This collection includes ¼ inch open reel audio tapes recorded and collected by Michael B. McCrary of music and songs from Taos, New Mexico, Warm Springs, Oregon, and Celilo Salmon Festival in Oregon.
Scope and Contents:
This collection includes 12 ¼ inch open reel audio tapes, all of which are approximately 9.5 inches in length. The reels were transferred onto Digital Audio Tape (DAT) in 1993, and sound cassettes were also made around that time for access purposes.
Reels 1-6 were made over three nights in 1955 at the Celilo Salmon Festival at Celilo Falls in Oregon. This was one of the last festivals before the Falls were submerged by the Dalles Dam. McCrary states in a 1967 letter that he did not make these recordings himself but does not list who did.
Reels 7-10 were made in Taos, New Mexico by Michael McCrary at the house of Tony Lujan (Taos Pueblo). These reels are undated but were likely recorded sometime around 1960 and includes Taos stories and songs.
Reels 11-12 are labeled "Warm Springs," but further research needs to be done to determine whether these were made at the same time as the Celilo Salmon Festival recordings.
Arrangement:
Arranged by Reel number.
Celilo Salmon Festival:
During the Celilo Salmon Festival, or First Salmon Feast, members of the Yakama (Yakima) and Warm Springs communities celebrate the return of the salmon every year to the Columbia Basin. Typically, around the second or third week of April, the celebration marks the opening of fishing season. Historically, the feast was held at the Celilo Falls. However, in 1957, the Celilo falls, along with the fishing platforms and village of Celilo, were submerged by slackwater from the newly built Dalles Dam.
Tony Lujan and Mabel Dodge Luhan, Taos, New Mexico:
Antonio "Tony" Lujan was born January 2, 1879. A Taos Pueblo tribal member and leader, Tony married Mabel Dodge Luhan in 1923 who had moved from New York to Taos, New Mexico to start an artist colony in 1917. Tony and Mabel bought 12 acres of land and built a house that would become a destination for artists and writers. Mabel died in 1962 and Tony, a year later in 1963. Their house in now a National Historic Landmark.
Provenance:
Gift of Michael B. McCrary, 1966.
Restrictions:
Collection is closed until the materials have been digitized and further tribal community consultation.
Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archives Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information, please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.
Identification of specific item; Date (if known); Michael B. McCrary audio recordings from Celilo Falls, Oregon and Taos, New Mexico, reel #, NMAI.AC.442; National Museum of the American Indian Archives Center, Smithsonian Institution.
163 reel to reel tapes,136 VHS tapes, 188 cassette tapes, 100 DAT tapes, 20 467 tapes, 6 compact discs, 16 miscellaneous audio materials, all are mostly recordings of Fast Folk events or Fast Folk recording artists; 604 folders containing information and materials relating to magazines, recordings, events and business; objects related to the Fast Folk Musical Magazine
The Fast Folk Musical Magazine records, which date from 1982-2002, document the activities of Fast Folk Musical Magazine. The collection is comprised chiefly of audio/video materials and the paper business records of the company. Audio and video materials include phonograph records, reel-to-reel tapes, VHS videotapes, audiocassettes, digital audiotapes, compact discs and miscellaneous audio material. The paper records include press materials related to Fast Folk and Fast Folk recording artists, magazine source materials, recording agreements, lyrics, artist biographies, photographs, financial documents, correspondence, planning for events and other miscellany. Additionally, there is a Fast Folk t-shirt and a bag of Fast Folk pencils, pens and erasers.
Scope and Contents:
There are two main components of the Fast Folk Musical Magazine Collection: the audio and video materials and the paper records of the company. This finding aid is a guide to the paper records and related materials.
Biographical / Historical:
The Fast Folk Musical Magazine, previously known as The CooP, was a non-profit organization that published recordings with an accompanying magazine from 1982-1996. Fast Folk began as an outlet through which singer-songwriters could perform, as there were few venues that booked folk singers in New York City during that time period. Jack Hardy (1948-2011) headed this endeavor in the Speakeasy club, sharing space with a belly dance club and a falafel restaurant. A musician's co-op was created at the Speakeasy, meaning that everything in the club was to be done by the musicians, from booking to cleaning. The first show by the musicians' co-op at the Speakeasy was in September of 1982. It was considered the best place for a musician to get a gig if he or she did not already have a record deal.
