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Ralph Rinzler papers and audio recordings

Creator:
Rinzler, Ralph  Search this
Names:
Festival of American Folklife  Search this
Folkways Records  Search this
Greenbriar Boys  Search this
Jugtown Pottery (Firm)  Search this
Newport Folk Festival  Search this
Smithsonian Folklife Festival  Search this
UNESCO  Search this
Carter, Jimmy, 1924-  Search this
Hawes, Bess Lomax, 1921-2009  Search this
Lomax, Alan, 1915-2002  Search this
Monroe, Bill, 1911-1996  Search this
Rinzler, Kate, 1937-2010  Search this
Sayles, Charlie  Search this
Seeger, Anthony  Search this
Seeger, Mike, 1933-2009  Search this
Seeger, Pete, 1919-2014  Search this
Seeger, Toshi  Search this
Watson, Doc  Search this
Extent:
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://doi.org/10.25573/data.21771155.
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.
Topic:
Folk festivals  Search this
Folk music -- Southern States  Search this
Folk music -- United States  Search this
Genre/Form:
Photographs
Field recordings
Correspondence
Phonograph records
Notes
Business records
Audiocassettes
Photographic prints
Black-and-white negatives
Audiotapes
Citation:
Ralph Rinzler papers and audio recordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.RINZ
See more items in:
Ralph Rinzler papers and audio recordings
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk51af02b1d-29bd-42f2-a8e7-d35c9bab6da0
EDAN-URL:
ead_collection:sova-cfch-rinz
Online Media:

Moses and Frances Asch Collection

Creator:
Asch, Moses  Search this
Distler, Marian, 1919-1964  Search this
Folkways Records  Search this
Names:
Courlander, Harold, 1908-1996  Search this
Guthrie, Woody, 1912-1967  Search this
Jenkins, Ella  Search this
Leadbelly, 1885-1949  Search this
Ramsey, Frederic, 1915-1995  Search this
Seeger, Pete, 1919-2014  Search this
Extent:
841 Cubic feet
Type:
Collection descriptions
Archival materials
Business records
Correspondence
Phonograph records
Photographic prints
Audiotapes
Date:
1926-1986
bulk 1948-1986
Summary:
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://doi.org/10.25573/data.21771155.
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.
Topic:
Folk music  Search this
Folk dance music  Search this
Electronic music  Search this
Oral interpretation of poetry  Search this
Oral interpretation of fiction  Search this
Music -- 20th century  Search this
Music -- 19th century  Search this
Music -- 18th century  Search this
Jazz  Search this
Folk music -- United States  Search this
World music  Search this
Sounds  Search this
Vocal music  Search this
Popular music -- 20th century -- United States  Search this
Genre/Form:
Business records
Correspondence
Phonograph records
Photographic prints
Audiotapes
Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.ASCH
See more items in:
Moses and Frances Asch Collection
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk533b8a927-559a-44ac-98d2-f32d871058b4
EDAN-URL:
ead_collection:sova-cfch-asch
Online Media:

Fast Folk Musical Magazine records

Creator:
Fast Folk Musical Magazine  Search this
Hardy, Jack, 1947-2011  Search this
Meyer, Richard , 1952-  Search this
Names:
Fast Folk Musical Magazine  Search this
Extent:
59.02 Cubic feet (compact discs, Audiotapes (AMPEX 467), digital audiotapes, phonograph records, Reel-to-reel audiotapes, VHS videotapes)
720 Folders (Business records)
Type:
Collection descriptions
Archival materials
Ephemera
Digital audio tapes
Videotapes
Financial records
Contracts
Correspondence
Phonograph records
Business records
Audiocassettes
Photographs
Audiotapes
Compact discs
Date:
1982-2002
bulk 1982-1995
Summary:
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
Folk music -- United States  Search this
Folk singers  Search this
Genre/Form:
Ephemera
Digital audio tapes
Videotapes
Financial records
Contracts
Correspondence
Phonograph records
Business records
Audiocassettes
Photographs
Audiotapes
Compact discs
Citation:
Fast Folk Musical Magazine records, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.FFMM
See more items in:
Fast Folk Musical Magazine records
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk5060cea5e-a675-45e3-9a9e-17f441ffa5b8
EDAN-URL:
ead_collection:sova-cfch-ffmm

Woody Guthrie papers

Creator:
Guthrie, Woody, 1912-1967  Search this
Names:
Guthrie, Woody, 1912-1967  Search this
Extent:
2.93 Cubic feet
Type:
Collection descriptions
Archival materials
Photographic prints
Business letters
Drawings
Business records
Date:
1912-1977
bulk 1940-1951
Summary:
Original song text, music, drawings, correspondence, and other writings by Woody Guthrie; news clippings, articles, correspondence, and business records related to Woody Guthrie. Date span: 1927-1985. Bulk dates: Guthrie song text, writings, and drawings, 1940-1948; correspondence by and to Woody Guthrie, 1944-1951; correspondence regarding Woody Guthrie, 1956-1977.
Arrangement note:
Arranged in boxes and map files by type of material. The major groupings are song texts, drawings, correspondence, and clippings.
Biographical/Historical note:
Woodrow (Woody) Wilson Guthrie (1912-1967) was one of the most important folk composers in American history. Born in Okemah, Oklahoma, Guthrie's name is associated with the common people and those displaced by the Great Dust Storms of the 1930's. He was a prolific songwriter, and his song "This Land is Your Land" is considered by many to be his best known. During the height of his short recording career Guthrie recorded with many of the best-known folk singers and players in the New York area. A one time member of the Almanac Singers with Pete Seeger, Lee Hays, Bess Hawes and others, Woody also frequently performed with Lead Belly, Burl Ives, Cisco Houston and Sonny Terry and Brownie McGhee. Guthrie's earliest recordings were done for RCA and came out as a set entitled Dust Bowl Ballads, later reissued by Folkways.

It was Guthrie's association with Moses Asch of Folkways Records which yielded the bulk of Guthrie's recorded legacy. Guthrie was given a stipend by Asch to come by the studio when he felt like recording. A one day session in March 1944, yielded 75 recorded songs alone. His songs were recorded on glass discs which now reside in the Ralph Rinzler Folklife Archives and Collections. Much of this material was released by Asch on various Asch, Disc and Folkways recordings, including his classic children's material.

Although known for his music, Guthrie was also an artist. Among the materials that came with the Folkways Records Collection are watercolors and pen and ink drawings. He also was a writer of note, his most famous work being the novel "Bound for Glory". Historians have begun to consider Guthrie an important literary figure of the 20th century. The Woody Guthrie Papers, including typed song lyrics, correspondence, drawings, newspaper clippings, and miscellaneous items, were left with Moses Asch, and came to the Ralph Rinzler Folklife Archives and Collections as part of the Moses and Frances Asch Collection. Guthrie died of Huntington's Chorea in 1967 after a long hospitalization.
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.
Related Archival Materials note:
The Woody Guthrie Archives, Mt. Kisco, NY

Woody Guthrie manuscript collection, Washington, D.C.

This collection is part of the Moses and Frances Asch Collection.
Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
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:
Music -- 20th century  Search this
Folk music  Search this
Popular music -- 20th century -- United States  Search this
Vocal music  Search this
Music -- 18th century  Search this
Folk music -- United States  Search this
Genre/Form:
Photographic prints
Business letters
Drawings
Business records
Identifier:
CFCH.GUTH
See more items in:
Woody Guthrie papers
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk5408524f7-8c18-4780-9e2d-3881b07050e2
EDAN-URL:
ead_collection:sova-cfch-guth

Lee Hays papers

Creator:
Hays, Lee, 1914-1981  Search this
Names:
Almanac Singers  Search this
Baby Sitters (Musical group)  Search this
United States. Congress  Search this
Weavers (Musical group)  Search this
Gilbert, Ronnie  Search this
Guthrie, Woody, 1912-1967  Search this
Hays, Lee, 1914-1981  Search this
Houston, Cisco  Search this
Lampell, Millard, 1919-1997  Search this
Leventhal, Harold  Search this
Seeger, Pete, 1919-2014  Search this
Extent:
6.95 Cubic feet (Papers)
0.9 Cubic feet (Audiorecordings)
Type:
Collection descriptions
Archival materials
Interviews
Sheet music
Notes
Photographic prints
Business records
Audiotapes
Correspondence
Scripts (documents)
Date:
1923-1981
Summary:
The Lee Hays papers measures 7.85 cubic feet and dates from 1923 to 1981. The collection includes original writings, correspondence, and miscellaneous projects by Lee Hays; business records, interviews and features related to Lee Hays, including photographs; clippings saved by Lee Hays; and audiorecordings made by Lee Hays.
Scope and Contents:
The Lee Hays papers, which date from 1923-1981, contain personal and business correspondence; typescripts of Lee Hays' fiction, non-fiction, scripts and poetry; miscellaneous project and idea materials; business documents; and audiorecordings made by Lee Hays. The collection measures 7.85 cubic feet.
Arrangement:
The Lee Hays papers, are divided into seven series: 1) Correspondence, 2) Business, 3) Projects and Writings, 4) Collected Texts, 5) Interviews, 6) Features on Lee Hays and 7) Audio Recordings.

The Correspondence Series is divided into two subseries: 1) Personal, and 2) Business. The Projects and Writings series is divided into six subseries: 1) Songs, 2) Non-Fiction, 3) Fiction, 4) Musical Productions, 5) Radio Scripts, and 6) Cisco Houston Project.

