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.
Down South blues (2:08) -- Country blues (3:48) -- Pretty Polly (2:52) -- Coal Creek march (1:53) -- My old horse died (1:43) -- Wild Bill Jones (2:08) -- Rowan County crew (6:06) -- New prisoner's song (2:51) -- Oh, death (3:15) -- Prodigal son (3:52) -- Mother's advice (3:38) -- Drunkard's lone child (4:04) -- Bright sunny South (3:36) -- Mistreated mama blues (1:49) -- Harvey Logan (3:24) -- Mixed blues (3:49) -- Old Joe's barroom (2:46) -- Danville girl (2:33) -- Cole Younger (1:48) -- Schottische time (1:13) -- Papa, build me a boat (2:40) -- Little black train (2:51) -- No disappointment in heaven (2:28) -- Glory land (4:00) -- Banjo clog (1:47) -- Wise County jail (1:48) -- Sugar baby (2:50) -- The death of Jerry Damron (4:13) -- Railroad tramp (3:10) -- Poor boy in jail (2:54) -- Brother Jim got shot (1:56) -- John Henry (3:27) -- Davenport (1:41) -- Dying ranger (3:25) -- Little Omie Wise (3:23) -- Sugar blues (1:22) -- Loving Nancy (2:26) -- Cuba (1:26) -- John Hardy (2:02) -- Peggy Walker (2:52) -- I hope I live a few more days (4:07) -- Turkey in the straw (:47) -- Calvary (3:30) -- Roses while I'm living (3:21) -- Leave it there (3:20) -- Prayer of a miner's child (3:17) -- Coke oven march (1:00) -- Ruben's train (2:19) -- Cumberland Gap (2:26) -- Careless love (4:05).
Track Information:
101 Down South Blues / Banjo.
102 Country Blues / Banjo.
103 Pretty Polly / Banjo.
104 Coal Creek March / Banjo.
105 My Old Horse Died / Banjo.
106 Wild Bill Jones / Banjo.
107 Rowan County Crew / Banjo.
108 New Prisoner's Song / Banjo.
109 Oh, Death / Banjo.
110 Prodigal Son / Banjo.
111 Mother's Advise / Banjo.
112 Drunkard's Lone Child / Banjo.
113 Bright Sunny South / Banjo.
114 Mistreated Mama Blues / Banjo.
115 Harvey Logan / Banjo.
116 Mixed Blues / Banjo.
117 Old Joe's Barroom / Banjo.
118 Danville Girl / Banjo.
119 Cole Younger / Banjo.
120 Schottische Time / Banjo.
121 Papa, Build Me a Boat / Banjo.
122 Little Black Train / Banjo.
123 No Disappointment in Heaven / Banjo.
124 Glory Land / Banjo.
201 Banjo Clog / Banjo.
202 Wise County Jail / Banjo.
203 Sugar Baby / Banjo.
204 The Death of Jerry Damron / Banjo.
205 Railroad Tramp / Banjo.
206 Poor Boy in Jail / Banjo.
207 Brother Jim Got Shot / Banjo.
208 John Henry / Banjo.
209 Davenport / Banjo.
210 Dying Ranger / Banjo.
211 Little Omie Wise / Banjo.
212 Sugar Blues / Banjo.
213 Loving Nancy / Banjo.
214 Cuba / Banjo.
215 John Hardy / Banjo.
216 Peggy Walker / Banjo.
217 I Hope I Live a Few More Days / Banjo.
218 Turkey in the Straw / Banjo.
219 Calvary / Banjo.
220 Roses While I'm Living / Banjo.
221 Leave it There / Banjo.
222 Prayer of a Miner's Child / Banjo.
223 Coke Oven March / Banjo.
224 Ruben's Train / Banjo.
225 Cumberland Gap / Banjo.
226 Careless Love / Banjo.
Local Numbers:
FW-COMM-CD-40108-7
FLP.125949
FLP.125949 ;.Smithsonian Folkways.40108
Publication, Distribution, Etc. (Imprint):
Washington, D.C. Smithsonian Folkways 1998
Date/Time and Place of an Event Note:
Recorded in: Norton (Va.), United States, Virginia.
General:
Commercial
Smithsonian Folkways: SFW 40108 (on container: SF 40108). Blues, instrumentals, regional, and religious songs. Originally released as analog discs in 1963 (Folkways [FA] 2351), 1965 (Folkways [FA] 2392), and 1970 (Folkways [i.e. Asch Recordings AH] 3903). Compact disc. Program and biographical notes by Barry O'Connell and Mike Seeger, including bibliography and discography (34 p. : ports.) inserted in container.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
3.83 Cubic feet (8 binders containing contact sheets, slides, and prints; 7 boxes (8.5"x10.75"x2.5") of 35 mm negatives; 2 binders of 35 mm and 120 format negatives; and 1 box of 11 oversize prints.)