Richard Meyer (1952-2012), who eventually became editor of Fast Folk in 1985, joined the project a couple months after its inception as a performer, writer and graphic designer for the magazine. Jack Hardy introduced himself to Meyer at a concert and invited him to sign up for the Songwriter's Exchange; another project organized by Hardy in which musicians performed songs for each other that they had recently written. Slowly, the number of people working on Fast Folk grew and Meyer trained others to do what he did. An important part of the organization was its community-oriented system; it was almost entirely run by an ever-changing group of volunteers. As the staff at Fast Folk increased, it became continuously involved in shows such as the Greenwich Village Folk Festivals which were used as fundraisers.
Fast Folk provided a good way for musicians to be able to make their own record or to be part of a record, since making a record on one's own was more difficult in that era. Many commercial recording artists such as Lyle Lovett, Tracy Chapman, Michelle Shocked, Christine Lavin, Suzanne Vega and Shawn Colvin recorded some of their first songs with Fast Folk. While some musicians eventually became commercially successful, Fast Folk consistently stressed that this was not their organization's objective. By releasing many different artists' work on each recording, Fast Folk strove to expand the collective horizons of their audience and spread the power of individual songs as opposed to individual artists. Songwriters were incorporated into an issue of Fast Folk by sending in demo tapes or by being heard by Hardy and Meyer at a Songwriters' Exchange or other performance. The Fast Folk committee also had a significant input as to who was on each album. The magazine was used as an outlet for discussing current issues of songs and songwriting across the country, as well as reviewing albums and interviewing artists. Many issues were devoted to the music of different sections of the United States such as Boston, Los Angeles and the Pioneer Valley in Massachusetts. The issues of Fast Folk were sold mostly through subscription, but also at the Speakeasy club. Around the time Richard Meyer contacted the Smithsonian, Fast Folk stopped producing records and magazines, mostly due to a lack of volunteers with enough time to devote to a business of Fast Folk's size.
Shared Stewardship of Collections:
The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://doi.org/10.25573/data.21771155.
Provenance:
The Smithsonian Ralph Rinzler Folklife Archives and Collections acquired these materials in 1999, when Fast Folk Musical Magazine donated its records to the Center for Folklife and Cultural Heritage. In 1996, Richard Meyer, on behalf of Fast Folk Musical Magazine, contacted Anthony Seeger, then Director of Smithsonian Folkways Records, offering the Fast Folk materials to the Smithsonian. After several years of correspondence, the Smithsonian received the collection. The Center for Folklife and Cultural Heritage agreed to keep the recordings available commercially and to retain the records in the archive, as well as to leave Fast Folk with the option to restart publication of the magazine.
Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Topic:
Popular music -- Writing and publishing Search this
Popular music -- 20th century -- United States Search this
34.28 Cubic feet (3 record boxes of business records; 8 record boxes, including 374 non-master audio reels (10", 7", 5", 4" and 2" reels); 160 10" reels in open stacks; 4 record boxes, including 853 audio cassettes; 1 record box, including 36 video cassettes; and 491 long play records, 45s and compact discs.)
Type:
Collection descriptions
Archival materials
Digital audio tapes
Vhs (videotape format)
Audiocassettes
Audiotapes
Date:
circa 1937-2004
bulk 1960-1990
Summary:
This collection documents the activities of Joe Glazer's record label Collector Records. Materials include the label's original commercial recordings, paper records related to day-to-day business operations and production, field recordings made by Joe Glazer, and Glazer's personal music collection.
Scope and Contents:
The Collector Records business records, measuring 34.28 cubic feet, date from 1937-2004 and contain materials relating to founder Joe Glazer's work with the label, as well as his work as a participant in the labor movement.
The records include papers documenting the promotion, production, and business operations of Collector Records; original audiorecordings used for Collector Records masters; audiorecordings made in the field by Joe Glazer; video recordings of performances by and interviews with Joe Glazer, including performances at labor union events; audiorecordings of interviews with Joe Glazer; Collector Records recordings and releases; and Glazer's personal commercial music collection.
Arrangement:
Records are arranged in 7 series:
Series 1: Promotional, Performance, and Record Planning Materials, 1971-2004
Series 2: Financial and Administrative Records, 1966-2003
Series 3: Open-reel Audiorecordings, 1937-1990
Series 4: Cassette Audiorecordings, 1949-2002
Series 5: Video Recordings, 1984-2004
Series 6: Digital Audio Tape (DAT) Audiorecordings, 1982-1994
Series 7: Published Audiorecordings
Biographical / Historical:
Since the Industrial Revolution, working people have been organizing and campaigning for better treatment from their employers. The labor movement and its unions struggle for fair wages, safe working conditions, and many other benefits. Music is an important tool in the labor movement to motivate workers and help build solidarity. Labor songs detail political issues, glorify martyrs and heroes in the movement, and, most of all, inspire and uplift workers.