When possible, folders are arranged within series and subseries in alphabetical order by file title, and within folders in chronological order with undated items at the top.
Biographical / Historical:
Lee Hays (1914-1981) was an influential American singer, songwriter, author, and activist. His legacy, both literary and musical, emphasizes the dynamic relationship between traditional culture and contemporary events and issues. As is clear from his essay "The Folk Song Bridge", Hays conceived of "folk music" as a living, breathing "process". Born in Arkansas in 1914 to a Methodist preacher, Hays' first experiences with music revolved around the church. His political awakening came later, when he returned to Arkansas from Ohio in 1934. Under the wing of mentors such as Claude Williams and Zilphia Horton (maiden name: Zilphia Johnson), Hays began to fight for the cause of sharecroppers and union workers. His musical ability and passion for social justice came together as he used music to represent the voice of labor, replacing the religious motifs of traditional and gospel songs with pro-union themes.

Upon moving to the North in 1940, Hays met Pete Seeger, another musician of the Folk Revival. Hays and Seeger shared the common goal of spreading political topical songs, and their collaborations with Woody Guthrie and Millard Lampell led to the creation of the Almanac Singers the same year. Later, the four band members, along with other musicians such as Burl Ives and Sis Cunningham, established the People's Songs organization and publication to create and distribute labor songs. However, interpersonal conflicts with members, including Pete Seeger, led to Hays' pressured resignation from both of these endeavors. He moved in with his mentor, Walter Lowenfels, and began to focus more on his writing. Though Hays was a prolific writer whose work spanned articles, essays, short stories, poetry, and songs, he is rarely recognized for his literary achievement. His writing often centered on the social and political themes for which he is best known—labor rights, racism, poverty and inequality—and used vernacular culture and narrative to address those problems.

Seeger and Hays eventually made amends, and in 1948 they formed The Weavers with Fred Hellerman and Ronnie Gilbert, bringing music of the Folk Revival to a national audience. However, as the Red Scare impacted the American political climate into the 1950s, the Weavers were blacklisted and ultimately had to disband. Though he was under investigation by the House Un-American Activities Committee (HUAC) and had no steady income, Hays continued to write both fiction and non-fiction during the three year blacklisting. In 1955, the Weavers finally reunited for a highly successful revival under manager Harold C. Leventhal, but as years passed, the group split up again, and Hays began to focus on other projects. It was at this time that he produced the bulk of his memoirs, began a project on Cisco Houston, and recorded folk music for children with his group The Baby Sitters. In 1980, the Weavers reunited for a concert in Carnegie Hall and Hays' last performance with them was in 1981. Hays died in 1981 as a result of diabetic cardiovascular disease.
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 at the Center for Folklife and Cultural Heritage acquired the "Lee Hays Archives" in 1992 as a donation from Harold C. Leventhal and Doris Kaplan, who acquired the collection upon Lee Hays' death in 1981. The donation included materials produced by Lee Hays, as well as materials of interest to him that were found in his possession.
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:
Political ballads and songs -- United States  Search this
Folk music -- United States  Search this
Topical songs -- United States  Search this
Popular music -- 20th century -- United States  Search this
Genre/Form:
Interviews
Sheet music
Notes
Photographic prints
Business records
Audiotapes
Correspondence
Scripts (documents)
Citation:
Lee Hays papers, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.HAYS
See more items in:
Lee Hays papers
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk5abb332ce-caf9-48ac-aaeb-040d84ba4379
EDAN-URL:
ead_collection:sova-cfch-hays
Online Media:

Dyer-Bennet audiorecordings

Creator:
Dyer-Bennet Records  Search this
Dyer-Bennet, Richard  Search this
Cort, Harvey  Search this
Names:
Dyer-Bennet Records  Search this
Extent:
1.36 Cubic feet (business records, audiotapes, phonograph records)
Type:
Collection descriptions
Archival materials
Phonograph records
Audiotapes
Business records
Date:
1955-1971
Summary:
The Dyer-Bennet audiorecordings, which date from 1955-1974, consist of phonograph records and master audiotapes from Dyer-Bennet Records. The collection also includes a small amount of business records relating to the production of those albums.
Biographical/Historical note:
English-born Richard Dyer-Bennet (1913-1991) was a major figure in the American folk music revival of the 1940s-1970s. He performed English ballads and European and American folk songs, blending indigenous rural and traditional materials with a unique musicality and urban artistry. In 1955, Dyer-Bennet founded his own record company in partnership with Harvey Cort. The objective of the new company was to ensure that Dyer-Bennet's recordings would truly reproduce his voice and guitar as they sounded in live performance, and that the songs on each record would be grouped as on his concert programs. Dyer-Bennet Records were released to high critical acclaim. All fifteen albums in the collection were acquired for pressing and distribution by the Center for Folklife and Cultural Heritage in 1995.
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:
Donated by the Dyer-Bennet family.
Restrictions:
Access by appointment only. Contact the Ralph Rinzler Folklife Archives and Collections at (202) 633-7322 for additional information.
Rights:
Copyright restrictions apply. Contact archives staff for additional information.
Topic:
Popular music -- 20th century -- United States  Search this
Ballads  Search this
Folk music -- United States  Search this
Folk songs -- United States  Search this
Genre/Form:
Phonograph records
Audiotapes
Business records
Citation:
Dyer-Bennet audiorecordings, Ralph Rinzler Folklife Archives and Collection, Smithsonian Institution.
Identifier:
CFCH.DYER
See more items in:
Dyer-Bennet audiorecordings
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk5d22ac1f0-bba0-4869-9359-e11c3460d375
EDAN-URL:
ead_collection:sova-cfch-dyer

Cook Labs records

Creator:
Cook Labs  Search this
Cook, Emory, 1913-2002  Search this
Names:
Cook Labs  Search this
Extent:
6.3 Cubic feet (Phonograph albums)
63.5 Cubic feet (Open-reel tapes)
8.75 Cubic feet (Business records)
78.55 Cubic feet
Culture:
Afro-Caribbean cults  Search this
10th Naval District Steel Band  Search this
Almerico, Tony, 1905-  Search this
American Indians  Search this
Audio Engineering Society  Search this
Ast, Anita  Search this
Bach, Johann Sebastian, 1685-1750  Search this
Beethoven, Ludwig van, 1770-1827  Search this
Big Shell Band  Search this
Boston Chorale  Search this
Brahms, Johannes, 1833-1897  Search this
Brokenshire, Norman, 1898-1965  Search this
Brundage, Al (Alfred)  Search this
Brute Force Band  Search this
Camp, Red  Search this
Carroll, Jimmy  Search this
Crowley, Daniel J., 1921-  Search this
Type:
Collection descriptions
Archival materials
Audiotapes
Photographic prints
Business records
Artifacts
Contracts
Phonograph records
Correspondence
Christmas music
Place:
Cuba
West Indies -- Lesser Antilles
Caribbean Area
Antigua
Barbuda
Amazon River Region
Benítez (Venezuela)
Baja California (Mexico : Peninsula)
Brazil
Connecticut
Cuba
Haiti
Date:
1908-2002, bulk 1948-1965
Summary:
The Cook Labs records, which date from 1939-2002, document the activities of audio engineer Emory Cook and his label Cook Labs. The contents include business records, materials relating to recording artists, photographs, and production materials, as well as phonograph records, master recordings and unpublished recordings produced by or associated with the Cook Labs label. The collection also contains two interviews conducted with Emory Cook in 1990: one by Jeff Place and one by Anthony Seeger and Nicholas Spitzer. There are several physical objects relating to Cook Labs including a bag of powdered vinyl, a binaural playing arm, and a condenser microphone.
Scope and Contents note:
There are two primary components of the Cook Labs records: the records, master tapes and other audio recordings, and the related paper files.

The Cook Labs records contains about 150 of the 200 released Cook recordings, and 739 master tapes. In addition, there are 330 unpublished tapes.

The the paper files include acquisition materials; business correspondence; recording reports; various production notes on records produced; news articles both about and by Emory Cook and Cook Labs; copyright, licensing, and trademark materials; photographs, correspondence, contracts, and other materials relating to recording artists; production materials for each Cook Labs release; and other miscellany. Many contracts are signed by both Cook Labs and the artist. Correspondence is primarily between business associates.

Two interviews were done with Emory Cook in 1990: one by Jeff Place and one by Anthony Seeger and Nicholas Spitzer; both interviews are included in the Cook Labs records.

There are several physical objects relating to Cook Labs including a bag of powdered vinyl, a binaural playing arm, and a condenser microphone.
Arrangement note:
Many of the items in this list have been assigned an accession number, and like materials have been grouped together to create seven series:

Series 1: Business Papers, 1939-1990

Series 2: Recording Artists, 1949-1981, bulk 1950-1959

Series 3: Photographs, undated, 1957

Series 4: Production files, 1948-1995, bulk 1952-1963

Series 5: Objects, undated, 1908-1964

Series 6: Audio Interviews, 1990

Series 7: Audio Recordings
Biographical/Historical note:
Emory Cook (1913-2002) is widely regarded as a highly influencial audio engineer. Born and raised in Albany, New York, he joined the Army Air Corps in 1932. After his discharge in 1934 he obtained his degree from Cornell University and began working for Western Electric in the Audio Engineering Force. During World War II, while still at Western Electric, Cook supervised the creation of a fire-controlled radar "Trainer," for which he received a Commendation from the Service.