Type:
Collection descriptions
Archival materials
Contact sheets
Slides (photographs)
Black-and-white negatives
Photographic prints
Place:
New York (N.Y.)
Saint Simons Island (Ga. : Island)
Date:
1963-2009
Summary:
The Diana Davies photographs consist of images taken by Diana Davies at various stages of her career. Locations include the Festival of American Folklife, the Newport Folk Festival, the Philadelphia Folk Festival, the Poor People's Campaign, various peace and protest marches and outdoor performances, New York City, and the Georgia Sea Islands. The collection includes contact sheets, negatives, photographic prints, and slides.
Original photographs, negatives, and color slides taken by Diana Davies. Materials date from 1963-2009. Bulk dates: Newport Folk Festival, 1963-1969, 1987, 1992; Philadelphia Folk Festival, 1967-1968, 1987.
Scope and Contents:
The Diana Davies photographs, 1963-2009, consist of black and white negatives, contact sheets and prints, as well as color slides and negatives. The bulk of materials depict major festivals and protest movements (including the Poor People's March of 1968) documented by Diana Davies (located in Series 1: Newport Folk Festival, Series 2: Philadelphia Folk Festival, Series 6: Festival of American Folklife, and Series 11: Social Justice). Also well-represented are non-festival performances (in locations such as clubs, concert halls, and homes), recording sessions, and other music-related images, mainly of notable figures in the American folk music revival (located in Series 3: Broadside Magazine, Series 4: Sing Out! Magazine Concerts, Series 5: Miscellaneous Concerts and People, Series 7: Recording Sessions, Series 8: Instruction Book Shots, and Series 9: Jazz, Blues, and Salsa Musicians). Series 10: Georgia Sea Islands consists of photographs depicting the culture, environment, and daily life of these coastal islands in 1966. Series 12: New York City Scenes contains photographs taken on the street depicting everyday life in NYC in the 1960s and 1970s. The collection also contains related papers in Series 13: Miscellaneous Papers and Correspondence.
Arrangement note:
Each item in the Diana Davies Photographs has been assigned an accession number, and like materials have been put together such as the Newport Folk Festival photographs, in a chronological sequence as much as possible. Materials in the three more recent donation batches (1998, 2004, and 2006) were numbered and integrated into the collection. In some series, the accession numbers are in numerical order, and in others, the numbers are random because like items with different number sequences were pulled together in a series for subject coherence. The best way to find occurrences of a particular subject is to use the ctrl+F function. Please consult the archivists if you have any questions about the collection contents.
Contact sheets, slides, and prints arranged in 8 binders; negatives and oversize prints are stored separately.
Arranged in 14 series:
Series 1: Newport Folk Festival
Series 2: Philadelphia Folk Festival
Series 3: Broadside Magazine
Series 4: -- Sing Out! -- Magazine Concerts
Series 5: Miscellaneous Concerts and People
Series 6: Festival of American Folklife
Series 7: Recording Sessions
Series 8: Instruction Book Shots
Series 9: Jazz, Blues, and Salsa Musicians
Series 10: Georgia Sea Islands
Series 11: Social Justice
Series 12: New York City Scenes
Series 13: Miscellaneous Papers and Correspondence
Series 14: Oversize Materials
Biographical/Historical note:
Diana Davies is a well-known photographer of folk performers and festivals. Davies photographed the Smithsonian Folklife Festival in its earlier years. Born in 1938, Davies grew up in Maine, the Catskills, New York City, and Boston. Her grandparents were local union organizers and Debs socialists; one grandfather was a gandy dancer with the railroad, and her grandmother was a textile worker in Massachusetts, New York, and Pennsylvania. Davies finds that her family background was later expressed in her own activist efforts.
Davies left high school at 16, and worked sweeping out coffeehouses, which gave her the opportunity to listen to music while she worked. She became interested in theater and music. In Greenwich Village, she began doing some sound technician work, and then got interested in photography. She taught herself how to develop and print photographs in a darkroom, and began photographing in theaters, shooting from behind the scenes. Her theater photos are at Smith College in Northampton, where she presently lives. In the early 1960s, she began working with the editors of Broadside Magazine, Sis Cunningham and Gordon Friesen. She developed an interest in human rights work, which grew from her contact with Sis and Gordon, and also her own family background. She also worked as a photographer in a wide range of settings, including night clubs, weddings, and doing portrait photography. This led her to work for major national and international media including the New York Times, covering such events as the war in Biafra, and traveling to Mexico, Cuba, and Portugal on assignment.
