses Asch and Marian Distler in the studio "Liza Jane", "Molly Don't You Grieve", "Move On Soldier Boys (frag.)", Out on the Western Plains (Cow-Cow Yicky Yicky)", Death Letter Blues" 16. ACT-017 Woody Guthrie, Cisco Houston, Bess Hawes "Will You Miss Me" SF40007 17. ACT-023 Woody Guthrie, Cisco Houston "Train Medley" SF40046 18. ACT-024 Woody Guthrie, Cisco Houston "Gave Her Kisses" SF40046 19. ACT-031 Woody Guthrie, Cisco Houston "Girl I Left Behind Me" SF40046 20. ACT-042 Woody Guthrie "A,B,C, Song" 21. ACT-043-101 Woody Guthrie "Ship in the Sky" 22. ACT-043-102 Woody Guthrie "A Million Miles" 23. ACT-043-103 Woody Guthrie "Ship in the Sky" 24. ACT-046 Woody Guthrie, Cisco Houston, Sonny Terry "What Would You Give in Exchange for Your Soul" 25. ACT-047-101 Woody Guthrie "Hard Travelin'" 26. ACT-047-201 Woody Guthrie, Cisco Houston "Farmer Labor Train" 27. ACT-050-101 Woody Guthrie, Cisco Houston "Reckless Talk" 28. ACT-050-102 Woody Guthrie, Cisco Houston "Farmer Labor Train" 29. ACT-050-103 Woody Guthrie, Cisco Houston "Poor Boy" 30. ACT-050-104 Woody Guthrie, Cisco Houston "Baltimore to Washington"
Track Information:
101 Scabs Crawl In, The (ACT-008) / People's Songs (Organization), Pete Seeger. Banjo.
102 We Pity the Bosses Five (ACT-008) / People's Songs (Organization), Pete Seeger. Banjo.
103 Union Train (ACT-008) / People's Songs (Organization), Pete Seeger, Lee Hays. Banjo.
104 Keep That Line A-Moving (ACT-008) / People's Songs (Organization), Pete Seeger. Banjo.
105 Roll the Union On (ACT-008) / People's Songs (Organization), Lee Hays, Woody Guthrie. Guitar.
106 Choo Choo (ACT-009) / Woody Guthrie. Guitar.
108 900 Miles (ACT-015) / Woody Guthrie. Fiddle.
110 Liza Jane (ACT-016) / Lead Belly, Moses Asch. Guitar.
111 Molly, Don't You Grieve (ACT-016) / Lead Belly, Moses Asch. Guitar.
112 Move On, Soldier Boy (ACT-016) / Lead Belly. Guitar.
113 Move On, Soldier Boy, pt. 2 (ACT-016) / Lead Belly. Guitar.
114 Out on the Western Plains (ACT-016) / Lead Belly. Guitar.
115 Death Letter Blues (ACT-016) / Lead Belly. Guitar.
116 Will You Miss Me? (ACT-017) / Woody Guthrie, Bess Lomax Hawes. Guitar.
129 Poor Boy (ACT-050) / Woody Guthrie, Cisco Houston. Guitar.
130 Baltimore to Washington (ACT-050) / Woody Guthrie, Cisco Houston. Guitar.
Local Numbers:
FP-CDR-0001
Date/Time and Place of an Event Note:
1993.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
1. ACT-447 Woody Guthrie, Butch and Bess Hawes "Chisholm Trail" 2. ACT-482 Woody Guthrie, Butch and Bess Hawes "Birmingham Jail" (2 takes) 4. ACT-715 Pete Seeger and the Folk Group "Polly Wolly Doodle" (3 takes) 7-15. ACT-734 Radio Program: Woody Guthrie, Butch and Bess Hawes "John Henry", Bonneville Dam Blues", "Worried Man Blues", "Greenback Dollar", "Hard Travelin'", "Working on a Railway", "Old Blue", "Blow Ye Winds", "Hard Travelin'" 16. ACT-513-101 unknown "MTA" 17. ACT-513-201 unknown "People's Choice" 18. ACT-1251 Pete Seeger "Buffalo Gals" 19. ACT-1252 Pete Seeger "Buffalo Gals" 20-25. ACT-3652 Freedom Hoot Radio Show pt. 1, People's Songs, 16 May 1946, Lee Hays, Pete Seeger, Butch and Bess Hawes, Josh White, Sam Geary, Lu-Lang Mo, Frank Warner, Helen Schneyer, Lord Invader, Betty Sanders; includes "Blues is the Night", "Oh Freedom", "Lonesome Traveler (This Whole World's in a Sad Condition)", "Oh Mary Don't You Weep". "Beloved Comrade", "Hard Time Blues"