Joe Glazer (1918-2006), often called "Labor's Troubadour," spent a lifetime as one of America's noted historians of labor song. His booming baritone and exuberant guitar have performed for millions of workers, strikers, and students. He was the author of several significant labor songs, notably "The Mill Was Made of Marble," which is a commentary on the need for cleaner, safer mill conditions for textile workers. In addition to his performing, he was employed by the United Rubber Workers, the Textile Workers Union of America, and the United States Information Agency over the course of his career.
Glazer founded Collector Records in 1970 to distribute his own recordings of labor songs and those of younger and newer performers he had met through his work—many of them through the Labor Heritage Foundation, which he founded in 1978, and its yearly Great Labor Arts Exchange. Some artists, such as Bobbie McGee, went on to become well-known folk singers, but many Collector artists remained at their jobs. Eddie Starr (1956-2003) was a third-generation Illinois steelworker who declined a life on the road as a rock musician, and took a factory job at home to support his family. Kenny Winfree was a textile worker when Glazer heard his bluegrass-style labor songs. He continues to work, now at an aircraft plant in Texas, where he is an active member of UAW Local 848.
Collector Records paints a clear picture of workers' struggles. Songs depict everyday hazards and ailments encountered on the job, allowing workers to express their situation and make audiences aware of their plight. "Cotton Mill Colic" is a classic folk song written in 1926 by David McCarn, a textile mill worker in North Carolina that describes the harsh conditions and low pay of mill-working life. The steelworker in "Corrido Minero" sings about the ever-present danger of working in a mine with outdated equipment. Newer workplace issues are expressed in labor songs as well. The worker in John O'Connor's song suffers from carpal tunnel syndrome, one of the most frequent of modern workplace afflictions, occurring among those who perform a great deal of computer data entry and causing extreme pain in the hands and arms.
Collector Records Business Records is a historic collection presenting music to inspire and motivate working people. The Glazer family donated the label's recordings, along with Glazer's original song and narrative recordings, business records, and personal commercial music collection to the Smithsonian Center for Folklife and Cultural Heritage in 2006.
Shared Stewardship of Collections:
The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://doi.org/10.25573/data.21771155.
Provenance:
The Ralph Rinzler Folklife Archives and Collections acquired the Collector Records business records in 2006 through a donation by the Glazer family.
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.
Jerome and Dorothy Lemelson Center for the Study of Invention and Innovation. Search this
Extent:
7.5 Cubic feet (15 boxes )
Type:
Collection descriptions
Archival materials
Videotapes
Date:
1996 November 11-16
Summary:
This week-long event explored the intersection of technology and music in the 20th century; it included oral and video histories, exhibitions, concerts, and a symposium discussing the cultural significance of the electric guitar as instrument, technology, and symbol.
Scope and Contents:
The collection contains original, master, and reference videos in several formats: BetaCam SP, 3⁄4" U-matic, 1⁄2" VHS, digital audio tape (DAT), and compact disks (CD). The collection documents Electrified, Amplified, and Deified: The Electric Guitar, Its Makers, and Its Players, as part of the Lemelson Center's series of New Perspectives. Through a series of public events, the Lemelson Center explored the intersection of technology and music in the 20th century. The week-long event included oral and video histories, exhibitions, concerts, and a symposium discussing the cultural significance of the electric guitar as instrument, technology, and symbol and an electronic fieldtrip for school age children.
The collection is arranged into four series: Series 1, Oral Histories, 1996; Series 2, Symposium and Other Programs, 1996; Series 3, Innovative Lives and Electronic Fieldtrip Presentation, 1996; and Series 4, Miscellaneous, 1996, undated. Each series is further divided into subseries arranged by format—BetaCam SP, digital audio tape (DAT), 3⁄4" U-Matic, and 1⁄2" VHS. The symposium footage has multiple camera angles resulting in Camera A and Camera B.
