Coo-coo bird ; Railroad Bill ; Jack of diamonds (Hobart Smith) --Mother is gone ; See God's ark (Moving Star Hall Singers) --Girl of constant sorrow (Sarah Gunning) --Les flammes d'enfer ; La valse du musicien (Cajun Band) -- Catfish blues (Willy Doss) --Katy Cline ; Ella's grave (Ken and Neriah Benfield) --Fox chase ; Shear them sheep even ; Casey Jones (Joe Patterson) --Calvary ; Rocky road (Sacred Harp Singers) --Temperance reel ; Golden slippers (Chet Parker and Elgia Hickok) --The job I left behind (Bill Thatcher) --Muskrat ; Cripple Creek (Doc Watson, with Gaither Carlton and Arnold Watson) --Fred's rambling blues ; Shake 'em down (Fred McDowell).
Track Information:
101 The Coo-Coo Bird / Hobart Smith. Guitar. English language.
102 Railroad Bill / Hobart Smith. Guitar. English language.
103 Jack of Diamonds / Hobart Smith. Guitar. English language.
104 Mother is Gone / Moving Star Hall Singers. English language.
105 See God's Ark A-Moving / Moving Star Hall Singers. English language.
107 Les Flammes D'Enfer / Dewey Balfa, Gladdy Thibodeaux, Louis LeJeune. Fiddle,Accordion. French language.
108 La Valse de Musicien / Dewey Balfa, Gladdy Thibodeaux, Louis LeJeune. Fiddle,Accordion. French language.
109 Catfish Blues / Willie Doss. Guitar. English language.
106 Girl of Constant Sorrow / Sarah Ogan Gunning. English language.
201 Fox Chase / Joe Patterson. Quills (Musical instrument). English language.
202 Shear Them Sheep Even / Joe Patterson. Quills (Musical instrument). English language.
203 Casey Jones / Joe Patterson. Quills (Musical instrument). English language.
204 Calvary / Sacred Harp Singers. English language.
205 Rocky Road / Sacred Harp Singers. English language.
206 Temperance Reel / Chet Parker, Elgia Hickok. Dulcimer. English language.
207 Golden Slippers / Chet Parker, Elgia Hickok. Dulcimer. English language.
208 The Job I Left Behind / Bill Thatcher. Guitar. English language.
209 Muskrat / Arnold Watson, Doc Watson, Gaither Carlton. Fiddle,Banjo. English language.
210 Cripple Creek / Arnold Watson, Doc Watson, Gaither Carlton. Guitar,Fiddle,Banjo. English language.
211 Fred's Rambling Blues / Fred McDowell. Guitar. English language.
212 Shake 'Em on Down / Fred McDowell, Sea Island Singers. Guitar. English language.
Local Numbers:
FP-RINZ-LP-1516
Vanguard.9182
Publication, Distribution, Etc. (Imprint):
New York Vanguard 1965
Date/Time and Place of an Event Note:
Recorded live at the Newport Folk Festival, July 23-26, 1964.
General:
Biographical and discographical sheet by Ralph Rinzler enclosed. Descriptive notes by Ralph Rinzler on container. Production notes:
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.
Limited Phase III Data Recovery for Mitigation of Adverse Effect to Site 44HN202 Assoicated with the VNG Mechanicsville to Kingsmill Lateral Pipline, Hanover County, Virginia
Phase III Archeological Data Recovery for Mitigation of Adverse Effect to Site 44HN202 Associated with the VNG Mechanicsville to Kingsmill LateralPipline, Hanover County, Virginia
Phase III Archeological Data Recovery to Site 44WB66 Associated with the VNG Mechanicsville to Kingsmill Lateral Pipline, City of Williamsburg, Virginia
Festival Recordings: NASA Exploration Stage: Astronaut Adventures (Stephanie Schierholz, Carl Walz, Tom Jones, Joe Frank Edwards); Mysterious Universe: Astrobiology (James Garvin ?Ed Goldstein?, Michael Meyer, John Rummel, Paul Hertz); NASA and Popular...
Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Extent:
1 Sound recording (compact audio cassette)
Type:
Archival materials
Sound recordings
Date:
2008 June 27
Collection 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.
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.
Collection Citation:
Smithsonian Folklife Festival records: 2008 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Extent:
1 Sound recording
sound-tape reel (analog, 7 in.)
Type:
Archival materials
Sound recordings
Place:
United States
Washington (D.C.)
Mississippi
Date:
1974 July 6
Contents:
Flora Molton- Take me to the Water--Talking; Houston Stackhouse-- Take a little walk with me--What's thart tastes like gravy--Big fat mama--instrumental--Cry on, cry on--Ain't gonna be your lowdown dog-; Jones, Thomas, Cooper---I got something to tell you, keep it yourself--Got my mojo working--Stormy Monday--Everyday I have the blues--Steel slide blues--Dust my broom--Rock me mama--61 highway; Townsend and Mays--Saviour do not pass me by--Lord, let me last day be my best--Children, go where I send thee
General note:
DPA number 74.201.06
Local Numbers:
FP-1974-7RR-0091
General:
74.201.06
CDR copy
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 6, 1974.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
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.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Extent:
1 Sound recording
sound-tape reel (analog, 7 in.)
Type:
Archival materials
Sound recordings
Place:
United States
Washington (D.C.)
Mississippi
Date:
1974 July 4
General note:
DPA number 74.101.14
Local Numbers:
FP-1974-7RR-0014
General:
74.101.14
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 4, 1974.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
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.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Extent:
1 Sound recording
sound-tape reel (analog, 7 in.)
Type:
Archival materials
Sound recordings
Place:
United States
Washington (D.C.)