In the late 1940's, convinced he could do better than what was on the market, Cook began experimenting with making his own audio equipment. Cook Laboratories was started in 1945 when he developed a new cutting head to be used in record production. Future development of equipment brought about the discovery that he could record frequencies as high as 20,000 hertz, more than any other recording company at the time. He cut a record of piano and organ music to demonstrate this discovery, and took it to the 1949 Audio Fair in New York. When he demonstrated the record with the hopes to sell the recording equipment, he found that people were much more interested in buying the record itself. Shortly after, Sounds of Our Times, later called Cook Records, was born.

Cook Records collected many different sounds and was mostly aimed at the devoted high-fidelity listener. Cook believed that hearing was a sense often overlooked by people, and he wanted listeners of his albums to be able to hear things they might otherwise miss. In a New Yorker profile by Daniel Lang in 1956, Cook claimed that hearing was "always being kicked aside in favor of sight… There's a time and a place for everything, and that includes sound." In order to encourage listening, he put out many albums full of everyday sounds, such as Voice of the Sea, an album of noises of the ocean and Eye of the Storm, recorded during a thunderstorm. One of the most successful albums was Rail Dynamics, an album of steam trains pulling in and out of a station.

Cook Records also produced traditional music albums from its plant in Stamford, Connecticut. The label produced everything from organ music to folk, flamenco guitar, calypso and steel band. Cook had little interest in name musicians and instead searched high and low for anything he thought might be an interesting contribution to his label. He even invited listeners to send in their favorite sounds, some of which he eventually recorded.

Cook had such a large interest in Calypso music that he set up a second pressing plant in Port-of-Spain, Trinidad. There he pressed calypso and steel band music for both a Trinidadian and American audience, and most albums sold well in both countries.

In addition to the wide range of music Cook recorded, he was also an inventor. It was Cook who first came up with the idea of pressing records with powdered, rather than solid, vinyl, a technique he dubbed "microfusion." This technique not only saved money, but cut out many of the traditional crackles and pops associated with records.

He also developed the binaural system of recording and playing records, which he thought was superior to the more commonly used stereo method. Binaural was more precise than stereo, and it required placing two microphones six inches apart, approximately the space between two ears, during the recording. It was then played back with a special two-needle playing arm. Binaural recordings were thought by Cook to best duplicate the original sound.

Emory Cook died at the age of 89 in 2002 after a long hospitalization.
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.
COOK RECORDINGS - NUMERICAL LISTING:
001 20,000 Cycle Demo (1949) COOK00001

002 Night Rain and Surf COOK00002

003 Specimen Heart Beats COOK00003

004 Katydids, Frogs and Forrest Birds

E101 Grenada Stories and Songs (1957-58) COOK00101

E102 Amazon Sound: Yacu River Tribes (Rituals and Rites) (1954) COOK00102

E103 Music of St. Lucia (1953) COOK00103

E104 Rada (1958) COOK00104

E105 JOSE RAMON FORTUNE AND OLGA MAYNARD Nancy Stories (1956) COOK00105

106 Afro-West Indian Cultural Practices (1957-58) COOK00106

107 ESCOLA DE SAMBA DE BRAZIL The Boli, The Cocolute, and Brazil (1957-58) COOK00107

901 Steelband Jump Up Boys Town, Tropical Harmony, Silvertone COOK00901

904 THE ESSO STEEL BAND Esso Steelband of Bermuda (1958) COOK0904

906 LORD MELODY Lord Melody Sings Calypso (1958-59) COOK00906

911 TOM CHARLES AND HIS SYNCOPATER ORCHESTRA Fete for So! (1959) COOK00911

914 LORD MELODY Again! Lord Melody Sings Calypso (1957-58) COOK00914

916 Calypso Cross Section Young Killer, The Mighty Bomber, Small Island Pride, The Mighty Wrangler (1957-58) COOK00916

920 THE MIGHTY SPARROW King Sparrow's Calypso Carnival (1959) COOK00920

927 LORD MELODY Calypso through the Looking Glass (1959) COOK00927

928 CLARENCE CURVAN His Drums, His Orchestra COOK00928

930 Belly to Belly Clarence Curvan, Johnny Gomez, Tom Charles, Fitz Vaughn Bryan (1960-61) COOK00930

931 LORD MELODY Lord Melody, 1962 COOK0931

1000 TITUS MOODY DDDs of Binaural (1952) COOK01000

1011 The Christmas Music Box (1950) COOK01011

1012 Music Boxes of Long Ago (1950) COOK01012

1013 CHARLIE MAGNANTE Accordion Pops Concert (1954-55) COOK01013

1014 CHARLIE MAGNANTE AND LaVERGNE SMITH His and Hers (1954-55) COOK01014

1020 SAM ESKIN Sam Eskin's Songs of All Time COOK01020

1021 GROUPE MI-O Un Ti Bo (1958) COOK01021

1022 LAVINIA WILLIAMS' GROUPE FOLKLORIQUE Haiti Confidential (1958) COOK01022

1023 The Ramayana (Hindu Ceremony) (1961) COOK01023

1024 GUSTAVO ZEPOLI Concert Guitar (1954) COOK01024

1025 SEAN McGONIGAL AND ST. COLUMCILLE'S UNITED GAELIC PIPE BAND Kilts on Parade (1950) COOK01025

1026 ANITA AST AND THE VIENNA KONZERTSCHRAMMEREIN Inside Vienna (1952) COOK01026

1027 CARLOS MONTOYA AND THE JOSE GRECO TROUPE Fiesta Flamenca (1952) COOK01027

1028 CARLOS MONTOYA Montoya (1952) COOK01028

1030 EDWARD VITO The Harp (1951) COOK01030

1031 EDWARD AND JOSEPH VITO Dual Harp (1951) COOK01031

1032 RUTH WELCOME AND DICK MARTA Zither and Cimbalom (1951) COOK01032

1035 Barrelhouse Piano (1950) COOK01035

1036 FRANK GLAZER Liszt's Paganini Variations (1952) COOK01036

1037 GRETA AND JOSEF DICHLER Two Famous European Pianos (1952) COOK01037

1038 SAMUEL SORIN Piano: The Romantic Fabric (1953) COOK01038

1039 LEONID HAMBRO A Perspective of Beethoven (1953) COOK01039

1040 Steel Band Clash Brute Force Steel Band, Big Shell Band, and Hell Gate Band (1955)

1041 JIMMY CARROLL PERCUSSION EMSEMBLE WITH RED CAMP Speed the Parting Guest (1953) and The Hot Tempered Clavichord (1957) COOK01041

