The papers of popular songwriter Harry Warren, three time Academy Award winner and prolific contributer to the American songbook.
Scope and Contents:
The Harry Warren Papers consists of original music manuscripts, scores, song sheets, commercial sheet music, bound scores, scripts, business records, correspondence (business, personal and fan), clippings, magazines, photographs, cassette tapes, LP records, posters and programs and personal memorabilia. The material documents the personal life and professional career of composer, songwriter and lyricist Harry Warren from 1894 to 1981 and to a lesser extent the operation of his Four Jays Music Corporation, circa 1954-2000. The bulk of the collection covers the years 1927-1980. The collection is organized into eight series.
Arrangement:
The collection is divided into eight series.
Series 1: Music Manuscripts, 1928-1987
Subseries 1.1: Original Holographic Theatre and Motion Picture Music Manuscripts, 1930-1960
With the possible exception of Irving Berlin, no one has contributed as much material to the canon of American popular song in the 20th century as Harry Warren (1893-1981). Warren was born in Brooklyn, New York, December 24, 1893, to Italian immigrant parents. His birth name was Salvatore Anthony Guaragna. By the time he graduated from grade school, he was known as "Harry Warren". He legally changed his name in 1938. He was educated in the public schools of New York but had no formal musical training. He taught himself to play the organ and piano and also sang in the church choir. Both Warren's sister and brother were performers so the theatrical world was not unknown to him. He worked as an actor and assistant director for the Vitagraph film studio in New York and played mood music for actress Corinne Griffith. During World War I, Warren served in the United States Navy at Montauk Point, New York. For a few weeks after the war, he worked as an insurance examiner for The Travellers Agency.
In December 1918, Warren married Josephine Wensler (1897-1993). Their first child was a son named Harry Warren, Jr. (1920-1937). In 1920, Warren became a song plugger for the music publishing firm of Stark & Cowan. Warren continued writing and in 1922 along with lyricist Edgar Leslie produced his first song hit, "Rose of the Rio Grande." From that point on, Warren composed a continuous stream of hits introduced by such artists as Paul Whiteman and others. By 1925, a second child, Joan (1924-1991), nicknamed "Cookie", was born. Warren continued his success with such songs as "I Love My Baby (My Baby Loves Me)," "In My Gondola" and the very popular 1928 hit "Nagasaki."
By 1929, Warren was the director of the American Society of Composers, Authors, and Publishers (ASCAP). He held that position until 1933. He also served on the ASCAP Board of Directors. During this time Warren worked with various musicians including Gus Kahn, Bert Kalmer, and Harry Ruby. In 1930, he wrote his first motion picture score for the film Spring is Here. Al Jolson asked him to compose a song for the show, Wonder Bar (1931). During the 1930s, Warren composed three other Broadway shows, Sweet and Low (1930), Crazy Quilt (1931) featuring Fanny Brice, and Laugh Parade (1931) starring Ed Wynn.
In 1932, Warren was hired by Warner Brothers Studios to help write songs for the Dick Powell, Ruby Keeler film 42nd Street (1933). Along with lyricist, Al Dubin, Warren wrote such hits as "We're in the Money" and "The Shadow Waltz". Warren continued composing memorable songs for motion pictures such as Gold Diggers of 1933, The Singing Marine (1937), and Footlight Parade (1933). Gold Diggers of 1935 included Warren's first Academy Award winning song, "Lullaby of Broadway". Warren made cameo appearances in a few films during his stay at Warner Brothers. He and lyricist Dubin can be seen in 42nd Street, Go Into Your Dance (1935), and A Very Honorable Guy (1934). He also appeared in a Vitaphone short entitled Harry Warren: America's Foremost Composer.
Warren left Warner Brothers for 20th Century Fox in 1940. At Fox he helped compose the scores for such motion pictures as, Sun Valley Serenade (1941), Orchestra Wives (1942), and The Gangs All Here (1943) that included the Carmen Miranda standard, "The Lady in the Tutti-Frutti Hat". During this period, he worked with lyricists Ralph Rainger, Mack Gordon and Leo Robin, and others. Hello Frisco, Hello (1943) garnered Warren his second Academy Award for the song, "You'll Never Know". While at Fox, Warren composed "Chattanooga Choo Choo" a song that became the first gold record in the history of the recording industry.
