Arthur Crudup---Bad blood--Keep your hands off that woman--Old and grey--Mean old Frisco--Trouble in mind--Death Valley Blues; Mance Lipscomb--Baby, please don't go--Buck dance--Blues in G--Night time is the right time--I ain't got nobody--Walked and talked all night--Short haired woman--Shine on harvest moon--You are my sunshine--Mother had a sick child--Chevrolet variant; Lipscomb and Almeda Riddle---Four Marys--Trouble in mind--Frankie and Johnny--Going down slow
Track Information:
101 Sacred Harp / Sacred Harp Singers, see background notes.
102 Blues Singer / Arthur Crudup. Guitar.
103 Blues Singer / Mance Lipscomb. Guitar.
General note:
DPA number 70.101.23
Local Numbers:
FP-1970-7RR-0023
General:
CDR copy; Arthur Crudup is well known as the composer of "That's All Right, Mama" later covered by Elvis Presley thereby launching rock and roll. The Sacred Harp Singers are D. Williams,W.Columbus,C.Derry,B.Harvey,N.Hogan,D.Jackson, J.Jackson, P. Jackson, B. Reynolds, H.McGraw, B.Cobb, O.Fanning, R.Hemrich, C.Wallace, R.Edwards, E.Kitchens, R. Parker, W.Parker, P.Pelfry
70.101.23
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 1, 1970.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Copyright restrictions apply. Contact archives staff for information.
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Martin, Bogan and Armstrong--They cut down the old pine tree--La cucaracha; Sunnyland Slim et. al.--two insttrumentals--Look what you're doing to me--Nothing but a child
Track Information:
101 null / Guitar,Harmonica.
General note:
DPA number 72.503.10
Local Numbers:
FP-1972-7RR-0073
General:
CDR copy
72.503.10
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 2, 1972.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Veney Singers--- All I have comes from the Lord--99 1/2 won't do--O Lord, I'm your child--Put your hand in the hand--Don't you know (you need King Jesus)--There is no telling what God can do--Pass me not, o gente savior--I'll fly away--How great thou art--What a friend we have in Jesus--He knows just how much you can bear--I made a vow--Lean on God--Come on in my room--I'll fly away--Come and go eith me to my father's house--Jesus, never let go on my hand--Rock of ages--Somebody bigger than you and I (frag.)
Track Information:
101 Gospel Program / English language.
General note:
DPA number 72.103.01
Local Numbers:
FP-1972-7RR-0022
General:
CDR copy
72.103.01
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, June 30, 1972.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Just can't keep it myself alone--I have a little talk with Jesus--Yes, God is real--It's gonna rain--Take my hand , precious Lord--Motherless child
General note:
DPA number 74.101.61
Local Numbers:
FP-1974-7RR-0061
General:
74.101.61
CDR copy
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 7, 1974.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Johny Shines- Nobody's Fault But Mine; Nobody Could Ever take Mother's Place; Alex Chávez- Jesus leave your throne--Camina--Sleep little child; William Hines--unk--This morning when I rose lord--Its no secret what God can do; Prayer changes things--He's got the whole world in his hands-- Jesus you hear me praying; Tom Vennum-intro; Lydia Mendoza--5 songs; Wright Brothers- Since Gold dipped his love in my heart--Moses smote the water--Jonah--What a friend we have in Jesus--Down by the Riverside--Story of Noah
General note:
DPA number 75.756.02
Local Numbers:
FP-1975-7RR-0490
General:
CDR copy (2 discs)
75.756.02
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 2, 1975.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Lonesome road blues (Utah Phillips)--I've been on the road (Bodie Wagner)--Shake the dust (Mickey Clark)--Rodeo rider (Lew London)--Wyoming child (Mickey Clark)--Bandit of Brazil (Lew London)--That happens everyday in Tijuana (Jim Ringer)--Somebody stole my rig (Mickey Clark)--Caffiene, Nicotine, Benzedrine (Lew London)--Roll, truck, roll (Mickey Clark)
General note:
DPA number 75.554.04
Local Numbers:
FP-1975-7RR-0375
General:
75.554.04
CDR copy
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, June 28, 1975.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Lesley Riddle--Just a closer walk with thee; Janette Carter--Motherless children--Cannonball blues; Lesley Riddle--Red River blues; Janette Carter--If only I were a child again; Phipps Family--Bring black my blue eyed boy to me--Wildwood flower--Sea of Galilee--Little Annie
General note:
DPA number 77.109.23
Local Numbers:
FP-1976-7RR-0294
General:
CDR copy
77.109.23
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 9, 1976.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 1976 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Evelyn Ramsey and Cas Wallin--Where the shades of love lie deep; Sheila Rice--Little Margaret; Berzilla Wallin--Love has brought me to despair; Dellie Norton--Poor orphan no longer; Cas Wallin--Black sheep; commentary; Glen Branscum--Cowboy's lament; Bobby McMillon--interview--House carpenter; Dellie Norton and Berzilla Wallin--Little Mohea
Track Information:
101 Where the Shades of Love Lie Deep / Cas Wallin, Evelyn Ramsey.
102 Little Margaret / Sheila Kay Adams.
103 Love Has Brought Me to Despair / Berzilla Wallin.
104 Poor Orphan No Longer Alone / Dellie Norton.
105 Black Sheep / Cas Wallin.
107 Cowboy's Lament (Streets of Laredo) / Glen Branscum.
109 House Carpenter (Child No. 243) / Bobby McMillon.
110 Little Mohee (frag.) / Berzilla Wallin, Dellie Norton.
General note:
DPA number 77.110.14
Local Numbers:
FP-1976-7RR-0311
General:
CDR copy
77.110.14
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 8, 1976.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
The papers of New York artist Philip Pearlstein measure 31.8 linear feet and 16.68 GB and date from circa 1940 to 2008. The collection is comprised of biographical material, correspondence, interviews and transcripts, writing projects and lectures, personal business records, printed material, three scrapbooks, photographs and moving images, documentary production material, digital records, sound and video recordings, and motion picture film that documents Pearlstein's career as a painter and educator.
Scope and Contents:
The papers of New York artist Philip Pearlstein measure 31.8 linear feet and 16.68 GB and date from circa 1940 to 2008. The collection is comprised of biographical material, correspondence, interviews and transcripts, writing projects and lectures, personal business records, printed material, three scrapbooks, photographs and moving images, documentary production material, digital records, sound and video recordings, and motion picture film that documents Pearlstein's career as a painter and educator.
Also found are sound recordings and transcripts of interviews with Pearlstein by Vivian Tsao, Michael Blaine, Sanford Sivitz Shaman, David McCarthy, and broadcast stations WRFM and WBAI. Writing projects and lectures by Pearlstein consist of student work, numerous articles and essays, sound and video recordings of lectures and speeches, letters, memorials, miscellaneous manuscripts and notes, and a U.S. and U.S.S.R. Workshop Exchange project proposal. Writings by others about Pearlstein are by W.J. Kelly, Alexander Dückers, Richard Field, John Ward, Jerome Viola, Robert Storr, and David Yezzi.
Personal business records contain agreements, consignment and loan documents, donations, financial material, exhibition files, insurance and inventories, recommendations written by Pearlstein, reproduction permissions, digital recordings, and teaching files for various institutions. Art reproductions, clippings, exhibition announcements and catalogs for exhibitions of artwork by Pearlstein and others, magazines and journals, newsletters, postcards, and publicity files that include one digital recording are in printed materials.
Two scrapbooks are of Egyptian and Roman architecture and objects accompanied by notes and a small amount of sketches, and one scrapbook is printed material regarding Pearlstein's work and exhibitions. Artwork is by Jean Hampleman, Fernando Tamburini, and unidentified artists. Photographs and moving images that include video recordings and motion picture film of Pearlstein in the studio, portraits, and candids; personal photographs of family, travel, and classmates including Andy Warhol and Dorothy Cantor; artist's models; events and exhibitions; and works of art.
