This collection, which dates from 1926-1986, documents the output of Moses Asch through the various record labels he founded and co-founded, and includes some of his personal papers. The Asch collection includes published recordings, master tapes, outtakes, business records, correspondence, photographs, and film.
Scope and Contents:
The Moses and Frances Asch Collection measures 841 cubic feet and dates from 1926-1987, with some contemporary, relevant correspondence, clippings, and ephemera added after 1987.
Most of the collection consists of audio recordings (commercial 78 rpm and long-playing records, open reel tapes, acetate discs, and test pressings), correspondence with recording artists and producers, artwork, photographs, ephemera, clippings, record production materials, writings, and business papers relating to Folkways Records. Materials relating to Folkways Records can be found primarily in the Correspondence, Folkways Production, Business Records, Photographs, Artwork, Sound Recordings, and Film series.
The collection also contains some biographical materials and personal correspondence, including materials related to Asch's first business, Radio Laboratories, located in the Biographical Materials series. Correspondence, ephemera, photographs, record production materials, business papers, and recordings relating to Asch's record labels before Folkways Records (Asch Recordings, Disc Company of America, Cub Records) are located in the Early Label Materials series as well as the Audio Recordings and Photographs series.
Arrangement note:
The collection is arranged in 10 series:
Series 1: Correspondence, 1942-1987
Series 2: Folkways Production, 1946-1987
Series 3: Business Records, 1940-1987
Series 4: Woody Guthrie papers, 1927-1985
Series 5: Early Label Materials, 1940-1949
Series 6: Biographical Materials, 1926-1987
Series 7: Photographs
Series 8: Artwork
Series 9: Audio Recordings
Series 10: Film
At this time, the collection is partially processed. Please contact rinzlerarchives@si.edu for more information.
Biographical/Historical note:
The son of Yiddish writer Sholem Asch, Moses Asch was born in Poland in 1905. His childhood was spent in Poland, France, Germany, and New York. While young, Asch developed an interest in radio electronics, which ultimately lead him to his life's work, recording the music and sounds of the world. He established several record labels in succession, sometimes partnering with other record companies. Two of his fist record companies, Asch Recordings and DISC Co. of America, went bankrupt. They were followed by his best-known label, Folkways Records, which was founded in 1948 with Marian Distler (1919-1964). He was still working on Folkways recordings when he died in 1986.
Folkways Records sought to document the entire world of sound. The 2,168 titles Asch released on Folkways include traditional and contemporary music from around the world, spoken word in many languages, and documentary recordings of individuals, communities, and current events. Asch's business practices revolved around the commitment to keep every recording issued by Folkways in print, despite low sales. Asch stayed afloat by cutting costs where he could (such as color printing) and offering a high-quality product, meticulously recorded and accompanied by extensive liner notes. In doing this, he could charge a slightly higher price than other commercial outfits. Despite a tenuous relationship with financial solvency, Folkways grew to be not only one of the most important independent record companies in the United States in the 20th century, but also one of the largest and most influential record companies in the world.
Moses Asch's record labels featured famous and lesser known American writers, poets, documentarians, ethnographers, and grass roots musicians on commercial recordings. American folk icon Woody Guthrie recorded on the Asch, Disc, and Folkways labels, and the Asch Collection includes some of his correspondence, lyrics, drawings, and writings. The collection also includes correspondence with other notable musicians and artists such as John Cage, Langston Hughes, Margaret Walker, Huddie "Lead Belly" Ledbetter, Pete Seeger, Peggy Seeger, Ewan MacColl, Alan Lomax, Henry Cowell, and Kenneth Patchen. Also in the collection are ethnographic field notes and photographs by as well as correspondence with Béla Barók, Sidney Robertson Cowell, Harold Courlander, Helen Creighton, Laura Boulton, and Samuel Charters. Asch hired various prominent artists and graphic designers including David Stone Martin, Ben Shahn, John Carlis, and Ronald Clyne to create album cover art for his recordings. Much of the original art and designs for these covers can be found in the Asch Collection.
Asch's output of recordings on various labels, including published recordings, open reel master tapes, outtakes, and acetate disks, in addition to his business papers, correspondence, photographs, and other files were acquired by the Smithsonian Institution in 1987. The collection came to the Smithsonian with the understanding that all 2168 titles under the Folkways label would be kept available in perpetuity.