1042 BRUTE FORCE STEEL BAND Brute Force Steel Band of Antigua with Big Shell Band (1955) COOK01042

1043 Three Rituals (1955) COOK01043

1044 The Compleat In Fidelytie: Sounds Natural and Unnatural (1956) COOK01044

1045 Drums of Trinidad (1956) COOK01045

1046 Champion Steel Bands of Trinidad The Highlanders, Southern All Stars, The Katzenjammers, others (1957) COOK01046

1047 THE KATZENJAMMERS The Enchanted Steelband (1957) COOK01047

1048 BRUTE FORCE STEEL BAND Music to Awaken the Ballroom Beast (1957) COOK01048

1049 BRUTE FORCE STEEL BAND Beauty and the Brute Force (1957) COOK01049

1050 MICHAEL CHESHIRE The Pipe Organ, volume 1 (1952) COOK01050

1051 MICHAEL CHESHIRE The Pipe Organ, volume 2 (1952) COOK01051

1052 REGINALD FOORT Percussion and Pedal, volume 3 (1952) COOK01052

1053 REGINALD FOORT Reginald Foort at the Mosque, volume 4 (1952) COOK01053

1054 REGINALD FOORT Organ in Symphony Hall, volume 1 (1954) COOK01054

1055 REGINALD FOORT Organ in Symphony Hall, volume 2 (1954) COOK01055

1056 ALFONSO VEGA NUÑEZ Morelia Cathedral Organ (1954) COOK01056

1057 REGINALD FOORT Foort Pops (1956) COOK01057

1058 REGINALD FOORT Waltz and Ballet: The Mosque Organ (1956) COOK01058

1059 REGINALD FOORT Intermission at the Mosque (1956) COOK01059

1060 NEW ORCHESTRAL SOCIETY OF BOSTON Brahms First Symphony (1954) COOK01060

1061 FESTIVAL CASALS ORCHESTRA Hector Campos Parsi (1958) COOK01061

1062 NEW ORCHESTRAL SOCIETY OF BOSTON Stravinsky, Villa Lobos, and Bach (1955) COOK01062

1063 NEW ORCHESTRAL SOCIETY OF BOSTON Debussy (1955) COOK01063

1064 NEW ORCHESTRAL SOCIETY OF BOSTON Masterpieces of the Dance (1955) COOK01064

1065 NEW ORCHESTRAL SOCIETY OF BOSTON Mozart Symphony No. 40 (1955) COOK01065

1066 NEW ORCHESTRAL SOCIETY OF BOSTON Masterpieces of the Theater (1955) COOK01066

1067 NEW ORCHESTRAL SOCIETY OF BOSTON Beethoven Symphony No. 5 (1955) COOK01067

1068 NEW ORCHESTRAL SOCIETY OF BOSTON New Orchestral Society of Boston (1966) COOK01068

1069 NEW ORCHESTRAL SOCIETY OF BOSTON Haydn Symphony No. 100: Military (1966) COOK01069

1070 Rail Dynamics: Steam Locomotives and Train Sounds (1950-54) COOK01070

1071 Burlesque Uncensored (1954) COOK01071

1072 Jump-up Carnival: Calypso Tent (1956) COOK01072

1073 Holy Week: Malaga (Spain) (1961) COOK01073

1074 Benevolent Society for the Preservation of Ancient Rhymes and Limerix Limerick Party COOK01074

1075 Voices of the Sky: Propellers and Jets (1957) COOK01075

1077 Voice of the Storm (1957-58) COOK01077

1078 A Double Barrel Blast: High Cost of Dying and Computer Conversations (1962) COOK01078

1079 Tour of High Fidelity (1965) COOK01079

1080 TRIO LEONES Trio Leones of Cabrito (1954) COOK01080

1081 LaVERGNE SMITH LaVergne Smith (01014B plus) (1954) COOK01081

1082 Le Jazz Primitif from Trinidad Rupert Clemendore and John Buddy Williams (1961) COOK01082

1083 Jawbone of an Ass: Musica de Cuba (1955) COOK01083

1084 SID DAVILLA AND FREDDIE KOHLMAN'S BAND WITH RED CAMP Blowout at Mardi Gras (1955) COOK01084

1085 TONY ALMERICO'S PARISIAN ROOM BAND Clambake on Bourbon Street (1954-55) COOK01085

1086 WILLIE RODRIGUEZ The Drums of Rodriguez (1953) COOK01086

1087 RED CAMP Camp Inventions: Jazz Piano and Zither Music (1955) COOK01087

1088 RED CAMP Red Camp Horizontal (1954) COOK01088

1089 RED CAMP Red Camp Upright (1954) COOK01089

1090 ARTHUR BILLINGS HUNT Arthur Billings Hunt Sings Hymns (1950) COOK01090

1091 ARTHUR BILLINGS HUNT Hunt Sings Old Favorites (1950) COOK01091

1092 HUFSTADER SINGERS Hufstader Singers (1953) COOK01092

1094 REGINALD FOORT AND THE BOSTON CHORALE The Seven Last Words of Christ (1954) COOK01094

1095 ST. JOHN'S RUSSIAN ORTHODOX CHOIR Russian Christmas (Spring Valley, New York) (1961) COOK01095

1096 ST. JOHN'S RUSSIAN ORTHODOX CHOIR Russian Easter Midnight Service (Spring Valley, New York) (1961) COOK01096

1097 ST. JOHN'S RUSSIAN ORTHODOX CHOIR St. John's Russian Orthodox Choir (1961) COOK01097

1101 THE INVADERS FROM ST. CROIX Steel Band in San Juan (1964) COOK01101

1102 10TH NAVAL DISTRICT STEEL BAND New Paths for Steel Band (1965) COOK01102

1120 BENITEZ-VALENCIA TRIO Ecuador (1958) COOK01120

1121 Island in the Moonlight Trio Los Rubies, Grupo Paquito Lopez Cruz, Las Hermanas Colón, Martita Cuadrado (1958) COOK01121