Completed and unedited video and sound recordings, computer graphics footage, soundtrack material, and administrative records for the 1985 documentary video production Philip Pearlstein Draws the Artist's Model are also in this collection.
Arrangement:
The collection is arranged as 10 series.
Series 1: Biographical Material, 1964-2008 (0.8 linear feet; Boxes 1, 36, OV42)
Series 2: Correspondence, circa 1955-2008 (8.5 linear Feet; Boxes 1-10, OVs 42-43, 0.168 GB; ER01)
Series 3: Interviews and Transcripts, 1957-2003 (0.5 linear Feet; Box 10)
Series 4: Writing Projects and Lectures, circa 1945-2008 (2.5 linear Feet; Boxes 10-13, 37-38, 8.26 GB: ER02-ER13)
Series 5: Personal Business Records, 1955-2007 (1 linear Feet; Boxes 13-14, 3.77 GB: ER14-ER15)
Series 6: Printed Materials, 1946-2008 (3.0 linear Feet; Boxes 14-21, 36, OVs 42-43)
Series 7: Scrapbooks, circa 1953-1970s (0.4 linear Feet; Box 22)
Series 8: Artwork, undated, 1967-2004 (0.2 linear Feet; Box 22, OV 42)
Series 9: Photographs and Moving Images, 1940s-2008 (3.3 linear Feet; Boxes 22, 37, 39-41, 4.18 GB; ER16-ER18)
Series 10: Philip Pearlstein Draws the Artist's Model, Documentary Production Material, 1983-1991 (8.5 linear Feet; Boxes 23-30, SAV 31-35)
Biographical / Historical:
Philip Pearlstein (1924- ) is a painter and educator based in New York, N.Y.
Pearlstein was born in Pittsburgh, Pennsylvania, and he attended classes at the Carnegie Museum of Art as a child. While still in high school, his paintings were reproduced in Life magazine after winning Scholastic magazine's high school art competition. After graduating from high school Pearlstein enrolled in the Carnegie Institute of Technology's (CIT) art school, but left after a year to serve in the Army during World War II. He gained knowledge of printing, drafting, and sign painting while stationed in Florida and Italy. After the war he returned to CIT as a student and became art editor of the engineering school's Carnegie Technical magazine. During this time Pearlstein met his wife, Dorothy Cantor, and became close friends with Andy Warhol, both classmates at CIT. Pearlstein moved to New York City with Warhol after receiving his Bachelor of Fine Arts in 1949. In 1955, he completed his thesis on Francis Picabia and received a Master of Arts in art history from New York University's Institute of Fine Arts.
As Pearlstein's career evolved, he became known for his realistic nudes and landscapes. Many of Pearlstein's paintings were inspired by his travels to the western United States, Peru, Egypt, and to Italy as a 1958 Fulbright Grant recipient. His work has been exhibited throughout the United States and internationally, and he has worked closely with the Tanager and Alan Frumkin Galleries in New York. In addition to his painting career, Pearlstein was an instructor at Pratt Institute from 1959 to 1963 and at Brooklyn College from 1963 to 1988. He is also a member of the National Academy of Design and the American Academy of Arts and Letters, serving as president from 2003 to 2006.
Pearlstein continues to work and live in New York, N.Y.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Philip Pearlstein conducted by Paul Cumming, June 8 to August 10, 1972.
Provenance:
The papers were donated in multiple installments by Philip Pearlstein from 1975 to 2009.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.
Rights:
Authorization for commercial use of audiovisual material for the documentary Philip Pearlstein Draws the Artists' Model requires prior arrangement with Pearlstein or his heirs.
Occupation:
Art teachers -- New York (State) -- New York Search this
Panther Free Food Program. Children Prepare Bags of Food for Distribution at the Oakland Coliseum at the Black Panther Community Survival Conference, Oakland, California, March 1972