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://folklife.si.edu/archives#shared-stewardship.
Provenance:
Ralph Rinzler arranged the Smithsonian's acquisition of the Moses and Frances Asch Collection in 1987, beginning with Asch before his death in 1986 and continuing with extensive discussions between Rinzler and the Asch family. Since its acquisition, archivist Jeff Place and others have added contemporary, relevant correspondence with Folkways artists and related individuals.
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.
106.32 Cubic feet (87.5 cubic feet of papers, 18.82 cubic feet of audio)
Type:
Collection descriptions
Archival materials
Photographs
Field recordings
Correspondence
Phonograph records
Notes
Business records
Audiocassettes
Photographic prints
Black-and-white negatives
Audiotapes
Date:
1890-2011
bulk 1950-1994
Summary:
This collection, with bulk dates from 1950-1994, documents the life of Ralph Rinzler and his professional activities as Director of Field Programs for the Newport Folk Festival, Director of the Smithsonian Folklife Festival (formerly the Festival of American Folklife) and the Office of Folklife Programs (now the Center for Folklife and Cultural Heritage), and the Smithsonian Institution's Assistant Secretary for Public Service. Includes personal papers, business records, correspondence, notes, photographs, audiotapes and field recordings.
Scope and Contents:
The Ralph Rinzler Papers and Audio Recordings encompasses a wide range of materials from Rinzler's prolific personal and professional life. Predominantly consisting of clippings, collected texts, correspondence, meeting notes, photographs, and production materials, this collection charts Rinzler's role in the mid-twentieth century emergence of community-based and institutional efforts to preserve, sustain, and amplify cultural heritage. As an assemblage of materials from all aspects of his life, the Ralph Rinzler Papers also reflect the many integral relationships he developed throughout the years with his colleagues, contemporaries, family, and friends.
Arrangement note:
The collection is currently arranged in 9 archival series as follows:
1. Biographical
2. Collected Texts
3. Correspondence
4. Events
5. Fieldwork
6. Meetings and Organizations
7. Notable Figures
8. Publishing and Production
9. Audio
The papers and photographs contained in the first 8 series are processed at an intermediate level, which means that all material was rehoused in archival folders, with folder-level arrangements and descriptions. Individual items within folders may not be fully arranged or described, due to the collection's level of complexity when it was deposited in the Archives.
When possible, folders were arranged alphabetically within series and subseries.
Biographical/Historical note:
Ralph Rinzler (1934-1994) was born in Passaic, New Jersey, and was interested in music at an early age. He was given a collection of ethnographic recordings from the Archive of Folk Song of the Library of Congress by his uncle, Harvard University ballad scholar George Lyman Kittredge, and they soon became his favorites. He became actively involved in the Folk Revival while attending Swarthmore College, organizing an annual festival on campus. He received his B.A. in 1956, and did graduate work at Middlebury College and the Sorbonne in French literature and language. Upon his return to the United States, he played mandolin for four years with the Greenbriar Boys, at times touring with singer Joan Baez. During the 1960s, he also studied, recorded, and worked with performers of traditional music, such as Doc Watson and Bill Monroe, both of whom gained international recognition in part through his efforts. In 1964, Rinzler accepted the position of Director of Field Programs at the Newport Folk Foundation, which involved the planning and programming of the Newport Folk Festival.
Rinzler came to the Smithsonian in 1967 as co-founder of the Festival of American Folklife (now the Smithsonian Folklife Festival) with James Morris in what was then the Smithsonian's Division of Performing Arts. After the 1976 Bicentennial Festival, Rinzler became the founding director of the Office of Folklife Programs (now the Center for Folklife and Cultural Heritage) to establish a center for research, publication, and presentation of programs in American culture and tradition. As Director, he initiated Smithsonian Folklife Studies, a publication series, and did research for the Celebration exhibit, which opened at the Renwick Gallery in 1982. Rinzler was appointed Assistant Secretary for Public Service in 1983 and Assistant Secretary Emeritus in 1990. Ralph Rinzler died on July 2, 1994.
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://folklife.si.edu/archives#shared-stewardship.