The oral histories contain interviews with some of the best known electric guitar manufacturers, luthiers, and accessory makers discussing major twentieth-century technological and cultural trends. The interviews were conduct by Reuben Jackson, Marge Oustrushko, Robert Santelli and Matt Watson. The interviewees include: Junior Brown; John Ingram; Duke Kramer; Ted McCarty; Pat Metheny; Les Paul; G.E. Smith; Paul Reed Smith; Joe Louis Walker; and Tom Wheeler.
Les Paul was interviewed as part of the Lemelson Center's series Portraits of Invention. Legendary guitarist and innovator Les Paul discusses his work with Marc Pachter, Counselor to the Secretary of the Smithsonian. Additionally, Les Paul discusses his work with Matt Watson.
The Acoustic Guitar Concert held at NMAH's Hall of Musical Instruments on November 14, 1996, included a performance by Howard Aldin, guitarist. Martha Morris, Deputy Director, NMAH; Art Molella, Director, Lemelson Center; and James Weaver, Curator, NMAH provided opening remarks.
The symposium, New Sounds, and other programs explored events surrounding the invention of the electric guitar, past and present technological innovations, and contributions made by early pioneers of guitar making. Two evening concerts included performances by some of the country's finest electric guitarists—Howard Aldin, Jim Hall, Junior Brown, Joe Louis Walker, and The Ventures.
New Sounds explores the intersection of technology and music in the 20th century, focusing on the invention and diffusion of the electric guitar. The symposium brings together inventors, historians, and musicians for a day of conversation and inquiry.
The morning sessions addressed Inventing and Popularizing the Electric Guitar with National Museum of American (NMAH) Curator, Charles McGovern, and Innovators and Entrepreneurs Panel Discussion with participants Ted McCarty, Duke Kramer, John Hall, Richard R. Smith, and moderator Tom Wheeler.
The afternoon sessions addressed The Electric Guitar in Context with an introduction by NMAH archivist, Reuben Jackson, and historians, Susan Horning, James Kraft, and Rebecca McSwain discussing relationships among invention, economics, labor, race, and technological enthusiasm. After the session the panelists fielded audience questions.
The Innovative Lives Presentation and Electronic Fieldtrip were presented in cooperation with the Rock and Roll Hall of Fame and Museum in Cleveland, OH. Robert Santelli, Director of Education at the Rock and Roll Hall of Fame and Museum, along with Paul Reed Smith and G.E. Smith, described the invention of the electric guitar, demonstrated the different types of music played on a variety of guitars, and answered student questions about musical innovation and the electric guitar. Student's participation included: Kenmore Middle School (Arlington, VA); Robert Frost Middle School (Rockville, MD); Paul Junior High School (Washington, D.C.); Elkhart Community Schools (Indiana); and Cleveland, OH area middle schools.
The Jerome and Dorothy Lemelson Center for the Study of Invention and Innovation was founded in 1995 at the Smithsonian Institution's National Museum of American History through a generous gift from the Lemelson Foundation. The Center's mission is: to document, interpret, and disseminate information about invention and innovation; to encourage inventive creativity in young people; and to foster an appreciation for the central role invention and innovation play in the history of the United States. The Innovative Lives series brings together Museum visitors and especially, school age children, and American inventors to discuss inventions and the creative process and to experiment and play with hands-on activities related to each inventor's product. This collection was recorded by the Jerome and Dorothy Lemelson Center for the Study of Invention and Innovation.
Series 3, Innovative Lives and Electronic Fieldtrip Presentation, 1996
Subseries 1, BetaCam SP, 1996 (original)
Subseries 2, BetaCam SP, 1996 (masters)
Subseries 3, 1⁄2" VHS, 1996 (reference copies)
Series 4, Miscellaneous, 1996, undated
Subseries 1, BetaCam SP, undated (originals)
Subseries 2, BetaCam SP, undated (masters)
Subseries 3, Digital Audio Tape (DAT), 1996 (originals)
Subseries 4, 1⁄2" VHS, undated
Subseries 5, CD-ROM (reference copy), 1996
Biographical / Historical:
Just the words "electric guitar" can conjure up images in our minds. Jimi Hendrix playing "The Star-Spangled Banner." The neighbor's kid whose band practices in the garage. Leather jackets, motorcycles, and slicked-back hair. A Fender Stratocaster. Or a Gibson Flying V or Les Paul. Music that is, depending on your generation, either too loud or not quite loud enough. Rock and roll. Jazz. Blues. Country. The sound of an electric guitar is familiar to most of us. How did that happen? Why has the work of the people who invented, designed, and popularized this instrument become so much a part of everyday life?