1122 Hellish Calypso King Fighter, The Mighty Bomber, others (1962) COOK01122

1123 Calypso Atrocities King Fighter, The Mighty Bomber, others COOK01123

1124 HAYWIRE MAC McCook LabsINTOCK Haywire Mac (1951) COOK01124

1125 LORD MYRTLE, CECIL MITCHEL, AND JAMES CONVERY Calypso Jamaica (1960) COOK01125

1126 THE MIGHTY SPARROW Sparrow in Hi-Fi (1963) COOK01126

1127 STEVE CAMACHO Folk and Other Songs (1962) COOK01127

1131 BRUCE PRINCE-JOSEPH The Pedal Harpsichord (1953) COOK01131

1132 SHINCHI YUIZE The Japanese Koto (1955) COOK01132

1133 RED CAMP The New Clavichord (1957) COOK01133

1134 LUIS BONFA Guitar in Brazil (1959) COOK01134

1140 Steelband Promenade Brute Force Steel Band, The Merrymakers, Southern All Stars (1958) COOK01140

1150 BILL FLOYD The King of Organs (1957) COOK01150

1151 REGINALD FOORT The Theatre Organ, volume 2 COOK01151

1152 REGINALD FOORT The Theatre Organ, volume 3 COOK01152

1154 REGINALD FOORT The Theatre Organ, volume 5 COOK01154

1155 REGINALD FOORT The Theatre Organ, volume 6 COOK01155

1156 REGINALD FOORT The Baroque Organ, volume 1 COOK01156

1157 REGINALD FOORT The Baroque Organ, volume 2 COOK01157

1169 NEW ORCHESTRAL SOCIETY OF BOSTON Tchaikovsky: Romeo and Juliet, Serenade for Strings (1962) COOK01169

1180 Dance Calypso Johnny Gomez Band, Small Island Pride, Dictator, others (1956) COOK01180

1181 LIZZIE MILES Lizzie Miles Buglin' Sam DeKemel and the Parisian All Stars (1954-55) COOK01181

1182 LIZZIE MILES Moans and Blues Red Camp and Tony Almerico's All Stars (1956) COOK01182

1183 LIZZIE MILES Hot Songs My Mother Taught Me Red Camp, Tony Almerico's All Stars, Albert French (1956) COOK01183

1184 LIZZIE MILES Torchy Lullabies My Mother Sang Me Red Camp and Tony Almerico's All Stars (1956) COOK01184

1185 Calypso Kings and Pink Gin: Trinidad Carnival Tent Lord Melody, The Might Sparrow, others (1957) COOK01185

1186 ENSEMBLE AUX CALEBASSES Meringue (1958) COOK01186

1187 A Night at the Tropicoro Juan Luis, Oswaldo Seda, and Lito Peña Band (1959) COOK01187

1188 Dirty Jazz from Down South: Trinidadian Instrumentals (1958) COOK01188

1189 Calypso Exposed Lord Melody, Brute Force Steel Band, King Sparrow, The Mighty Cypher, and Skipper (1961) COOK01189

1280 Caribbean Limbo Music Rupert Clemendore Orchestra, Cyril Diaz Orchestra, others COOK01280

1281 Songs from the Garden of Love Jefferson-Jones' Orchestra COOK01281

1282 Italian Moom Jefferson-Jones' Orchestra COOK01282

2004 Tour of Stereo (1958) COOK02004

2066 NEW ORCHESTRAL SOCIETY OF BOSTON Masterpieces of the Dance, volume 3 COOK02066

2070 Aboard a Fast Express / Jet Dynamics COOK02070

4057 REGINALD FOORT The Theater Organ COOK04057

4069 NEW ORCHESTRAL SOCIETY OF BOSTON Hayden Military Symphony COOK04069

5001 American Storytellers, Volume 1 Harry Wass, Master Marriner's Association (1952) COOK05001

5002 K.C. DOUGLAS K.C. Douglas (1952) COOK05002

5003 Caribeana: Hidden Music from the Caribbean (1949) COOK05003

5004 TIRORO Tiroro: Haitian Drummer (1948) COOK05004

5005 RED CAMP Camp Has a Ball (1954) COOK05005

5006 AL BRUNDAGE Square Dance (1951) COOK05006

5007 Mexican Marimba Band (1954) COOK05007

5008 American Storytellers, Volume 2 John Hawley Cook (1954) COOK05008

5009 American Storytellers, Volume 3 Captain Charles A. Chace, Matthew Richards (1954) COOK05009

5010 Calliope, Carousel, and Hand Organ (1953) COOK05010

5011 Voice of the Sea (1954) COOK05011

5012 Earthquake (1953) COOK05012

5013 Ionosphere (1955) COOK05013

5014 Mariachi Music of Mexico (1954) COOK05014

5015 Mexican Firecrackers (1951) COOK05015

5016 Calypso Lore and Legend (1956) COOK05016

5017 Bamboo-tamboo, Bongo, and Belair (1956) COOK05017

5018 East Indian Drums of Tunapuna, Trinidad (1956) COOK05018

5019 ALONZO CRUZ Blind Troubadour of Oaxaca (1956) COOK05019

5020 Epilogue to the String Band Tradition (1956) COOK05020

5022 ABCs of Hi Fi COOK05022

5025 BUCKMINSTER FULLER Buckminster Fuller Speaks His Mind COOK05025

5050 NORMAN BROKENSHIRE Radio Moscow and the Western Hemisphere COOK05050

5051 FRANKLIN D. ROOSEVELT The Four Inaugural Addresses COOK05051

6061 BUCKMINSTER FULLER The Clock Is Stopping COOK06061

8374 BUCKMINSTER FULLER Dymaxion Ditties: Buckminster Fuller Sings COOK08374

10001 Sound Effects, volume 1 COOK10001

10002 Sound Effects, volume 2 COOK10002

10003 Sound Effects, volume 3 COOK10003

10120 Music Boxes, Carousels, and Hand Organs (01012 and 05010) (1950-53) COOK10120

10248 The Voice of Mexico Gustavo Zepoli, Trio Leones (01024 and 01080) (1954) COOK10248

10251 SEAN McGONIGAL AND ST. COLUMCILLE'S UNITED GAELIC PIPE BAND Kilts on Parade (01025 plus solos) (1950-53) COOK10251

10271 CARLOS MONTOYA AND THE JOSE GRECO TROUPE Fiesta Flamenca (selections from 01027 and 01028) (1952) COOK10271

10289 CARLOS MONTOYA Montoya (selections from 01028 plus) (1952) COOK10289

10301 EDWARD AND JOSEPH VITO The Harp (selections from 01030 and 01031 plus) (1951-54) COOK10301

10326 Cafe Continental Ruth Welcome, Dick Marta, and Anita Ast (selections from 01026 and 01032) (1951-52) COOK10326

10350 Nickelodion and Calliope (selections from 01035 and 05010) (1950-53) COOK10350

10500 REGINALD FOORT The Theater Organ COOK10500

10501 MICHAEL CHESHIRE Pipe Organ in the Mosque (selections from 01050 and 01051) (1952) COOK10501

10523 REGINALD FOORT Percussion and Pedal (selections from 01052 and 01053) (1952) COOK10523

10545 REGINALD FOORT The Organ at Symphony Hall (01054 plus) (1954) COOK10545

10579 REGINALD FOORT Foort Pops (selections from 01057 and 01058) (1956) COOK10579

10646 NEW ORCHESTRAL SOCIETY OF BOSTON Tempo Vivace: Symphonic Masterpieces of Dance & Theater (selections from 01064 and 01066) (1955-56) COOK010646

10657 NEW ORCHESTRAL SOCIETY OF BOSTON Two Classical Symphonies: Mozart Symphony No. 40, Beethoven Symphony No. 5 (01065 and 01067) (1955) COOK10657

10659 NEW ORCHESTRAL SOCIETY OF BOSTON Two Classical Symphonies: Mozart Symphony No. 40, Haydn Symphony No. 100 (01065 and 01069) (1955-56) COOK10659

10683 NEW ORCHESTRAL SOCIETY OF BOSTON Modern Orchestral Textures (01068 and 01063) (1955) COOK10683

10850 RUPERT Cook LabsEMENDORE BAND Le Jazz Trinidad COOK10850

10867 Before and After Willie Rodriguez (selections from 01086 and 05007) (1953-54) COOK010867

10889 RED CAMP Horizontal & Upright & Downright & Dunright (01088 and 01089) (1954) COOK10889

10890 The Castiliane Johnny Gomez Band, John Buddy Williams Band, Girl Pat Steel Band, And Grand Curacaye String Orchestra (1956) COOK10890

11312 BRUCE PRINCE-JOSEPH AND HUFSTADER SINGERS The Forgotten Pedal Harpsichord and Hufstader Singers (01131 and 01092) (1953) COOK11312

11815 TONY ALMERICO'S PARISIAN ROOM BAND AND LIZZIE MILES Clambake on Bourbon Street (1954-55) COOK11815

50130 Tour of Cook Labs COOK50130

70889 RED CAMP Popular Piano and Combo COOK70889

80134 LUIZ BONFA Waterfall: Guitar COOK80134

80417 MARIMBA ORCHESTRA Waterfall: Children's Music COOK80417

80680 NEW ORCHESTRAL SOCIETY OF BOSTON Waterfall: Symphonic COOK80680

XX1 Audio Follies Sampler COOK00XX1

XX2 Calypso Jazz Sampler COOK00XX2

Series 10 Cook Series 10 COOK_Series10

Series 30 Cook Series 30 COOK_Series30

Series 60 Cook Series 60 COOK_Series60

Series 70 Cook Series 70 COOK_Series70

Series 80 Cook Series 80 COOK_Series80

Series 90 Cook Series 90 COOK_Series90

Series 100 Cook Series 100 COOK_Series100

Series 300 Cook Series 300 COOK_Series300

Series 301 Cook Series 301 COOK_Series301

Series 302 Cook Series 302 COOK_Series302

Series 303 Cook Series 303 COOK_Series303
Provenance:
The Smithsonian Ralph Rinzler Folklife Archives and Collections acquired the Cook Labs Records in 1990, when Emory and Martha Cook donated their company records to the Center for Folklife and Cultural Heritage. Anthony Seeger, then Director of Smithsonian Folkways Records, received a call from Mr. Cook in the summer of 1989 offering to donate the Cook label to the Smithsonian. Dr. Seeger visited him in August of that year to view the contents of the collection, and the Smithsonian received custody of the collection in May 1990. In return for the donation from Mr. Cook, the Center for Folklife and Cultural Heritage agreed to keep the record titles available and to store the papers in the archives.
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 -- 20th century -- United States  Search this
Wit and humor  Search this
Calypso (Music)  Search this
Folk music -- Caribbean Area  Search this
Folk music  Search this
Sounds  Search this
Music -- 18th century  Search this
Folk music -- United States  Search this
Jazz -- Louisiana -- New Orleans  Search this
Jazz  Search this
Accordion music  Search this
Airplane sounds  Search this
Animal sounds  Search this
Audio equipment industry  Search this
Blues (Music)  Search this
Bonfá, Luiz  Search this
Calypso (Music)  Search this
Burlesque (Theater)  Search this
Calliope music  Search this
Calypso (Music)--Trinidad and Tobago  Search this
Campos Parsi, Héctor, 1922-  Search this
Catholicism  Search this
Christianity  Search this
Christmas  Search this
Cimbalom and zither music  Search this
Clavichord  Search this
Clemendore, Rupert  Search this
Drum  Search this
Genre/Form:
Audiotapes
Photographic prints
Business records
Artifacts
Contracts
Phonograph records
Correspondence
Christmas music
Citation:
Cook Labs records, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.COOK
See more items in:
Cook Labs records
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk50980aef1-30c4-4f77-9de4-97337007b9f0
EDAN-URL:
ead_collection:sova-cfch-cook
Online Media:

Rinzler Fieldwork: Tommy Jarrell, Fred Cockerham, Oscar Jenkins

Field worker:
Rinzler, Ralph  Search this
Artist:
Jenkins, Oscar  Search this
Jarrell, Tommy, 1901-1985  Search this
Cockerham, Fred, 1905-1980  Search this
Performer:
Jenkins, Oscar  Search this
Jarrell, Tommy, 1901-1985  Search this
Cockerham, Fred, 1905-1980  Search this
Collection Creator:
Rinzler, Ralph  Search this
Extent:
1 Sound recording (sound-tape reel, analog, 7 in.)
Culture:
Americans  Search this
Anglo-American  Search this
Type:
Archival materials
Sound recordings
Place:
Appalachian Region, Southern -- Songs and music
North Carolina
United States
Local Numbers:
FP-RINZ-7RR-0381
Date/Time and Place of an Event Note:
Recorded in: United States, North Carolina.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Topic:
String band  Search this
Folk music -- United States  Search this
Folk music -- North Carolina  Search this
Violin  Search this
Banjo  Search this
Collection Citation:
Ralph Rinzler papers and audio recordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.RINZ, Item FP-RINZ-7RR-0381
See more items in:
Ralph Rinzler papers and audio recordings
Ralph Rinzler papers and audio recordings / Series 9: Audio / Non-Commercial / Fieldwork / Open Reel Tapes (RR)
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk5d4b6b5ca-903d-476d-92e5-7c9bcb565b1a
EDAN-URL:
ead_component:sova-cfch-rinz-ref7105

Art Thieme Folk Music Slides

Creator:
Thieme, Art, 1941-2015  Search this
Extent:
459 Slides
0.3 Cubic feet (1 box)
Type:
Collection descriptions
Archival materials
Slides
Photographs
Chromogenic processes
Slides (photographs)
Date:
circa 1960s-1990
Summary:
Art Thieme was a noted folk singer who recorded many traditional ballads and folk songs from midwestern states. This collection is a series of 459 color slides documenting folk musicians and folk music, in both concert settings and informal portraiture, all taken by the donor.
Scope and Contents:
459 35mm color slides documenting folk musicians and folk music, in both concert settings and informal portraiture, all taken by the donor, Art Thieme, a noted folksinger. Subjects include such well-known performers as Stephen Wade, the New Lost City Ramblers, Mike Seeger, Pete Seeger, Peggy Seeger, Jack Elliott, Ike Everly, B.B. King, Dave Edmonson, Ray Harris, Kenny Baker, Tom Paxton, John Hammond, Bill Monroe, Justin Bishop, Steve Goodman, Cathy Fink, Wes Asbury, Ron F. Kirkpatrick, Doc Watson, Jim Kweskin, and Lightnin' Hopkins, and other notables such as oral historian Studs Terkel. The collection also contains a CD with Thieme's recordings and a folder of newspaper clippings, a program, and a map of local folk singers across the country. The slides are unarranged, but most slides have names, places, and dates.
Arrangement:
The collection is arranged into one series.
Biographical / Historical:
Art Thieme was born on July 9, 1941 in Chicago, Illinois. He becamea noted folk singer. He launched his career at a Hyde Park, Chicago club, the Limelight, in 1959 and went on to perform for many years at a coffeehouse called No Exit, also in Chicago. Touring all over the country, he photographed and recorded many folk singers and concerts, documented in this collection. At the end of his career, he performed on the steamboats Julia Belle Swain, Twilight on the Mississippi, and Illinois Rivers. He has recorded traditional folk songs rendered by himself for Folk Legacy Records. Thieme died on May 26, 2015.
Provenance:
The collection was donated by Art Thieme in 2012.
Restrictions:
The collection is open for research. Gloves must be worn when handling unprotected photographs and negatives.
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.
Topic:
Musical instruments -- 20th century  Search this
Concerts  Search this
Folk music -- United States  Search this
Folk musicians  Search this
Folk songs -- United States  Search this
Folk music -- Appalachian Region, Southern  Search this
Folk festivals  Search this
Folk music  Search this
Musicians -- 1950-2000  Search this
Genre/Form:
Photographs -- Color transparencies -- 1950-2000
Chromogenic processes
Slides (photographs) -- 1950-2000
Citation:
Art Theime Folk Music Slides, circa 1960s-1990, Archives Center, National Museum of American History. Gift of Michael Cuscuna.
Identifier:
NMAH.AC.1239
See more items in:
Art Thieme Folk Music Slides
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep82fb05868-03bf-4f06-a610-3c077c5b5acf
EDAN-URL:
ead_collection:sova-nmah-ac-1239
Online Media:

Tom Wisner papers

Creator:
Wisner, Tom, 1930-2010  Search this
Names:
Wisner, Tom, 1930-2010  Search this
Extent:
887 Videocassettes (MiniDV)
51 Sound tape reels (5 inch.)
2 Sound tape reels (7 inch.)
114 Videocassettes (VHS)
1 Video recording (1 large video reel)
Parts of several boxes of paper records
67 Electronic discs (CD)
624 Sound cassettes
Type:
Collection descriptions
Archival materials
Videocassettes (minidv)
Sound tape reels
Videocassettes (vhs)
Video recordings
Electronic discs (cd)
Sound cassettes
Videotapes
Audiotapes
Compact discs
Personal papers
Correspondence
Audiocassettes
Notes
Place:
Chesapeake Bay Region (Md. and Va.) -- Environmental conditions
Chesapeake Bay Region (Md. and Va.) -- Social life and customs
Chesapeake Bay Region (Md. and Va.) -- history
Date:
1968-2008
Summary:
This collection, which dates from 1968-2008, documents the professional activities of environmental activist and folk singer Tom Wisner. The collection includes original writings, correspondence, audio recordings, video recordings, interviews, and material relating to the production of Wisner's music and his musical performances.
A Collection of papers and recordings: original writings, correspondence, music production, projects and performances related to environmental advocacy and education of the Chesapeake Watershed; audio and visual recordings of Tom Wisner's professional music production, performances by Wisner and friends, interviews and documentation of the life and culture of the Chesapeake Watershed from 1968-2008.
Scope and Contents:
The collection is divided into 6 series by format type and use of format: Documents, Cassette tape Recordings, Visual Recordings, Audio Recordings on CD, Radio Broadcasts on CD, Audio Recordings on Reels. Within these series are various documents and recording formats both audio and visual that include materials related to Tom Wisner's professional music production, Wisner's personal commercial music collection, documentation of the culture and natural life endemic to the Chesapeake Watershed, recordings of Chesapeake Watermen, environmental programs and performances, Tom Wisner's artwork exhibition, recordings of artists he performed with as well as Tom Wisner's radio broadcasts on WRYR 97.5 F.M. These materials are in the form of both typescript and handwritten papers, casette tapes, VHS, compact discs, Mini DVC cams, 3 to 7 inch reels.

For specific information about the materials in each series, please refer to the series description.
Arrangement:
Organized in six series: (1) Documents; (2) Cassette tape recordings; (3) Visual recordings; (4) Audio recordings on compact disc; (5) Radio broadcasts on compact disc; (6) Audio recordings on reels.
Biographical / Historical:
Tom Wisner (1930-2010) was an environmentalist, folk singer and educator popularly known as the "Bard of the Chesapeake" from his life-long work in documenting and preserving the culture and botanical life of the Chesapeake Bay watershed. An Air Force veteran, Wisner earned his bachelor's degree in biology from Hartwick College in New York with the help of the G.I. Bill. After working as a naturalist in Sequoia National Park in California, Wisner taught high school science in southern Maryland during the mid-1960s before taking a job as an educator at the University of Maryland's Chesapeake Biological Laboratory in Solomons. It was here that Wisner began to integrate art and music into his educational programs. He would go on to record several albums, all of which focused on his love for and knowledge of the Chesapeake Bay. Wisner also recorded the oral history of southern Maryland, including interviews with fishermen and traditional music of the region. In 2000, he helped found the Center for the Chesapeake Story, or Chestory, in Solomons, which is dedicated to preserving the history of the region and the bay through the arts. Wisner was recognized with numerous awards for his work on behalf of the Chesapeake region, including the World Folk Music Association's John Denver Award in 2002, the Outstanding Marine Educator of the Year Award in 1989, and the Parent's Choice Award in 1984 for his album We've Got to Come Full Circle. In 1986, National Geographic aired a television special entitled Chesapeake Born, which featured Wisner's music. Tom Wisner died of cancer on April 2, 2010.
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.
Separated Materials:
Items given to the Calvert Marine Museum:

133 Daniels Family (Capn Art Daniels and his wife Del and his father Art D. Sr) 3/13/1972 (cassette tape)

507 Watts Story and Dram Tree-O with sinking Morpy, roll 4-5 4/8/1983 (cassette tape)

520 J.R. Morphy-Dramtreeo 6/20/1984 (cassette tape)

589 Singing at Lore Oyster House 9/24/1984 preparation tapes and out takes Group, (cassete tape)

021 interviews for the documentary, The Restoration of the Little Jennie nd (vhs)

054 Soft Shell Crab Industry: Handy with background by the Wiz 1986 (vhs)

085 Skipjack Docking story, Dredgin, Left Side of Nowhere,Sus Down, nd (vhs)

095 Outdoors Maryland #1602, Includes: "Majestic Adaptation", "Secret Live of the Gunpowder", "Chesapeake Bard" 2/10/2004 (vhs)

111 H371 Gene Logan-oysters, Paul Simons, Watt with two good stories at Morans, spring 1987 (vhs)

27 "Bay Folk Series, Part Two of Pepper Langley 1980" Chestory Archival Recordings 1972 (CD)
Provenance:
Gift from the Estate of Tom Wisner, 2010.

The Smithsonian Ralph Rinzler Folklife Archives and Collections acquired the "Tom Wisner Collection" in 2010 as a donation from Tom Wisner upon his death in 2010. The donation included materials produced by Tom Wisner, both professionally and solely documentary recordings as well as materials of interest to him that were found in his possession. The Archives is a collection of papers, audio and visual recordings that includes items relating to Wisner's songs, non-fiction, fiction, miscellaneous projects, correspondence and business, projects related to Chestory and the Chesapeake Watershed, live performances, interviews with associate performing artists, Wisner's art exhibition, documentation of the natural animal and botanical life of the Chesapeake Watershed and radio broadcasts.
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:
Environmental education -- United States  Search this
Folk music -- United States  Search this
Environmentalists -- United States  Search this
Folk musicians  Search this
Genre/Form:
Videotapes
Audiotapes
Compact discs
Personal papers
Correspondence
Audiocassettes
Notes
Citation:
Tom Wisner collection, Ralph Rinzler Folklikfe Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.WISN
See more items in:
Tom Wisner papers
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk529b6ac7d-fc10-4407-aad0-11228e9dbff2
EDAN-URL:
ead_collection:sova-cfch-wisn

J. Scott Odell folk music collection

Collector:
Odell, Scott, 1935-  Search this
Names:
Bread and Puppet Theater  Search this
Festival of American Folklife  Search this
Smithsonian Folklife Festival  Search this
Porter, Burt, 1937-  Search this
Former owner:
National Museum of American History (U.S.). Division of Musical History  Search this
Extent:
18 Cubic feet
Type:
Collection descriptions
Archival materials
Field notes
Audiotapes
Posters
Reports
Correspondence
Photographs
Place:
Appalachian Region
North Carolina
Virginia
Vermont
Date:
1964-1977
Summary:
The J. Scott Odell folk music collection (1945-2016, inclusive) contains AV recordings, photographs, correspondence, writings, and other materials relating to Odell's career at the Smithsonian as a musical instrument conservator and researcher of American music traditions. The collection largely consists of materials relating to Odell's research trips (often combined with personal visits) throughout the Eastern United States. Research strengths of the collection include the history of the Appalachian dulcimer and banjo, the Smithsonian Folkways project "Black Banjo Songsters," musician and poet Burt Porter, and the Bread and Puppet Theater.
Scope/Contents note:
The J. Scott Odell Folk Music Collection, which includes materials dating from 1945-2016, documents the research, professional work, and personal relations of J. Scott Odell (b. 1935). Odell worked at the Smithsonian National Museum of American History (NMAH) as a musical instrument conservator and traveled throughout the Eastern United States documenting a variety of musical instruments and traditions. The collection reflects his research trips and other travels; the development of exhibits and performance of music and dance at the Smithsonian; and the relationships Odell developed with the musicians, craftspeople, informants, and other people he worked with throughout his career.