Provenance:
The materials in this collection were deposited into the archives of the Center for Folklife and Cultural Heritage over a number of years by Ralph Rinzler, Kate Rinzler, and Jeff Place in honor of the aforementioned. From the 1980s until Ralph Rinzler's passing in 1994, the Center received the majority of the audio tapes and photographs in this collection directly from Rinzler. With Rinzler's death in 1994, Jeff Place reviewed and deposited the majority of Rinzler's papers at the Center.
Until her passing in 2011, Kate Rinzler donated materials to this collection, with more continuing to arrive via her estate (as of May 2021). Many of these items were rehoused in the Kate Rinzler Papers.
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 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.
Recorded by Moses Moon (known at the time as Alan Ribback) and assisted by Norris McNamara during 1963 and 1964, the collection includes audio recordings of interviews with civil rights leaders and participants as well as free-style recordings of mass meetings, voter registration events, and other gatherings organized by Student Nonviolent Coordinating Committee (SNCC). This collection provides a mostly unfiltered documentation of significant moments in the civil rights movement.
Scope and Contents:
This collection consists of 115 reel to reel audio recordings containing interviews, mass meetings, demonstrations, and conversations concerning the civil rights movement, and in particular the voter registration drives organized by SNCC in Alabama and Mississippi in 1963 and 1964. Mass meetings were recorded in Greenwood, Mississippi; Americus, Georgia; Selma, Alabama; Jackson, Mississippi; Danville, Virginia; Washington, D.C.; Hattiesburg, Mississippi; and Indianola, Mississippi. Major demonstrations recorded include the March on Washington in August of 1963, Freedom Day in Selma, Alabama in October of 1963, and Freedom Day in Hattiesburg, Mississippi in January of 1964. Interviews with SNCC workers include Julian Bond, John Lewis, James Forman, Bruce Gordon, Prathia Hall, Ivanhoe Donaldson, Bob Moses, Avery Williams, Willie Peacock, Bruce Boynton and his mother, as well as dozens of others involved in the movement, who are named in the collection inventory. Many of those interviewed were actively involved in strategizing and carrying out SNCC demonstrations and political actions, and many were victims of death threats, beatings, unlawful arrest, police brutality, and torture and abuse in prison. These interviews contain detailed eyewitness accounts and personal testimony regarding these experiences, as well as personal history and thoughts about the movement, the South, and the future.
It is clear from what we know of the dates and locations of these recordings, as well as from documentation of these events in other sources, that many of these recordings are unique documents of important events in American history, which may also contain the commentary of important political and cultural figures who were involved in the movement. For example, an article by Howard Zinn recounts how an unidentified man recorded James Baldwin on October 7, 1963, Freedom Day in Selma, on the steps of the courthouse. Baldwin was furious at the lack of support from nearby federal agents as state troopers advanced on peaceful demonstrators. One of the tapes dated October 7, 1963, originally labeled "courthouse interviews," appears to be this recoding, although Baldwin is not named. The same article (available in The Howard Zinn Reader) recounts the mass meetings which led up to that demonstration, at which actor Dick Gregory gave a rousing sermon as his wife sat in jail for demonstrating in Selma. The Moses Moon Collection may be the only existing audio recording of that sermon as well as many other sermons and speeches.
Moses Moon changed his name after these recordings were made. He is referred to in the finding aid as Alan Ribback because that name is used on the recordings.
Arrangement:
The collection is arranged in two series.Series 1 is in chronological order to the degree recording dates can be determined, and is based on the locations and dates provided by Moon in his description or gleaned from the recordings themselves and other secondary sources. Series 1 contains 17 groups of recordings.
Moon's original numbers are recorded in the column next to the descriptions. Following the first four Greenwood tapes, which are numbered sequentially, Moon's numbering system took the first two letters of the town in which the recordings were made, a one (1), a decimal, and then a tape number. Numbers preceding the town code refer to the recording day. "N" numbers were later assigned by Moon to the 7" reels only, after the original recordings were made, possibly during editing or when the tapes were made available to the Program in African American Culture.
Series 1, Original Tapes
1. Greenwood, Mississippi; Spring 1963; 4 7" reels
2. Chicago, Illinois; August 9, 12, 1963; 2 5" reels
16. Monroe County, Mississippi; August 1, 1964; 4 5" reels
17. Milton, Mississippi; August 16, 1964; 3 5" reels
Series 2, Preservation Masters consists of data DVDs for a portion of the collection.
