Video recordings, transcripts, and footage logs for the Lemelson Center affiliated Les Paul Project. Interviews were conducted with Les Paul in Mahwah, New Jersey; at the Songwriters Hall of Fame Awards ceremony, the National Inventors Hall of Fame and backstage at the Iridium Building in New York City.
Scope and Contents:
Video recordings comprising the research for the Smithsonian-affiliated Les Paul Project. Interviews were conducted with Les Paul in Mahwah, New Jersey at the Songwriters Hall of Fame Awards ceremony; the Inventors Hall of Fame in Akron, Ohio; and backstage at the Tridium Building in New York City. Charles McGovern and Will Eastman conducted the interviews.
Arrangement:
Collection is arranged into two series.
Series 1: Transcripts and Logs Transcripts and Logs, 2005
Series 2: Moving Image Moving Image, 2005-2006
Biographical / Historical:
Jazz guitarist and inventor, born in Wisconsin in 1915. He developed the solid-body electric guitar, and numerous other technological innovations in music including overdubbing, delay effects and multitrack recording.
Provenance:
Created for the Lemelson Center in 2005.
Restrictions:
Collection is open for research and access on site by appointment.Viewing DVCPRO clone videotapes in the collection requires special appointment. Do not use original materials when available on reference video or audio tapes.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Les Paul Videohistory Project Collection, 2005, Archives Center, National Museum of American History.
Sponsor:
Partial funding for this collection was made possible, in part, by the Lemelson Center for the Study of Invention and Innovation at the National Museum of American History.
The O'Kanes – Jamie O'Hara (acoustic guitar and vocals) and Kieran Kane (mandolin and vocals) – bring back into fashion the beautiful "brother duet" sound of the 1940s and '50s. Jay Spell (accordion), Henry Strezelecki (upright bass), Richard Kane (electric guitar, fiddle and banjo), and Martin Parker (drums) round out this original band.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Copyright restrictions; may not be copied. Must contact Kentucky Center for the Arts.
Collection Citation:
Lonesome Pine Specials, 1986-1991, Archives Center, National Museum of American History.
This series consists of records created during Baer's work on interactive television games at Sanders Associates. The records include notes, drawings, engineering schematics, laboratory notebooks, and administrative records created by Ralph Baer, William H. Harrison, and William T. Rusch. Baer retrieved these documents, with the assistance of David Winter, from a Chicago law firm years after they had been assembled for the various legal cases involving his television game inventions. Many of the documents are marked and stamped as trial exhibits. Rusch's notebooks include work on an electric guitar pick-up and other non-television game inventions. They also contain ideas about a wide range of games that might be developed. Because these papers were badly disorganized, the archival staff arranged them in the current order.
The records in Series 4, Subseries 4, consist of copies of records in Subseries 1-3, apparently created before the originals were turned over to legal counsel. These documents are arranged as received from Ralph Baer. They may contain copies of some documents for which originals do not exist.
Collection Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. 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. Copyright held by the Smithsonian Institution.
Collection Citation:
Ralph H. Baer Papers, 1943-2015, Archives Center, National Museum of American History, 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:
Smithsonian Folklife Festival records: 2018 Smithsonian Folklife Festival, 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:
Smithsonian Folklife Festival records: 2018 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Nestled at the crossroads of Asia and Europe, Armenia is a small, resilient country. Markers of its complex history punctuate the rugged landscapes: highland slopes sprinkled with thousands of petroglyphs, fortress-like churches from the earliest days of Christianity, and skeletons of enormous Soviet-era factories. Twentieth-century Armenia has been characterized by massive displacement caused by conflict and shifting borders, resulting in one of the world's largest diaspora populations.
It is the Armenian population of the diaspora which is celebrated at the 2018 Folklife Festival program Armenia: Creating Home. Included in the program are two case studies which offer a glimpse into Armenian culture, a culture greatly influenced by its surroundings, heritage, and an ongoing dialogue with its many diasporas. Both the foodways presentations and the artisan craft traditions highlight the importance of economic and cultural sustainability in the face of change. It is these practices which create home—both in concept and in form.
The exuberant hospitality of Armenian cooking, eating, and drinking is a source of great cultural pride. Both the established traditions of feasting as well as innovative cooking techniques continue to energize the Armenian food scene and engage outsiders. During the Folklife Festival, Armenian cooks taught visitors how to create the essential components of a feast: baking lavash flatbread in tonirs (wood-fired ovens), making traditional cheeses, and grilling khorovats (skewered meats). Winemakers demonstrated both traditional production methods as well as new techniques to create Armenian wines, including cultivation of ancient varietals, the aging of wine in karas (large clay urns), and a pioneering winery incubator model to encourage the growth of small labels. In discussion groups, cooks and winemakers shared their experiences with traditional recipes and the ways in which foodways and wine-related enterprises shape their cultural identity and create a pathway for exchange—both within Armenia's boundaries and across the diaspora communities.
Music and dance are another integral part of these festivities, including both traditional folk songs and the introduction of jazz. The combination of these two traditions is evident in contemporary music; the collaboration between Armenian and diasporan Armenian musicians resonates with the exchange and influence of diverse musical experiences.
The revitalization of Armenian craft was highlighted in the artisan craft traditions showcased at the Festival, where the intersection of technology and handmade traditions became visible. Working in clay, fabric, metal, stone, and wood, skilled craftspeople incorporated memory and experience into pottery and tonirs (clay ovens), knot-tied carpets and needlework arts, window grates and fences, khachkars (carved cross stones), wood carvings, and jewelry. Visual artists and artisans built interactive installations, juxtaposing tradition and innovation. Discussion sessions explored the function of craft, not only for its utilitarian and economic value, but as a continually evolving cultural expression using tangible objects to craft meaning for their unique way of life.
Particularly in periods of marked change and shifting populations throughout Armenia's history, each of these traditions has been a life-affirming testament to the longstanding power of social and cultural life. From the physical production of food and craft for everyday use to the memories and emotions these traditions convey, the program challenges visitors to explore their own notions of home while experiencing distinctive features of Armenian culture.
Armenia program partners included the Government of the Republic of Armenia, the Institute of Archaeology and Ethnography in the National Academy of Sciences of Armenia, the My Armenia Cultural Heritage Tourism Program, funded by USAID and implemented by the Smithsonian Institution, the U.S. Embassy in Armenia, and the Embassy of Armenia to the United States of America.
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 2018 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
"Electronically enhanced for stereo effect." Program and biographical notes by Leonard Feather on container. Performer(s): Jazz ensembles and dance-orchestra music; featuring Charlie Christian, electric guitar ; in part with Dizzy Gillespie, trumpet, Thelonius Monk, piano. Production notes: Recorded 1939-1941.
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.
I'll fly away--While the ages roll on--Shine on me--Praying--I talk with my Lord--Reach out and touch the Lord as he walks by--On that cross--Oh my God--Pray like the angels pray--In that day--Preaching--I want my Lord to be satisfied with me--Preaching--The land where I'm bound--Testifying
Local Numbers:
FW-ASCH-5RR-0897
FLP.46107
General:
CDR copy
FW-ASCH-5RR-0897 was recorded by Jim Garland in the Holiness Church of God of Pineville, KY, with Reverend George Neal. A mix of singing, preaching, praying and testifying was recorded. The recording took place on May 17, but the year isn't specified. Electric guitar accompaniment backs ups the hymn-singing. The recording is less than perfect - partly because Jim sometimes changed tape speeds, switiching from 7<U+00BD> to 3and 3/4 when the congregation switched from singing to talking and vice versa, but the switching wasn't always well-timed.
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.
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