125 Hard Times Blues (ACT-3652) / People's Songs (Organization), Josh White. Guitar.
Local Numbers:
FP-CDR-0007
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Woody (and Cisco)-- Buffalo gals-- Red River Valley--Strawberry roan--Cowboy waltz-- Talking Columbia--True believer--Wiggledy giggledy--Along in the sun and the rain--Sugar in the gourd- When the Yanks go marching in-- Rubaiyat; Pete Seeger (Darling Corey)-- Old Joe Clark--Black Eyed Suzy--Cripple creek; Cisco Houston- Muleskinner blues--All day singin'; Lead Belly- Fiddler's dram; Butch and Bess- Arthritis blues; School of the Arts radio show with Wallace House, Sonny Terry, Brownie McGhee, Woody Guthrie-- Barbara Allen--Cumberland Gap---John Henry--Three drowned sisters;
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
1 Binder (contact sheets and prints, black and white)
1 Boxe (35 mm negatives, black and white, 8.5"x10.75"x2.5")
0.44 Cubic feet (2 boxes contain the extent details for this collection, Box 1 is 0.24 cubic feet and Box 2 is 0.2 cubic feet)
Type:
Collection descriptions
Archival materials
Binders
Photographic prints
Correspondence
Contact sheets
Black-and-white negatives
Place:
Chicago (Ill.)
New York (N.Y.)
Date:
1957 - 1961
Summary:
Original photographs and negatives taken by Robert C. Malone.
Scope and Contents:
The Robert C. Malone photographs document the performances of folk singers. The collection dates from 1957 to circa 1961. Photographic materials include 16 rolls of negatives, contact sheets made from the negatives, and 14 prints. The collection features photographs of the Weavers and Cisco Houston. The collection also includes a small amount of correspondence, including two letters from Robert C. Malone to the Center for Folklife and Cultural Heritage concerning the donation of the collection, and two letters from Lee Hays to Robert C. Malone. A handful of Malone's prints are housed with the Lee Hays papers in the Rinzler Archives and are not included in the finding aid.
Arrangement note:
Arranged in 6 series: (1) University of Chicago; (2) Old Town School of Folk Music, Chicago, Ill.; (3) One Sheridan Square, N.Y.; (4) Cisco Houston's Last Performance; (5) Miscellaneous People; (6) Correspondence and Miscellaneous. Contact sheets and prints arranged in 1 binder; negatives are stored in a separate binder. Series VI, Correspondence and Miscellaneous, is filed separately. Materials are arranged chronologically.
Biographical/Historical note:
Robert C. Malone is currently retired and lives in Ridgewood, New Jersey. Between 1957-1961, Robert C. Malone moved between Chicago and New York photographing folk singers such as the Weavers and Cisco Houston.
Through contact with Robert Koppelman, a scholar working with the Lee Hays Papers in the Rinzler Archives, Robert C. Malone heard about the Archives and wrote to offer his photos to the Archives collections.
Shared Stewardship of Collections:
The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://doi.org/10.25573/data.21771155.
Provenance:
The Smithsonian Ralph Rinzler Folklife Archives and Collections acquired the Robert C. Malone Photograph Collection in 1998. In a letter dated 19 January 1999, Mr. Malone gave full discretion to the Center for Folklife and Cultural Heritage to grant permission for both internal and external use of his photographs with the request that his work be credited.
Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
The Lee Hays papers measures 7.85 cubic feet and dates from 1923 to 1981. The collection includes original writings, correspondence, and miscellaneous projects by Lee Hays; business records, interviews and features related to Lee Hays, including photographs; clippings saved by Lee Hays; and audiorecordings made by Lee Hays.