In 1945, legendary musical film producer Arthur Freed at Metro-Goldwyn-Mayer courted Warren for his MGM production unit. Freed quipped that Warren would have the office right next door to his--and he did. For Warren the offer to write music at the studio that practically invented the movie musical was irresistible and he left 20th Century Fox for MGM. He joined Freed in writing the songs for Yolanda and the Thief (1945) starring Fred Astaire and Freed's protégée Lucille Bremer. The film was directed by the incomparable Vincent Minnelli. His next high profile score was for The Harvey Girls (1946) composed with renowned lyricist Johnny Mercer. The picture starred Judy Garland and John Hodiak. Directed by George Sidney, it was a major success, due in part to Warren's tuneful "On the Atchison, Topeka and Santa Fe". This song brought Warren his third and what would be his final Academy Award.
While at MGM, Warren worked with lyricists Mack Gordon, Ralph Blane, and others. In 1948, he and Blane composed the song score for Freed and director Rouben Mamoulian's ambitious film adaptation of Eugene O'Neills stage play Ah Wilderness entitled Summer Holiday (1948) starring Mickey Rooney and Gloria DeHaven. This is reported to have been Warren's favorite film assignment, but the film was not an unqualified success. Warren remained at MGM until the 1950s composing for such films as The Barkleys of Broadway (1949), starring Astaire and Rogers, Summer Stock (1950), starring Judy Garland and Gene Kelly and his final film for MGM, Skirts Ahoy! (1952), starring Esther Williams and Vivian Blane. After leaving MGM, Warren wrote the score for the Bing Crosby film, Just for You at Paramount. Warren also served on the Board of Directors for the Academy of Motion Picture Arts and Sciences.
Warren went on to write the music for two Jerry Lewis and Dean Martin films, The Caddy (1953) for which he composed "That's Amore", Artists and Models (1955) and for three Jerry Lewis films, Rock-a-Bye Baby (1958), Cinderfella (1960), and The Ladies Man (1961). Warren also composed instrumental pieces one being a "Mass in Honor of St. Anthony".
Warren returned to Broadway in 1956 with the musical Shangri-La, based on the novel Lost Horizon. The show was not a success and closed after fewer than thirty performances. He composed the title song for the Cary Grant, Deborah Kerr film, An Affair to Remember (1957); this song brought him his last nomination for an Academy Award. The song was later used in the motion picture Sleepless in Seattle (1993) starring Tom Hanks and Meg Ryan.
During the 1950s, Warren started his own music publishing company, Four Jays Music Corporation. After writing the songs for The Ladies Man, Warren retired from films but continued to write for piano, even composing the song for the Miss Oklahoma Pageant. His last film effort was to compose one song for the motion-picture Rosie (1968). During the last years of his life Warren composed and ran his music publishing business, but remained largely forgotten as the man who had composed a great deal of America's musical heritage.
With the resurgence in the appreciation of the movie musical in the early 1970s, the tunes composed during Warren's heyday were back in vogue, brought on in a large part by the phenomenal success of MGM's That's Entertainment! (1974). In 1980, he was asked to compose the musical numbers for an upcoming movie musical entitled, Manhattan Melody but it was never produced.
1980 brought the Warren name back to the marquees of Broadway with the David Merrick production of 42nd St.. The full budgeted big Broadway musical used the basic storyline from the 1933 film and drew upon the whole of the Warren and Dubin catalogue for the score. The production proved to be wildly popular, running in excess of five years on Broadway. Warren died in California on September 22, 1981. He was interred in the Sanctuary of Tenderness at Westwood Memorial Park in Los Angeles beside his wife and son. After Warren's death, his daughter Joan "Cookie" Warren Jones administered the music publishing company until her death in 1991.
Key:
OF = Original Film, RV = Reference Video, MV = Master Video
Separated Materials:
The Division of Cultural History (now Division of Cultural and Community Life) has three dimensional objects related to Harry Warren.
Provenance:
Donated to the Archives Center, National Museum of American History, Smithsonian Institution by Julia Riva and Jophe Jones, granddaughters of Harry Warren, on December 15, 2000.
Restrictions:
Collection is open for research but the audiovisual materials are stored off-site and special arrangements must be made to work with it. Researchers must use reference copies of audio-visual materials. When no reference copy existsContact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
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
101 Indian Christian Songs / Betty Mae Jumper, Dorothy Whitehorse DeLaune. Hand drums.
102 Making Our Own Songs / Celina Jones, Geraldine Barney, Lillian Ashley. Water-drum,Guitar.
Local Numbers:
FP-1995-CT-0490
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, June 26, 1995.
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.
101 Making Our Own Songs / Geraldine Barney, Lillian Ashley, Sandra Wuttunee. Water-drum,Guitar.
102 Ways of Our Grandmothers / Bernice Torres, Betty Mae Jumper, Dorothy Whitehorse DeLaune.
103 Contemporary Singer/Songwriters / Geraldine Barney, Elizabeth Hill. Guitar.
Local Numbers:
FP-1995-CT-0491
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, June 26, 1995.