Research strengths of this collection include notes, photographs, and recordings from Odell's fieldwork; extensive documentation of Odell's work on the Smithsonian Folkways project Black Banjo Songsters, in collaboration with folklorist Cecelia Conway; and materials pertaining to the Bread and Puppet Theater (based in Glover, Vermont). Significant places documented include southwest Virginia (Galax), nearby North Carolina (Shelton-Laurel), the surrounding tri-state area, and Vermont (Glover). Significant individuals represented in the collection include Odell, Burt Porter, Ralph Rinzler, and other well-known musicians. The most prominent instrument information in the collection relates to the banjo and the Appalachian dulcimer, although the American fiddle tradition and other instruments are also represented. Materials include photographs (negatives and prints), field notes, trip reports, correspondence, slides, writings, and AV materials. This collection may also be of interest to researchers of AV history and evolution. The wide variety of formats found in the collection maps the development of popular recording media. The collection includes open-reel tapes, Hi-8 tapes, DATs, mini-DV tapes, Betacam and Betacam SP tapes, VHS and SVHS tapes, cassettes, optical discs, mini-discs, and Zip discs.

This collection was initially established in 2008, when it was transferred from Archives Center at the Smithsonian National Museum of American History (NMAH) to the Ralph Rinzler Folklife Archives & Collections (RRFAC), Center for Folklife and Cultural Heritage (CFCH). (NMAH Archives Center had received the collection from the Division of Musical History.) Since 2008, the collection has been significantly expanded, more than doubling in size between 2008 and 2016. (These additional materials can be found in Series 8, Accruals.) With these deposits, the scope of the collection expanded beyond Odell's Appalachian dulcimer research and instrument conservator duties to include his banjo research, travels, relationships with musicians (particularly Burt Porter), and involvement with the Bread and Puppet Theater.
Arrangement note:
The collection is arranged in eight series as follows: (1) Correspondence, 1963-1978; (2) Folk Instruments Research; (3) Collected Publications and Ephemera; (4) Collecting Trips; (5) Publications; (6) Sound Recordings; (7) Oversize Materials; and (8) Accruals. Within each series and subseries, folders are arranged thematically, alphabetically, and/or chronologically.

Series 1-7 reflect the order of the original transfer from the Archives Center, National Museum of American History. Series 8 (Accruals) encompasses several deposits made by Scott Odell of additional materials between 2011 and 2017. Ralph Rinzler Folklife Archives staff, in collaboration with Odell, imposed order upon Series 8.

Researchers should note that, when performing research in Series 8 (Accruals), they might need to consult multiple boxes, even when working within a single subseries where the intellectual arrangement in the finding aid does not always align with the physical arrangement of the materials. This separation between the intellectual and physical arrangement is due in part to the order in which RRFAC received each deposit, the format of the materials (i.e., papers vs. photographs vs. AV items), and earlier digitization efforts.
Biographical/Historical note:
Jay Scott Odell (b. 1935) was born in St. Paul, Minnesota, to Adalberta Lavoie Odell and Jay Geddes Odell. The family moved frequently throughout his childhood, resulting in Odell having lived at fourteen different addresses and attending seven different schools by the time he graduated high school in 1953. When the family settled in Mamaroneck, New York, in 1950, Odell met poet Peter Kane Dufault, and musician and poet Burt Porter, two figures who would go on to strongly influence his personal and professional development. It was on the advice of Dufault, for example, that Odell apprenticed with harpsichord-maker William Dowd after college.

Odell attended Middlebury College where he met his future wife, Dorothy "Dottie" Hiebert. After graduating in 1957, Hiebert moved to France and Odell took a position on the boat of Dutch writer Jan DeHartog before joining Hiebert to travel Europe. By 1959, they had returned to the United States (Boston, Massachusetts) and married. It was at this point in their lives that they became active in the peace movement and the early Folk Revival. Odell's relationship with Burt Porter continued, and he developed contacts with other musicians including Peter and Polly Gott, Tom "Tom Banjo" Azarian, Mike Seeger, and Tracy Schwartz. The Odells also became involved with the Bread and Puppet Theater group, founded by Peter and Elka Schumann, which established its primary location in Glover, Vermont, near Porter's property.

Odell is particularly notable for his work in musical instrument conservation at the Smithsonian Institution and his involvement in the development of the Smithsonian Folklife Festival. In 1963, following his harpsichord apprenticeship with William Dowd, Odell was hired by the Smithsonian as a musical instrument conservator. Under Cynthia Hoover and C. Malcolm Watkins, he established a restoration workshop for musical instruments at the National Museum of History and Technology, now the National Museum of American History. Over the course of his career, Odell served not only as a conservator but also as head of a technical laboratory and, eventually, as the first director of conservation at the National Museum of American History.

Odell was a key figure in the shifting philosophy of the musical instrument department regarding its collections and acquisition practices. With Hoover, Odell helped establish and facilitate a concert series with the mission of "[taking] the instruments out of their cases and [letting] them sing" – a major innovation in museum programming. Odell's commitment to bringing music history and traditions to life manifested in the expansion of the Smithsonian concert series, his relationship with Ralph Rinzler, and his early involvement with the Festival of American Folklife, now the Smithsonian Folklife Festival.

Although his professional training was in working with historical keyboard instruments, Odell's lifelong interest in traditional and regional music had a significant impact on his career. Between 1964 and 1977, when Odell was head of the laboratory at the Smithsonian Institution's Division of Musical Instruments, he undertook a series of collecting trips throughout the Eastern United States to expand the Division's collection of traditional American instruments.

In 1964, Odell and Porter attended the Annual Galax Old Time Fiddlers Convention. Following this initial trip, Hoover and Watkins supported Odell's efforts to, in addition to acquiring objects for the collection, research and record the cultural contexts of those instruments. Over the course of these trips, Odell built personal relationships with many of the musicians and craftspeople with whom he worked, including the Melton-Russell family, Tommy Jarrell, and Fred Cockerham.

Odell retired in 1993, but continued contract work at the Smithsonian. Working for the National Museum of American History, he assisted with the care and description of the Museum's banjo collection, as well as the acquisition of the Grimes and Jeffries dulcimer collection. He has also maintained associations with the Smithsonian Center for Folklife and Cultural Heritage. In 1998, Odell co-produced a record through Smithsonian Folkways with folklorist Cecelia Conway titled "Black Banjo Songsters," which focused on the African American banjo tradition and featured many of the artists with whom Odell had built relationships.
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.
Related Materials note:
Materials relating to Odell's career at the Smithsonian can also be found in the Smithsonian Institution Archives (SIA), particularly in the records of the NMAH Musical History Division.

Materials relating to the Bread and Puppet Theater can also be found in the archives of the Bread and Puppet Theater (via the Internet Archive); the University of Vermont; and the University of California, Davis.
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:
Folk music—United States  Search this
Stringed instruments  Search this
Fiddle  Search this
Mouth bow  Search this
Folk music  Search this
Musicians  Search this
Banjo  Search this
Appalachian dulcimer  Search this
Folklore  Search this
Genre/Form:
Field notes
Audiotapes
Posters
Reports
Correspondence -- 1930-1950
Photographs -- 1960-1980 -- Black-and-white photoprints -- Silver gelatin
Citation:
J. Scott Odell folk music collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.ODEL
See more items in:
J. Scott Odell folk music collection
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk5e8174ac9-2f64-4526-96d0-228a548d9788
EDAN-URL:
ead_collection:sova-cfch-odel
Online Media:

Ola Belle Reed- University of Maryland Concert, March 13, 1972, part 1

Creator:
Reed, Ola Belle, 1916-2002  Search this
Collection Musician:
Penn, Larry  Search this
McGee, Bobbie  Search this
Magpie  Search this
Killen, Louis  Search this
Collection Creator:
Collector Records  Search this
Glazer, Joe, 1918-2006  Search this
Extent:
1 Sound recording (sound-tape reel, analog, 7 in.)
Culture:
Americans  Search this
Anglo-American  Search this
Type:
Archival materials
Sound recordings
Place:
Appalachian Region, Southern -- Songs and music
College Park (Md.)
Maryland
United States
Rising Sun (Md.)
Track Information:
102 Cripple Creek / Banjo.

104 High on the mountain / Banjo.

106 I've endured / Banjo.

108 The Preacher and the bear / Banjo.

111 Pretty Polly / Banjo.

113 Blues / Banjo.

115 Poor wayfaring pilgrim / Banjo.

117 Storms are on the ocean / Banjo.

120 The Soldier and the lady / Banjo.
Local Numbers:
CL-COLL-7RR-0243
General:
CDR copy
Restrictions:
Restrictions on access. Listening only. No Duplication Allowed.
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.
Topic:
Old-time music  Search this
Folk music -- United States  Search this
Folk music -- Maryland  Search this
Banjo  Search this
Collection Citation:
Collector Records business records, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.COLL, Item CL-COLL-7RR-0243
See more items in:
Collector Records business records
Collector Records business records / Series 3: Open-reel Audiorecordings / JG-243: Ola Belle Reed- Auditorium at University of Maryland
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk5fb097f6e-f32b-4587-a4e1-0f25dac9fc22
EDAN-URL:
ead_component:sova-cfch-coll-ref5179

Ola Belle Reed- University of Maryland Concert, March 13, 1972

Creator:
Reed, Ola Belle, 1916-2002  Search this
Collection Musician:
Penn, Larry  Search this
McGee, Bobbie  Search this
Magpie  Search this
Killen, Louis  Search this
Collection Creator:
Collector Records  Search this
Glazer, Joe, 1918-2006  Search this
Extent:
1 Sound recording (sound-tape reel, analog, 7 in.)
Culture:
Americans  Search this
Anglo-American  Search this
Type:
Archival materials
Sound recordings
Place:
Appalachian Region, Southern -- Songs and music
College Park (Md.)
Maryland
United States
Rising Sun (Md.)
Track Information:
102 Little Rosewood Casket / Banjo.