Mississippi
Date:
1974 July 6
Contents:
Sam Chatmon--Big fat mama--Brownskin woman blues--Ashtray taxi; Houston Stackhouse--Big road blues--Big fat mama--CC rider--Canned heat blues--Interview about Tommy Johnson--Maggie Campbell blues; Sam Chatmon--She's my baby; Cleveland Jones, Son Thomas, Joe Cooper--Elmore James songs--Mojo hand; Sam Chtmon--Let's get drunk again--Yellow coon has got no race; Thomas et. al.-- Dust my broom
General note:
DPA number 74.101.40
Local Numbers:
FP-1974-7RR-0040
General:
CDR copy
74.101.40
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 6, 1974.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
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.
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.
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.
Collection Citation:
Collector Records business records, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
The collection is open for research. Patrons must use microfilm copy.
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:
Midtown Galleries records, 1904-1997. Archives of American Art, Smithsonian Institution
An interview of Alison Knowles conducted 2010 June 1-2, by Judith Olch Richards, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts Project, at Knowles' home and studio, in New York, N.Y.
Knowles speaks of her family background; her father's (an English professor) influence on her education; her love of nature and isolation as a young girl; her French studies at Middlebury College; her transfer to Pratt Institute to study art; the social and academic environment at Pratt; her inclinations towards abstraction; her first marriage to Jim Ericson; her first studio at 423 Broadway; her early jobs as a commercial artist; her first gallery show at Nonagon, in 1958, and how she subsequently burned the paintings in that show; her second marriage to Dick Higgins in 1960; her Judson Gallery Show in 1962 and how she subsequently discarded those works; her involvement in the Fluxus group; her involvement with the "Cage class," and its early performances; her collaboration with John Cage on the book, "Notations" (1968); her collaboration with Marcel Duchamp on a print (1967); the circumstances surrounding her performance piece, "Make a Salad" (1962), her travels through Europe with Higgins; the birth of her twins; her computerized poetic piece and installation, "House of Dust" (1967) and how it was later vandalized; her move to Los Angeles to teach at CalArts; the rebuilding of "House of Dust" at CalArts; her move back to New York; the processes leading up to several projects and collaborations including "Loose Pages," "Big Book," "Bread and Water," and more; where she finds her inspiration; her thoughts on performance art; her studio environment in Barrytown, N.Y.; the influence and support of Germany on her work and Fluxus in general; her recent work, including "Identical Lunch"; and current challenges she faces as an artist.
She recalls Richard Lindner, Adolph Gottlieb, Willem de Kooning, Jackson Pollock, Judy Chicago, Josef Albers, Dorothy Podber, Ray Johnson, Dick Higgins, Robert Rauschenberg, John Cage, Klaus Schöning, Jon Hendricks, Gilbert Silverman, George Maciunas, George Brecht, Jack Mac Low, Yoko Ono, Mieko Shiomi, Takako Saito, Joe Jones, Marcel Duchamp, Daniel Spoerri, Richard Hamilton, Nam June Paik, Charlotte Moorman, Helmut Becker, Coco Gordon, Jim Tenney, Cornelia Lauf, Rirkrit Tirvanija, Allan Kaprow, Simone Forte, Carolee Schneemann, Richard Teitelbaum, Miriam Schapiro, Miguel Abrau, James Fuentes, Cyrilla Wozenter, Kathy Kuehn, Ryszard Wasko.
Biographical / Historical:
Alison Knowles (1933- ) is an artist and a founding member of Fluxus in New York, N.Y. Judith Olch Richards (1947- ) is a former director of iCI in New York, N.Y.
General:
Originally recorded on 5 mini discs. Duration is 5 hr., 45 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Occupation:
Conceptual artists -- New York (State) -- New York Search this
New Deal and the Arts Oral History Project Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Tyrus Wong, 1965 January 30. Archives of American Art, Smithsonian Institution.
Elizabeth Murray Oral History of Women in the Visual Arts Project Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Alison Knowles, 2010 June 1-2. Archives of American Art, Smithsonian Institution.
An interview of Tyrus Wong conducted 1965 January 30, by Betty Hoag, for the Archives of American Art.
Wong discusses making a film for grade schools and UCLA, which was produced by Eliot O'Hara, where he demonstrated Oriental painting techniques and Joe Jones demonstrated American techniques; working as an illustrator for Republic Studio; designing pottery plates for Greenfield Pottery, Gabriel Pottery in Pasadena; illustrations for the Western Art Review magazine; covers for the Los Angeles Times Home Section 1954 & 1955; text and illustrations for Watercolor Portraits, 1949; designing ads for various magazines; and doing watercolors, lithographs, and murals for the WPA, including the Santa Monica Library. Wong recalls Surasawa, Dorothy Jeakins, Nick Berganti, Hideo Dati, Benjy Ocobo, Carl Winter, Stanton Macdonald-Wright, Jerre Murry, Steven LaVerne Dunwell, George Stanley, Gordon Newell, and Frank Buck.
Biographical / Historical:
Tyrus Wong (1910-2016) was a Chinese American painter, designer, illustrator, and printmaker based in California.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 2 digital wav files. Duration is 48 min.
Only the second half of this interview was successfully recorded.
Provenance:
Conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Restrictions:
Transcript available on the Archives of American Art website.
Bulliet, C. J. (Clarence Joseph), 1883-1952 Search this
Container:
Box 14, Folder 62
Type:
Archival materials
Date:
1936-1937
Collection Restrictions:
Use of original papers 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:
The C. J. Bulliet papers, circa 1888-1959. Archives of American Art, Smithsonian Institution.