Biographical / Historical:
Moses Moon was born Alan Ribback in 1928. During the 1950s until 1962, Ribback was the proprietor of the Gate of Horn, Chicago's premier folk music club, which featured performers including Bob Gibson, Odetta, Judy Collins, Joan Baez, Jo Mapes, Peter, Paul and Mary, Lenny Bruce, and Shelley Berman. On December 5, 1962, Lenny Bruce was arrested during a performance at the Gate of Horn along with Ribback, George Carlin, and others. As a result of the arrest and Bruce's subsequent conviction for obscenity, the club was closed by the City of Chicago, and Ribback left Chicago with Norris McNamara, an audio technician, to record folk concerts taking place in the South as part of the growing civil rights movement. From the spring of 1963 until the summer of 1964, Ribback and McNamara recorded demonstrations and mass meetings and interviewed civil rights activists, primarily those involved in the Student Nonviolent Coordinating Committee (SNCC). Later, Ribback moved to New York and edited his recordings into an album called Movement Soul. Ribback married Delia Moon in 1971, took her last name and changed his first name to Moses. In 1979, Bernice Reagon Johnson, working with the Program on African American Culture at the Smithsonian, contacted Moon and borrowed the recordings of mass meetings for a 1980 program on the voices of the civil rights movement. In the late 1980s, Moon was stricken with a severe case of Guillain-Barre syndrome, which left him paralyzed. Moon donated the entire collection of original recordings shortly before his death in 1993.
Related Materials:
Materials at Other Organizations
The papers of the Student Nonviolent Coordinating Committee are held by the King Library and Archives in Atlanta, Georgia; archives@thekingcenter.org.
Provenance:
Donated by Moses and Delia Moon in 1995.
Restrictions:
Collection is open for research. Reference copies must be used. Tapes noted in the container list have digital reference copies in the Smithsonian Institution Digital Asset Management System (DAMS).
Rights:
Collection items available for reproduction, but copyright status unknown. Contact Archives Center staff for additional information. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
African American civil rights workers. Search this
Moses Moon Civil Rights Movement Audio Collection, 1963-1964, Archives Center, National Museum of American History, Smithsonian Institution.
Sponsor:
Partial funding for preservation and duplication of the original audio tapes provided by a National Museum of American History Collections Committee Jackson Fund Preservation Grant.
206 Oh, What a Beautiful City (Twelve Gates to the City) / Banjo.
Local Numbers:
FW-ASCH-LP-02311
Folkways.2311
Publication, Distribution, Etc. (Imprint):
New York Folkways 1967
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.
Wenn alle Bruennlein fliessen.--Da drobn am Bergal.--Rosestock, Holderbluet.--Es geht eine dunkle Wolk herein.--Dat du min Leevsten bist.--Es Burebuebli.--Muss i denn.--Ufm Berge, da geht der Wind.--Bei Mondenschein.--Yodel song.--Der schwere Traum.--Die Gedanken sind frei.
Local Numbers:
FW-ASCH-LP-0347
FLP.40604
FLP.40604 ;.Folkways.843
Publication, Distribution, Etc. (Imprint):
New York Folkways
General:
Program notes and texts, in German, German and Swiss dialects, with English translations, inserted in slipcase. Performer(s): Martha Schlamme, soprano; Peter Seeger, recorder and 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.
Bring me a little water, Silvy (Louisiana) --Ah, si mon moine (Quebec) --Bimini gal (Bahamas) --The Greenland whalers (New England) --Mi caballo blanco (Chile) --Oleanna (Norway) --Banuwa yo (Liberia) --Ragupati rajah ram (India) -- Hey, daroma (Israel).
Local Numbers:
FW-ASCH-LP-0381
Folkways.911
Publication, Distribution, Etc. (Imprint):
New York Folkways 1955
General:
Sung in English, French, Spanish, Hindi, Hebrew, and an undetermined West African language of Liberia. Notes: Program notes and lyrics of songs [4] p. included. Performer(s): Sung by Pete Seeger with The Song Swappers.
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.
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.