104 I saw the light / Banjo.

106 I saw the light / Banjo.

108 My epitaph / Banjo.

109 Give me that old time religion / Banjo.
Local Numbers:
CL-COLL-7RR-0253
General:
CDR copy
Restrictions:
Restrictions on access. Listening only. No Duplication Allowed.
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.
Topic:
Folk music -- Appalachian Region, South  Search this
Folk music -- United States  Search this
Folk music -- Maryland  Search this
Old-time music  Search this
Banjo  Search this
Collection Citation:
Collector Records business records, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.COLL, Item CL-COLL-7RR-0253
See more items in:
Collector Records business records
Collector Records business records / Series 3: Open-reel Audiorecordings / JG-243: Ola Belle Reed- Auditorium at University of Maryland
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk56667e14e-633b-4aad-aab3-b306964e4c2b
EDAN-URL:
ead_component:sova-cfch-coll-ref5180

NEA Stage: Sterling Jubilee Singers, continued; Roberto Borrell y su Kubata

Creator:
Smithsonian Institution. Festival of American Folklife. National Heritage Fellowships Program 1981 Washington, D.C.  Search this
Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this
Extent:
1 Sound recording (sound-tape reel, analog, 7 in.)
Culture:
Americans  Search this
Type:
Archival materials
Sound recordings
Place:
United States
Washington (D.C.)
Date:
1981 June 25
Local Numbers:
FP-1981-7RR-0178
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, June 25, 1981.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Topic:
Folk music -- United States  Search this
Collection Citation:
Smithsonian Folklife Festival records: 1981 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.1981, Item FP-1981-7RR-0178
See more items in:
Smithsonian Folklife Festival records: 1981 Festival of American Folklife
Smithsonian Folklife Festival records: 1981 Festival of American Folklife / Series 3: Arts Endowment Folk Arts Program / 3.3: Audio
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk5440a5518-5196-4d0b-b782-8083d4f94ad7
EDAN-URL:
ead_component:sova-cfch-sff-1981-ref144

NEA Stage: Kubata cont; Conjunto Jarocho; Sandman Sims

Creator:
Smithsonian Institution. Festival of American Folklife. National Heritage Fellowships Program 1981 Washington, D.C.  Search this
Artist:
Sims, Sandman  Search this
Conjunto Jarocho (Musical group)  Search this
Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this
Extent:
1 Sound recording (sound-tape reel, analog, 7 in.)
Culture:
Americans  Search this
Type:
Archival materials
Sound recordings
Place:
United States
Washington (D.C.)
Date:
1981 June 25
Local Numbers:
FP-1981-7RR-0179
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, June 25, 1981.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Topic:
Folk music -- United States  Search this
Collection Citation:
Smithsonian Folklife Festival records: 1981 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.1981, Item FP-1981-7RR-0179
See more items in:
Smithsonian Folklife Festival records: 1981 Festival of American Folklife
Smithsonian Folklife Festival records: 1981 Festival of American Folklife / Series 3: Arts Endowment Folk Arts Program / 3.3: Audio
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk544ed0b5b-d53f-472c-9458-3a1f394c360d
EDAN-URL:
ead_component:sova-cfch-sff-1981-ref145

Religious Concert: Sterling Jubilee Singers, Pappy Sherill, Alice Gerrard, Harold Lucas, Ralph Rinzler

Creator:
Smithsonian Institution. Office of Folklife Programs  Search this
Artist:
Sherrill, Pappy, 1915-2001  Search this
Gerrard, Alice, 1934-  Search this
Lucas, Harold  Search this
Rinzler, Ralph  Search this
Sterling Jubilee Singers  Search this
Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this
Extent:
1 Sound recording (sound-tape reel, analog, 7 in.)
Culture:
Americans  Search this
Type:
Archival materials
Sound recordings
Place:
United States
Washington (D.C.)
Date:
1981 June 28
Local Numbers:
FP-1981-7RR-0198
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, June 28, 1981.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Topic:
Folk music -- United States  Search this
Collection Citation:
Smithsonian Folklife Festival records: 1981 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.1981, Item FP-1981-7RR-0198
See more items in:
Smithsonian Folklife Festival records: 1981 Festival of American Folklife
Smithsonian Folklife Festival records: 1981 Festival of American Folklife / Series 3: Arts Endowment Folk Arts Program / 3.3: Audio
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk59144479b-6d56-436c-bf52-c8da845fb0aa
EDAN-URL:
ead_component:sova-cfch-sff-1981-ref154

Religious Concert: Dan Womack, Rev. Charlie Christian

Creator:
Smithsonian Institution. Office of Folklife Programs  Search this
Artist:
Christian, Charlie  Search this
Womack, Daniel, 1904-1996  Search this
Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this
Extent:
1 Sound recording (sound-tape reel, analog, 7 in.)
Culture:
Americans  Search this
Type:
Archival materials
Sound recordings
Place:
United States
Washington (D.C.)
Date:
1981 June 28
Local Numbers:
FP-1981-7RR-0199
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, June 28, 1981.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Topic:
Folk music -- United States  Search this
Collection Citation:
Smithsonian Folklife Festival records: 1981 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.1981, Item FP-1981-7RR-0199
See more items in:
Smithsonian Folklife Festival records: 1981 Festival of American Folklife
Smithsonian Folklife Festival records: 1981 Festival of American Folklife / Series 3: Arts Endowment Folk Arts Program / 3.3: Audio
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk587c29888-093e-44fa-9336-8a579bac2484
EDAN-URL:
ead_component:sova-cfch-sff-1981-ref155

Northeastern Music Stage: Northeast Fiddle Styles: Clem Meyers, Jay West, Beth Campbell; Harold Luce, Nick Hawes

Creator:
Smithsonian Institution. Festival of American Folklife. Northeastern Music and Dance Program 1981 Washington, D.C.  Search this
Artist:
West, Jay  Search this
Campbell, Beth  Search this
Hawes, Nick  Search this
Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this
Extent:
1 Sound recording (sound-tape reel, analog, 7 in.)
Culture:
Americans  Search this
Type:
Archival materials
Sound recordings
Place:
United States
Washington (D.C.)
Date:
1981 June 24
Local Numbers:
FP-1981-7RR-0174
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, June 24, 1981.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Topic:
Folk music -- United States  Search this
Collection Citation:
Smithsonian Folklife Festival records: 1981 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.1981, Item FP-1981-7RR-0174
See more items in:
Smithsonian Folklife Festival records: 1981 Festival of American Folklife
Smithsonian Folklife Festival records: 1981 Festival of American Folklife / Series 8: Northeastern Music and Dance / 8.3: Audio
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk5c82661ce-71ae-4174-897a-52fd2b52d39b
EDAN-URL:
ead_component:sova-cfch-sff-1981-ref402

Northeastern Music Stage: Northeast Fiddle Styles: Ron & Jay West; Ben Guillemette and Nick Hawes

Creator:
Smithsonian Institution. Festival of American Folklife. Northeastern Music and Dance Program 1981 Washington, D.C.  Search this
Artist:
West, Ronald  Search this
West, Jay  Search this
Guillemette, Ben  Search this
Hawes, Nick  Search this
Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this
Extent:
1 Sound recording (sound-tape reel, analog, 7 in.)
Culture:
Americans  Search this
Type:
Archival materials
Sound recordings
Place:
United States
Washington (D.C.)
Date:
1981 June 24
Local Numbers:
FP-1981-7RR-0175
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, June 24, 1981.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Topic:
Folk music -- United States  Search this
Collection Citation:
Smithsonian Folklife Festival records: 1981 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.1981, Item FP-1981-7RR-0175
See more items in:
Smithsonian Folklife Festival records: 1981 Festival of American Folklife
Smithsonian Folklife Festival records: 1981 Festival of American Folklife / Series 8: Northeastern Music and Dance / 8.3: Audio
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk53726b76a-add9-4624-a3a3-d859274388b5
EDAN-URL:
ead_component:sova-cfch-sff-1981-ref403

Northeastern Music Stage: Northeast Fiddle Styles: Guillemette and Hawes continued; Square Dance: West, Meyers

Creator:
Smithsonian Institution. Festival of American Folklife. Northeastern Music and Dance Program 1981 Washington, D.C.  Search this
Artist:
Guillemette, Ben  Search this
Hawes, Nick  Search this
West, Jay  Search this
Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this
Extent:
1 Sound recording (sound-tape reel, analog, 7 in.)
Culture:
Americans  Search this
Type:
Archival materials
Sound recordings
Place:
United States
Washington (D.C.)
Date:
1981 June 24
Local Numbers:
FP-1981-7RR-0176
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, June 24, 1981.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Topic:
Folk music -- United States  Search this
Collection Citation:
Smithsonian Folklife Festival records: 1981 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.1981, Item FP-1981-7RR-0176
See more items in:
Smithsonian Folklife Festival records: 1981 Festival of American Folklife
Smithsonian Folklife Festival records: 1981 Festival of American Folklife / Series 8: Northeastern Music and Dance / 8.3: Audio
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk5ae3116f7-52c2-45ba-baad-7d9fbdc170c1
EDAN-URL:
ead_component:sova-cfch-sff-1981-ref404

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