These questions and others were raised during Electrified, Amplified, and Deified: The Electric Guitar, Its Makers, and Its Players, the second in the Lemelson Center's annual series on New Perspectives on Invention and Innovation. From November 9-16, 1996, the Center, in cooperation with the National Museum of American History Division of Cultural History, sponsored concerts, movies, interviews, makers' displays, an exhibit, and a symposium, all spotlighting those inventors and players who plugged in and forever changed the sound of American music.
Provenance:
This collection was created by the Lemelson Center and NMAH staff from the Division of Music, Sports and Entertainment in November of 1996.
Restrictions:
Collection is open for research butthe original videos are stored off-site and special arrangements must be made to work with it. Series 1, Oral Histories, the Les Paul oral history interviews are restricted Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Musical instruments industry -- 20th century Search this
Jerome and Dorothy Lemelson Center for the Study of Invention and Innovation. Search this
Type:
Archival materials
Date:
1996 - 1996
Collection Restrictions:
Collection is open for research butthe original videos are stored off-site and special arrangements must be made to work with it. Series 1, Oral Histories, the Les Paul oral history interviews are restricted Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Electric Guitar Video Documentation, 1996 November, Archives Center, National Museum of American History, Smithsonian Institution.
Jerome and Dorothy Lemelson Center for the Study of Invention and Innovation. Search this
Type:
Archival materials
Date:
1996 - 1996
Collection Restrictions:
Collection is open for research butthe original videos are stored off-site and special arrangements must be made to work with it. Series 1, Oral Histories, the Les Paul oral history interviews are restricted Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Electric Guitar Video Documentation, 1996 November, Archives Center, National Museum of American History, Smithsonian Institution.
Jerome and Dorothy Lemelson Center for the Study of Invention and Innovation. Search this
Container:
Box 7, Item DAT 610.1
Type:
Archival materials
Moving Images
Date:
1996 November 15
Scope and Contents:
Total Running Time: 1:32:16
Collection Restrictions:
Collection is open for research butthe original videos are stored off-site and special arrangements must be made to work with it. Series 1, Oral Histories, the Les Paul oral history interviews are restricted Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Electric Guitar Video Documentation, 1996 November, Archives Center, National Museum of American History, Smithsonian Institution.
Jerome and Dorothy Lemelson Center for the Study of Invention and Innovation. Search this
Container:
Box 7, Item DAT 610.2
Type:
Archival materials
Moving Images
Date:
1996 November 15
Scope and Contents:
Total Running Time: 1:12:14
Collection Restrictions:
Collection is open for research butthe original videos are stored off-site and special arrangements must be made to work with it. Series 1, Oral Histories, the Les Paul oral history interviews are restricted Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Electric Guitar Video Documentation, 1996 November, Archives Center, National Museum of American History, Smithsonian Institution.
Jerome and Dorothy Lemelson Center for the Study of Invention and Innovation. Search this
Container:
Box 7, Item DAT 610.3
Type:
Archival materials
Moving Images
Date:
1996 November 15
Scope and Contents:
Total Running Time: 18:25
Collection Restrictions:
Collection is open for research butthe original videos are stored off-site and special arrangements must be made to work with it. Series 1, Oral Histories, the Les Paul oral history interviews are restricted Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Electric Guitar Video Documentation, 1996 November, Archives Center, National Museum of American History, Smithsonian Institution.
Jerome and Dorothy Lemelson Center for the Study of Invention and Innovation. Search this
Container:
Box 7, Item DAT 610.4
Type:
Archival materials
Moving Images
Date:
1996 November 15
Scope and Contents:
Total Running Time: 1:35:10
Collection Restrictions:
Collection is open for research butthe original videos are stored off-site and special arrangements must be made to work with it. Series 1, Oral Histories, the Les Paul oral history interviews are restricted Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Electric Guitar Video Documentation, 1996 November, Archives Center, National Museum of American History, Smithsonian Institution.
Jerome and Dorothy Lemelson Center for the Study of Invention and Innovation. Search this
Container:
Box 7, Item DAT 610.5
Type:
Archival materials
Moving Images
Date:
1996 November 14
Scope and Contents:
Total Running Time: 43:56
Collection Restrictions:
Collection is open for research butthe original videos are stored off-site and special arrangements must be made to work with it. Series 1, Oral Histories, the Les Paul oral history interviews are restricted Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Electric Guitar Video Documentation, 1996 November, Archives Center, National Museum of American History, Smithsonian Institution.