101 Hall, Donald: The Sleeping Giant / Donald Hall.
102 Whittemore, Reed: The High School Band / Paul Hecht.
103 Hughes, Langston: Mother to Son / Amanda Ambrose.
104 Wilbur, Richard: The Pardon / Bob Dryden.
105 Coatsworth, Elizabeth: The Mouse Complains / Amanda Ambrose.
106 Whitman, Walt: I Think I Could Turn and Live with the Animals / Paul Hecht.
107 Sandburg, Carl: Localities / Bob Dryden.
108 Bond, Julian: The Bishop of Atlanta, Ray Charles / Amanda Ambrose.
109 Moore, Marriane: Granite and Steel (Brooklyn Bridge) / Paul Molloy.
110 Sandburg, Carl: Arithmetic / Amanda Ambrose.
111 Stafford, William: Watching the Jet Planes Dive / Bob Dryden.
201 Marquis, Don: the coming of archie / Paul Hecht.
202 Sandburg, Carl: Phizzog / Amanda Ambrose, Bob Dryden.
203 Auden, W.H.: O Where are You Going / Bob Dryden.
204 Blue Tailed Fly, The (Jimmie Crack Corn) / Pete Seeger. Banjo.
205 The Senecas / Peter La Farge. Guitar.
206 Casey Jones / Pete Seeger. Banjo.
207 Old Blue / Guy Carawan. Guitar.
Local Numbers:
FW-ASCH-LP-0873
Scholastic.11008
Publication, Distribution, Etc. (Imprint):
New York Scholastic 1970
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.
Sit down / Maurice Sugar --Hallelujah I'm a bum /Harry McClintock --Pie in the sky / Joe Hill --Solidarity forever / Ralph Chaplin, Earl Robinson --Joe Hill / Earl Robinson, Alfred Hayes --Hurry sundown / Yip Harburg, Earl Robinson -- We built the road /Earl Robinson --Wanderin' / arr. Earl Robinson --Animal kingdom / Mel Leven, Earl Robinson -- Too old to work / Kuppy Scott, Joe Glazer, Earl Robinson --Union Collage / arr. Earl Robinson --Free and equal blues / Yip Harburg, Earl Robinson --This land is your land / Woody Guthrie, Earl Robinson --Walter Reuther.
Track Information:
101 Sit Down / Earl Robinson. Guitar.
102 Hallelujah, I'm a Bum / Earl Robinson. Guitar.
103 Preacher and the Slave, The (Pie in the Sky) / Earl Robinson. Guitar.
104 Solidarity Forver / Earl Robinson. Guitar.
105 Joe Hill / Earl Robinson. Guitar.
106 Hurry Sundown / Earl Robinson. Guitar.
107 He Built the Road / Earl Robinson. Guitar.
108 Wanderin' / Earl Robinson. Guitar.
201 Animal Kingdom / Earl Robinson. Guitar.
202 Too Old to Work / Earl Robinson. Guitar.
203 Which Side Are You On? / Earl Robinson. Guitar.
204 Talking Union / Pete Seeger. Guitar.
205 Casey Jones (The Union Scab) / Earl Robinson. Guitar.
206 Union Maid / Earl Robinson. Guitar.
207 Free and Equal Blues / Earl Robinson. Guitar.
208 This Land is Your Land / Woody Guthrie. Guitar.
Local Numbers:
FW-ASCH-LP-0982
UAW.101
Publication, Distribution, Etc. (Imprint):
UAW Los Angeles, Calif. 1970
General:
"A talking blues cantata". "This Walter P. Reuther memorial album sponsored by the UAW Western Region 6 CAP Council"--Slipcase. Earl Robinson, piano, harpsichord, organ, acoustic guitar with instrumental ensemble. Production notes: Recorded at a performance in Santa Barbara, May 1970.
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.
We shall overcome --Where have all the flowers gone -- Turn, turn, turn --Little boxes --Who killed Davey Moore? -- A hard rain's a-gonna fall --This land is your land --The bells of Rhymney --Masters of war --If I had a hammer --Coal creek march --Barbara Allen --Guantanamera --Both sides now -- Last train to Nuremberg --The sinking of the Reuben James -- Last night I had the strangest dream --East Virginia --Hobo's lullaby --My rainbow race.