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.
A photograph, letters written, and pieces of music by African American composer William Christopher "W.C." Handy (1873-1958) sometimes called the "Father of the Blues".
Scope and Contents note:
The collection consists of a photograph, several letters written by Handy, and several pieces of music which he published.
Handy remains among the most influential of American Blues songwriters. Handy is credited with giving Blues, its contemporary form. While Handy was not the first to publish music in the blues form, he took the blues from a regional music style with a limited audience to one of the dominant national forces in American music.
Handy was an educated musician who used folk material in his compositions. He was scrupulous in documenting the sources of his works, which frequently combined stylistic influences from several performers.
Arrangement:
Divided into 4 series: (1) Correspondence, 1928; (2) Photographs, 1948; (3) Sheet music, 1948; and (4) Robert L. Shurr papers.
Biographical/Historical note:
William Christopher Handy, a composer and music publisher, was born in Florence, Alabama on November 16, 1873. He is known as the "father of the blues" because he was the first person to collect and write the songs down which had been played by workers, illiterates, and share croppers. These original blues songs had a three line verse, a definite musical pattern which usually expressed a lament of some kind, and often ended in "ironical self -ridicule, fatalistic resignation, or absurd incongruous laughter" He also had a minstrel show band.
Among the more than sixty songs he wrote were "Memphis Blues, St. Louis Blues, Beale Street Blues, Mississippi Blues, and Joe Turner Blues." Handy wrote other secular songs, made arrangements of spirituals, and did orchestral work as a composer and conductor.
To get his music published. Handy, with Harry Pace, a songwriter, founded a music publishing house in Memphis in 1907 which was moved to New York in 1918. Among the songs his company published was "A Good Man is Hard to Find" which Sophie Tucker, a white singer, sang on Broadway and helped to make it a hit.
Handy died on March 29, 1958 in New York City. Later that year a movie based on his life was issued. It was titled "St. Louis Blues" and Nat "King" Cole played the role of Handy.
Related Archival Materials:
Received with George Washington Carver Collection, same donor.
Provenance:
Collection donated by Robert L. Shurr.
Restrictions:
Collection is open for research.
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.
Collection documents Jonas Bernholm's interest and work promoting African American Music, specifically rhythm and blues.
Scope and Contents note:
Series 1: Correspondence, 1972-1994, undated
This series is divided into four subseries: Subseries 1.1 (Artists), Subseries 1.2 (Collaborators), Subseries 1.3 (Douglas Seroff), and Subseries 1.4 (Record Companies). Subseries 1.1 (1972-1993) consists mostly of correspondence exchanged between Bernholm and recording artists, as well as letters about the artists from their agents, family members, etc. Other types of materials included in this subseries are: copies of newspaper clippings, death certificates, contracts, and receipts. This subseries is, mostly, in alphabetical order by the artist's last name. Subseries 1.2 (1978-1985) is largely a collection of letters between Bernholm and those helping him create his albums. Topics include: photos, financial transactions and technical information about creating an album. Bills and receipts are also found in the subseries. Two folders deal specifically with correspondence Bernholm exchanged between Felix Prochaska and Lou Doggett. Subseries 1.3 (1979-1986) documents the correspondence between Bernholm and independent music scholar, music producer and businessman Douglas Seroff. It includes an exchange of letters regarding the start of a new record label for gospel music and the creation and reissue of gospel LPs. It also includes auction results, bills, postage labels, and information on a 1985 Grammy nomination. Subseries 1.4 (1977-1990) consists of correspondence between Bernholm and such recording companies as Clanka Lanka, Rounder Records, Big J Records, Blues King Records, Bogus Records, J.D. Productions, Fleetville Records, La Val Records and Relic Records. Also included are contracts/agreements, statements, artist promotion, as well as information on taping sessions and royalties.
Series 2: Promotional/Publicity Materials, 1971-1991, undated
This series is divided into two subseries: Subseries A (Promotion and Collaborator Correspondence) and Subseries 2.2 (Fan Club Materials). Subseries 2.1 (1976-1991) consists mostly of correspondence about artist or album promotion; including published articles, photographs, and information about concerts, tours, and radio stations throughout the US and Europe. Subseries B contains artist biographies, newsletters, promotional material, and information regarding contemporary artist-related events from record companies, talent agencies and official fan clubs.
Series 3: Research Materials, undated
This series is divided into four subseries: Subseries 3.1 (Artists), Subseries 3.2 (Record Company), Subseries 3.3 (Ray Funk), and Subseries 3.4 (Record Labels). Subseries A is composed of album liner notes for individual artists, as well as photocopies of magazine/newspaper articles that detail biography and album information for several artists. Other information includes correspondence about artists, and album song listings. Subseries 3.2 is an alphabetical listing, by record company name, of their discographies. Subseries C includes music related articles and correspondence from and by Alaskan writer, music aficionado and radio host Ray Funk. Copies of artist photos from Norbert Hess are also available. Subseries 3.4 contains listings of songs from specific artists and the labels they can be found on.