Jerome and Dorothy Lemelson Center for the Study of Invention and Innovation. Search this
Container:
Box 7, Item DAT 610.6
Type:
Archival materials
Moving Images
Date:
1996 November 14
Scope and Contents:
Total Running Time: 40:22
Collection Restrictions:
Collection is open for research butthe original videos are stored off-site and special arrangements must be made to work with it. Series 1, Oral Histories, the Les Paul oral history interviews are restricted Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Electric Guitar Video Documentation, 1996 November, Archives Center, National Museum of American History, Smithsonian Institution.
DAT 610.7, G.E. Smith discussing of From Frying Pan to Flying V: The Rise of the Electric Guitar
Collection Creator:
Jerome and Dorothy Lemelson Center for the Study of Invention and Innovation. Search this
Container:
Box 7, Item DAT 610.7
Type:
Archival materials
Moving Images
Date:
1996 November 14
Scope and Contents:
Total Running Time: 36:00
Collection Restrictions:
Collection is open for research butthe original videos are stored off-site and special arrangements must be made to work with it. Series 1, Oral Histories, the Les Paul oral history interviews are restricted Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Electric Guitar Video Documentation, 1996 November, Archives Center, National Museum of American History, Smithsonian Institution.
This series contains 18 5-inch sound tapes, as well as one cassette tape, three micro-cassettes, and 8 digital audio tapes (DAT). The series also contains a one-page user's guide, providing an overview to the tapes, and transcripts for reels 7, 8, and 11 through 18, as well as a brief outline for reel #9; there are no transcripts for reels 1 through 6, 9, or 10. The reels have not been examined, but purport to consist of conversations between Chapman and Alfonso Martinez recorded in 1958, covering Tolupan vocabulary and mythology. The reels show some condition issues, particularly at the head of the tapes; in addition, the tape is likely to be of acetate. The DAT appear to be digitized copies of the reels.
The reels were numbered by Chapman, and the processing archivist continued the numbering schema for the remainder of the sound recordings. Notes on audio boxes and the recordings have been transcribed below.
Collection Restrictions:
No restrictions on access.
Collection Rights:
Anne Chapman retained the publishing rights to her Tolupan materials. These rights were passed on to her executor after her death.
Collection Citation:
Anne Chapman papers on the Tolupan (Jicaque), National Anthropological Archives, Smithsonian Institution
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America Search this
Names:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America Search this
National Council on Education for the Ceramic Arts (U.S.) Search this
Extent:
48 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2001 June 11
Scope and Contents:
An interview of Robert Turner conducted 2001 June 11, by Margaret Carney, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Smithsonian Productions, in Washington, D.C.
Turner speaks of his childhood in Brooklyn, N.Y.; his father's business, Turner Concrete (now called Turner Construction); drawing classes; attending the George School for a post-graduate year before attending Swarthmore College, where his major was economics; the importance of Quakerism in his life and work; traveling throughout Europe and the Southwestern United States; his marriage to Sue, their trip to Europe during the outbreak of World War II and the difficulty of coming home to America; his involvement in war activities as a conscientious objector; the transition after the war ended into a "different reality"; visiting the different schools of craft, including Penland, Alfred, and Haystack; attending Alfred University, the teachers and students there during his years there; his relationships with other students, such as Ted Randall and Bill Schickel; teaching at Black Mountain College immediately after his graduation from Alfred; his admiration of Marguerite Wildenhain; his involvement in the first Super Mud phenomenon in 1966; how African culture fits into his work; the collaborative effort at Penland; the establishment of the National Council on Education for the Ceramic Arts (NCECA), and his experience as the third president of the group; his "retirement" since 1979; the types of materials he uses; the awards he has received; galleries and exhibitions in which he has exhibited; and recollections of Bill Brown, founder of the Penland School of Crafts. Turner also recalls Josie Adams, Charles Harder, Kurt Ekdahl, Marion Fosdick, Bill Pitney, Jessie Shefrin, and others.
Biographical / Historical:
Robert Turner (1913-2005) was a ceramic artist from Alfred, N.Y. and Sandy Spring, Maryland. Margaret Carney (1949- ) is the director of the Schein-Joseph International Museum of Ceramic Art in Alfred, N.Y.
General:
Originally recorded on 2 digital audio tapes. Reformatted in 2010 as 2 digital wav files. Duration is 3 hr., 23 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.
Topic:
Ceramicists -- New York (State) -- Interviews Search this
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.
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.
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.
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.
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.