Track Information:
101 We Shall Overcome / Banjo.
102 Where Have All the Flowers Gone? / Banjo.
103 Turn, Turn, Turn / Banjo.
104 Little Boxes / Guitar.
105 Who Killed Davey Moore? / Guitar.
201 A Hard Rain's Gonna Fall / Guitar.
202 This Land is Your Land / Banjo.
203 The Bells of Rhymney / Guitar.
204 Masters of War / Banjo.
205 If I Had a Hammer (Hammer Song) / Banjo.
301 Coal Creek March / Banjo.
302 Barbara Allen (Child No. 84) / Banjo.
303 Guantanamera / Banjo.
304 Both Sides Now / Banjo.
305 Last Train to Nuremberg / Banjo.
401 The Sinking of the Reuben James / Banjo.
402 Last Night I Had the Strangest Dream / Banjo.
403 East Virginia / Banjo.
404 Hobo's Lullaby / Banjo.
405 Rainbow Race / Banjo.
Local Numbers:
FW-ASCH-LP-1033
Columbia.31949
Publication, Distribution, Etc. (Imprint):
New York Columbia 1973
General:
Descriptive and biographical notes by Gil McKean on container. Performer(s): Popular and folk songs; Pete Seeger with various acc.
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.
The power and the glory (2:34) --Pretty Saro (3:11) --70 miles (2:27) --The faucets are dripping (2:07) --Cement octopus (2:28) --God bless the grass (2:08) --The quiet joys of brotherhood (4:08) --Coal Creek march (1:20) --The girl I left behind me (1:22) --I have a rabbit (2:04) --The people are scratching (3:45) --Coyote, my little brother (2:56) --Preserven el parque elysian (3:21) --Johnny Riley (2:36) -- My dirty stream (0:55) --Barbara Allen (1:21) --From way up here (3:03) --My land is a good land (2:32).
Track Information:
101 The Power and the Glory / Guitar.
102 Pretty Saro / Guitar.
103 70 Miles / Guitar.
104 The Faucets are Dripping / Guitar.
105 Cement Octopus / Guitar.
106 God Bless the Grass / Guitar.
107 The Quiet Joys of Brotherhood / Guitar.
108 Coal Creek March / Guitar.
201 The Girl I Left Behind Me / Guitar.
202 I Have a Rabbit / Guitar.
203 The People are Scratching / Guitar.
204 Coyote, My Little Brother / Guitar.
205 Preserven El Parque Elysian / Guitar.
206 My Dirty Stream / Guitar.
207 John Riley / Guitar.
208 Barbara Allen (Child No. 84) / Guitar.
209 From Way Up Here / Guitar.
210 My Land is a Good Land / Guitar.
Local Numbers:
FW-ASCH-LP-1034
Columbia.2432
Publication, Distribution, Etc. (Imprint):
New York Columbia
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 Medley: Robin the Bobbin/Mary, Mary Quite Contrary/Little Jack Horner :37 2 Die Gedanken Sind Frei Kevess/Kevess 1:40 3 Jackaro 3:51 4 Never Wed an Old Man Abbott 2:25 5 John Brown's Body Traditional 1:50 6 Going Across the Mountains Proffitt 3:06 7 Harry Simms Garland 2:04 8 King Henry Seeger 3:27 9 Medley: Ode to Joy/Goliath, Goliath Seeger/Von Beethove 1:49 10 Queen Anne Front Schmertz 3:28 11 Joe Hill's "Casey Jones" 1:57 12 One Grain of Sand Seeger 1:48 13 Pill McGinn 2:20 14 Draft Dodger Rag Ochs 2:08 15 Mao Tse Tung :35 16 Walking Down Death Row Seeger 3:41 17 Two from Shakespeare: Full Fathom Five/Perchance to Wing Seeger 1:40 18 Beans in My Ears Chandler 3:22
Track Information:
101 Robin the Bobbin / Banjo.
101 Mary, Mary Quite Contrary / Banjo.
101 Little Jack Horner / Banjo.
102 Gedanken Sind Frei, Die (Thoughts are Free) / Banjo.
103 Jackaro / Banjo.
104 Maids When You're Young Never Wed an Old Man / Banjo.
105 John Brown's Body / Banjo.
106 Going Across the Mountains / Banjo.
107 The Ballad of Harry Simms / Banjo.
108 King Henry / Banjo.
109 Beethoven, Ludwig v.: Ode to Joy / Banjo.
109 Goliath, Goliath / Banjo.
201 Queen Anne Front / Banjo.
202 Casey Jones (The Union Scab) / Banjo.
203 One Grain of Sand / Banjo.
204 The Pill / Banjo.
205 The Draft Dodger Rag / Banjo.
206 Mao Tse-Tung / Banjo.
207 Walking Down Death Row / Banjo.
208 Full Fathom Five / Banjo.
208 Perchance to Win / Banjo.
209 Beans in My Ears / Banjo.
Local Numbers:
FW-ASCH-LP-1035
Columbia.9303
Publication, Distribution, Etc. (Imprint):
New York Columbia 1966
Date/Time and Place of an Event Note:
Recorded in: New York, United States.