Series 4: Production Materials, undated
This series is composed of production notes used in the assembly of albums. This includes artist biographies and discographies, as well as song listings for specific albums. This subseries is organized alphabetically by artist.
Arrangement:
Series 1, Correspondence, 1972-1994, undated
Series 2, Promotional/Publicity Materials, 1965-1991, undated
Series 3, Research Materials, undated
Series 4, Production Materials, undated
Biographical/Historical note:
Jonas Bernholm (1946-) is a music executive, and African-American music aficionado from Sweden. He is best known for reissuing works of jazz, blues, and R&B artists on his own labels; the most well-recognized being Route 66, and Mr. R&B. His passion was ignited by the energy and charisma seen in the likes of Elvis Presley and Little Richard. He began collecting music from abroad and eventually visited the United States during the summer of 1968. During his trip Bernholm realized that many recording artists from the 40s and 50s were out of work and their music was no longer in circulation. Upon his return to Sweden he resolved to reissue the work of many artists on his own labels. His labels included: Route 66, MR R&B, Jukebox Lil, Whiskey Women, Earth Angel , Dr. Horse, Crown Prince, Gospel Jubilee, and Blues Boy.
Related Materials:
The Division of Music, Sports and Entertainment(now Division of Cultural and Community Life) holds artifacts related to this collection including: posters and sound recordings. See Accession #1996.0153.
Provenance:
Collection donated by Jonas Bernholm, 1996.
Restrictions:
Collection is open for research and access on site by appointment. Unprotected photographs must be handled with gloves.
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.
This collection includes an English patent paper #2126 for improved vulcanizable water-proof gum, 1873, to Benjamin Joseph Barnard Mills; a U.S. patent paper #151,109 for improvement in the art of manufacturing horseshoes, 1874; and an English patent paper #1194 for improvement in street-lighting apparatus.
Provenance:
Collection donated by James Lithgow Ewin, March 13, 1894.
Restrictions:
Collection is open for research.
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.
101 Making Our Own Songs / Elizabeth Hill, Lillian Ashley, Sharon Burch. Guitar,Water-drum.
102 Called to the Drum / Crying Woman Singers, Wabunoag Singers, Gwen Shunatona. Drum.
Local Numbers:
FP-1995-CT-0482
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, June 24, 1995.
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.
Recorded in: Washington (D.C.), United States, June 23, 1995.
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.
Recorded in: Washington (D.C.), United States, July 5, 1984.
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.
Recorded in: Washington (D.C.), United States, June 30, 1990.
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.
101 Music as an Organizational Tool / Barry Mitterhoff, Hazel Dickens. Mandolin,Guitar. English language.
102 How Songs of Struggle are Composed / Sarah Alexander, Temo Ezzadin. Guitar,Tambour (Drum),Accordion.
Local Numbers:
FP-1990-CT-0141
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 6, 1990.
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.
Recording includes discussion related to disability rights.
Track Information:
101 Deaf Protest Humor / Steve Ryan. Sign language.
102 Comparative Percussion Styles / Harold Muñiz, Ismael Rodriguez, Mike Madrigal. Drum. English language.
103 How Songs of Struggle are Composed / Freedom Singers, Cordell Hull Reagon, Mbongiseni Tshabalala.
Local Numbers:
FP-1990-CT-0147
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 7, 1990.
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.
Recording includes discussion related to disability rights.
Track Information:
101 How Songs of Struggle are Composed / Kamilya Jubran, Odeh Turjman, Sarah Alexander. Guitar,Accordion,Zither,Bouzouki.
102 Music in the Deaf President Now Movement / Bridgetta Bourne, Gerald L. Covell. Sign language.
103 Deaf Protest Humor / Steve Ryan. Sign language.
Local Numbers:
FP-1990-CT-0150
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 8, 1990.
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.
Track 101 Presenter: Catherine Hiebert-Kerst Track 102 Presenter: Karen Samuel Dorothy Danet is from St. Thomas. Felicia Caines is from St. John. Track 103 Presenter: Catherine Hiebert-Kerst Eddie Foy is from St. John; Anton Emanuel is from St. Thomas; Oscar McGregor is from St. Croix.
103 Island Communities / Anthon O. Emanuel, Eddie Foy, Oscar McGregor.
Local Numbers:
FP-1990-CT-0340
General:
1
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 8, 1990.
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.