Scope and Contents:
The Lee Hays papers, which date from 1923-1981, contain personal and business correspondence; typescripts of Lee Hays' fiction, non-fiction, scripts and poetry; miscellaneous project and idea materials; business documents; and audiorecordings made by Lee Hays. The collection measures 7.85 cubic feet.
Arrangement:
The Lee Hays papers, are divided into seven series: 1) Correspondence, 2) Business, 3) Projects and Writings, 4) Collected Texts, 5) Interviews, 6) Features on Lee Hays and 7) Audio Recordings.
The Correspondence Series is divided into two subseries: 1) Personal, and 2) Business.
The Projects and Writings series is divided into six subseries: 1) Songs, 2) Non-Fiction, 3) Fiction, 4) Musical Productions, 5) Radio Scripts, and 6) Cisco Houston Project.
When possible, folders are arranged within series and subseries in alphabetical order by file title, and within folders in chronological order with undated items at the top.
Biographical / Historical:
Lee Hays (1914-1981) was an influential American singer, songwriter, author, and activist. His legacy, both literary and musical, emphasizes the dynamic relationship between traditional culture and contemporary events and issues. As is clear from his essay "The Folk Song Bridge", Hays conceived of "folk music" as a living, breathing "process". Born in Arkansas in 1914 to a Methodist preacher, Hays' first experiences with music revolved around the church. His political awakening came later, when he returned to Arkansas from Ohio in 1934. Under the wing of mentors such as Claude Williams and Zilphia Horton (maiden name: Zilphia Johnson), Hays began to fight for the cause of sharecroppers and union workers. His musical ability and passion for social justice came together as he used music to represent the voice of labor, replacing the religious motifs of traditional and gospel songs with pro-union themes.
Upon moving to the North in 1940, Hays met Pete Seeger, another musician of the Folk Revival. Hays and Seeger shared the common goal of spreading political topical songs, and their collaborations with Woody Guthrie and Millard Lampell led to the creation of the Almanac Singers the same year. Later, the four band members, along with other musicians such as Burl Ives and Sis Cunningham, established the People's Songs organization and publication to create and distribute labor songs. However, interpersonal conflicts with members, including Pete Seeger, led to Hays' pressured resignation from both of these endeavors. He moved in with his mentor, Walter Lowenfels, and began to focus more on his writing. Though Hays was a prolific writer whose work spanned articles, essays, short stories, poetry, and songs, he is rarely recognized for his literary achievement. His writing often centered on the social and political themes for which he is best known—labor rights, racism, poverty and inequality—and used vernacular culture and narrative to address those problems.
Seeger and Hays eventually made amends, and in 1948 they formed The Weavers with Fred Hellerman and Ronnie Gilbert, bringing music of the Folk Revival to a national audience. However, as the Red Scare impacted the American political climate into the 1950s, the Weavers were blacklisted and ultimately had to disband. Though he was under investigation by the House Un-American Activities Committee (HUAC) and had no steady income, Hays continued to write both fiction and non-fiction during the three year blacklisting. In 1955, the Weavers finally reunited for a highly successful revival under manager Harold C. Leventhal, but as years passed, the group split up again, and Hays began to focus on other projects. It was at this time that he produced the bulk of his memoirs, began a project on Cisco Houston, and recorded folk music for children with his group The Baby Sitters. In 1980, the Weavers reunited for a concert in Carnegie Hall and Hays' last performance with them was in 1981. Hays died in 1981 as a result of diabetic cardiovascular disease.
Shared Stewardship of Collections:
The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://doi.org/10.25573/data.21771155.
Provenance:
The Ralph Rinzler Folklife Archives and Collections at the Center for Folklife and Cultural Heritage acquired the "Lee Hays Archives" in 1992 as a donation from Harold C. Leventhal and Doris Kaplan, who acquired the collection upon Lee Hays' death in 1981. The donation included materials produced by Lee Hays, as well as materials of interest to him that were found in his possession.
Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Topic:
Political ballads and songs -- United States Search this