General:
Program notes by Seeger, and biographical notes on him by Arthur Levy ([12] p. : ports.) inserted in container. Credits: Producer, John Hammond ; reissue producer, Lawrence Cohn. Performer(s): Pete Seeger, vocals, guitar. Production notes: Recorded Feb. 7-8, 1966.
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.
Oh, had I a golden thread --Manurah manyah --May there always be sunshine --Malaika --Peat bog soldiers --Ragaputi --Sourwood Mountain --All mixed up --Kevin Barry -- Shtille di Nacht --Masters of war --Talking atom blues --Uh, uh, uh --If I had a hammer.
Track Information:
101 Oh, Had I a Golden Thread / Banjo.
102 Manura Manyah / Banjo.
103 May There Always Be Sunshine / Banjo.
104 Malaika / Banjo.
105 Moorsoldaten (Peat Bog Soldiers) / Banjo.
106 Ragaputi / Banjo.
107 Sourwood Mountain / Banjo.
201 All Mixed Up / Banjo.
202 Kevin Barry / Banjo.
202 Shtille Di Nacht / Banjo.
203 Masters of War / Banjo.
204 Talking Atom (Old Man Atom) / Banjo.
205 Uh, Uh, Uh / Banjo.
206 If I Had a Hammer (Hammer Song) / Banjo.
Local Numbers:
FW-ASCH-LP-1036
Columbia.9134
Publication, Distribution, Etc. (Imprint):
New York Columbia 1965
General:
Durations and program notes by Seeger on container. Performer(s): Folk songs performed by Pete Seeger, accompanying himself on banjo and guitar. Production notes: Recorded in concert during Seeger's world tour in 1963-64.
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.
403 Mary, What Are You Going to Name that Pretty Little Baby?
404 Rise Up, Shepherd, and Follow.
405 Christ is Born.
406 The First Noel.
407 Carol of the Beasts.
Local Numbers:
FW-ASCH-LP-1097
Phillips.300
Publication, Distribution, Etc. (Imprint):
Phillips
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.
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Deep blue sea. Risselty rosselty. Equinoxial. Oleanna. Quer bonita bandera. Streets of Laredo. Brandy, leave me alone. Didn't old John. Michael row the boat ashore. Wasn't that a time
Local Numbers:
FW-ASCH-LP-1443
FLP.41700
FLP.41700 ;.Folkways.18-127
Publication, Distribution, Etc. (Imprint):
New York Folkways 1970
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.
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Kayowajineh --Fifty sail on Newburgh Bay --The burning of Kingston --The phoenix and the rose --The old Ben Franklin and the sloop Sally B. --The moon in the pear tree --The Erie canal --Yankee doodle --This is a land - - Big Bill Snyder -- Tarrytown --The Hudson whalers --Follow the drinkin' gourd -- Hudson River steamboat --The Knickerbocker line --Of time and rivers flowing.
Track Information:
101 Seneca Canoe Song / Edward Renehan, Pete Seeger. Banjo,Guitar.
102 Fifty Sail on Newburgh Bay / Edward Renehan, Pete Seeger. Banjo,Guitar.
103 The Burning of Kingston / Edward Renehan, Pete Seeger. Banjo,Guitar.
104 The Phoenix and the Rose / Edward Renehan, Pete Seeger. Banjo,Guitar.
105 The Old Ben Franklin and the Sloop Sally B / Edward Renehan, Pete Seeger. Banjo,Guitar.
106 The Moon in the Pear Tree / Edward Renehan, Pete Seeger. Banjo,Guitar.
107 Erie Canal / Edward Renehan, Pete Seeger. Banjo,Guitar.
108 Yankee Doodle / Edward Renehan, Pete Seeger. Banjo,Guitar.
207 The Knickerbocker Line / Edward Renehan, Pete Seeger. Banjo,Guitar.
202 Big Bill Snyder / Edward Renehan, Pete Seeger. Banjo,Guitar.
204 The Hudson Whalers / Edward Renehan, Pete Seeger. Banjo,Guitar.
205 Follow the Drinking Gourd / Edward Renehan, Pete Seeger. Banjo,Guitar.
206 Hudson River Steamboat / Edward Renehan, Pete Seeger. Banjo,Guitar.
201 This is a Land / Edward Renehan, Pete Seeger. Banjo,Guitar.
203 Tarrytown / Edward Renehan, Pete Seeger. Banjo,Guitar.
208 Of Time and Rivers Flowing / Edward Renehan, Pete Seeger. Banjo,Guitar.
Local Numbers:
FW-ASCH-LP-1459
Le Chant Du Monde.55257
Publication, Distribution, Etc. (Imprint):
Paris, France Chant du Monde
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.
Brother, can you spare a dime / Bing Crosby --The boulevard of broken dreams / Deane Janis; Hal Kemp -- Life is just a bowl of cherries / Rudy Vallee --In the still of the night / Glen Gray --Love walked in / Kenny Baker --On the good ship Lollypop / Shirley Temple --Unemployment stomp / Big Bill Broonzy --The gold diggers' song [ We're in the money] / Dick Powell --All in and down and out blues / Uncle Dave Macon --Fifteen miles from Birmingham / Delmore Brothers --The coal loading machine / Evening Breezes Sextet --NRA blues / Bill Cox --I ain't got no home in this world anymore / Woody Guthrie --The death of Mother Jones / Gene Autry --All I want / Pete Seeger & Almanac Singers --The white cliffs of Dover / Glenn Miller and his orchestra.
Track Information:
101 Brother Can You Spare a Dime? / Bing Crosby, Lennie Hayton.
102 Boulevard of Broken Dreams / Deane Janis.
103 Life is Just a Bowl of Cherries / Rudy Vallée.
104 In the Still of the Night / Glen Grey and the Casa Loma Orchestra.
105 Love Walked In / Kenny Baker.
106 On the Good Ship Lollypop / Shirley Temple.
107 Unemployment Stomp / Bill Broonzy. Guitar.
108 Gold Diggers Song, The (We're in the Money) / Dick Powell.
201 All in Down and Out Blues / Uncle Dave Macon. Banjo.
202 Fifteen Miles from Birmingham / Delmore Brothers.
203 The Coal Loading Machine / Evening Breezes Sextet.
204 NRA Blues / Bill Cox.
205 I Ain't Got No Home in This World Anymore / Woody Guthrie. Guitar.
206 The Death of Mother Jones / Gene Autry.
207 I Don't Want Your Millions, Mister (All I Want) / Almanac Singers, Pete Seeger. Guitar.
208 The White Cliffs of Dover / Glenn Miller.
Local Numbers:
FW-ASCH-LP-1468
New World.270
Publication, Distribution, Etc. (Imprint):
New York New World 1977
Date/Time and Place of an Event Note:
Recorded in: New York, United States.
General:
"American songs during the Great Depression," by Charles Hamm; program notes, including discographical information; "Selected bibliography"; and "Selected discography" (6 p. : ill.) bound in container. Performer(s): Bing Crosby ; Deane Janis; Hal Kemp ; Rudy Vallee ; Glen Gray ; Kenny Baker ; Shirley Temple ; Big Bill Broonzy ; Dick Powell ; Uncle Dave Macon ; Delmore Brothers ; Evening Breezes Sextet ; Bill Cox ; Woody Guthrie ; Gene Autry ; Pete Seeger & Almanac Singers ; Glenn Miller and his orchestra.
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.
201 The "Church Lick" and "Hammering On" / Guitar.
204 Other Tunings / Guitar.
203 Two Finger Picking / Guitar.
205 A Hint of Flamenco / Guitar.
206 A Rhumba Rhythm / Guitar.
207 The Mexican Blues / Guitar.
Local Numbers:
FW-ASCH-LP-1519
Topic.12T20
Publication, Distribution, Etc. (Imprint):
London, England Topic 1956
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.