Davies' folk photographs represent about one-quarter of her body of work; her other major photographic work includes the Civil Rights Movement, the Peace Movement, and theater. Davies began photographing at the Newport Folk Festival in 1964, which she covered for a number of years. She knew Ralph Rinzler, and found him a vibrant, alive person excited by all aspects of culture. He introduced her to Bessie Jones from the Georgia Sea Islands, and in 1966 she made a photographic journey to the islands. Her work from this trip is included in the collection. Davies has also been a musician. She became involved with the punk rock movement of the 1970s, and felt that there was a connection between the hard-hitting songs from the punk world and the songs being published in Broadside Magazine. In 1975, she became part of a folk/punk women's band in Boston, and later moved to Western Massachusetts. In addition to being a photographer and musician, Davies is also a writer. She wrote a play entitled "The Witch Papers" in 1980, which was produced in Boston and other locations. The play was a vehicle for her human rights activism, comparing the technology of inquisition with labor sweatshops. In 1998, her play "The War Machine" was produced in Amherst, Mass. She lives in Northampton, and enjoys and participates in street performance, which she describes as the "most essentially communicative stuff you can come up with."
General note:
All contact sheets from the collection are digitized and accessible through this finding aid. Series-level slideshows accessible through this finding aid represent a small sampling from the collection.
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 portions of the Diana Davies Photograph Collection in the late 1960s and early 1970s, when Ms. Davies photographed for the Festival of American Folklife. More materials came to the Archives circa 1989 or 1990. Archivist Stephanie Smith visited her in 1998 and 2004, and brought back additional materials which Ms. Davies wanted to donate to the Ralph Rinzler Folklife Archives and Collections. These two more recent donations of additional photographs (contact sheets, prints, and slides) consisted of documentation of the Newport Folk Festival, the Philadelphia Folk Festival, the Poor People's March on Washington, the Civil Rights Movement, the Georgia Sea Islands, and miscellaneous personalities of the American folk revival. In a letter dated 12 March 2002, Ms. Davies gave full discretion to the Center for Folklife and Cultural Heritage to grant permission for both internal and external use of her photographs, with the provison that her work be credited in any use.
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.
Recorded in: New York (N.Y.), United States, New York, 1961.
General:
Tom Ashley, Doc Watson, Gaither Carlton- Recorded At Ann Bird's Apartment In Nyc, Prior To FOTM Concert, 3/24-25/61; Side 2 Recorded At Ashley's House, Shouns, Tn, 6/27/61 Original Master; Rr #19; Song List And Notes In Box
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.
Down the road--Cindy--Cuckoo bird--Poor Omie Wise--Barbaa Allen--Dark holler--Pretty fair damsel in the garden--Rowan County crew--Whoa mule--Little Sadie--John Hardy
201 The Girl I Left Behind Me / Clarence Ashley. Guitar,Banjo,Fiddle.
202 Run Jimmie Run / Clarence Ashley. Guitar,Banjo,Fiddle.
204 Rock Little John the Baby / Clarence Ashley. Guitar,Banjo,Fiddle.
206 Run Jimmie Run / Clarence Ashley. Guitar,Banjo,Fiddle.
208 Root Hog or Die / Clarence Ashley. Guitar,Banjo,Fiddle.
209 Crawdad Song / Clarence Ashley. Guitar,Banjo,Fiddle.
Local Numbers:
FP-RINZ-7RR-0031
FLP.52653
Date/Time and Place of an Event Note:
Recorded in: New York (N.Y.), New York, Saltville (Va.), Virginia, United States, June 28, 1961.
General:
CDR copy
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.
Girl I left behind me--Run, Jimmy, run--Rock a little John the baby--Run, Jimmy, run--Root hog or die--Crawdad song--Wafaring pilgrim--Ninety and nine--Findlay Preston--Roll on, buddy--Rowan County crew--Amazing grace
Local Numbers:
FP-RINZ-7RR-0032
FLP.52654
General:
CDR copy
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.
Collection Citation:
Ralph Rinzler papers and audio recordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Crawdad song--Cluck old hen--Run, Jimmy run--Rock a little John the baby--Peg and awl--Banks of the Ohio--When the roses bloom again--Rambling hobo--John Henry--Georgia buck--Old Molly hare--Sally Ann--Cindy--Cousin Sally Brown--Hicks farewell
Track Information:
101 Crawdad Song / Clint Howard, Doc Watson, Fred Price. Guitar,Banjo,Fiddle.
103 Cluck Old Hen / Clint Howard, Doc Watson, Clarence Ashley. Guitar,Banjo,Fiddle.
107 Run Jimmie Run / Clint Howard, Doc Watson, Fred Price. Guitar,Banjo,Fiddle.
109 Rock Little John / Clint Howard, Doc Watson, Fred Price. Guitar,Banjo,Fiddle.
Recorded in: Shouns (Tenn.), United States, Tennessee, June 29, 1961.
General:
CDR copy
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.
Accordion and vocals by Amy Dean Meaux, Joseph A. Schenaydeu, vocals by William "Cat" Guidry performed at Abbeville tape 2
Local Numbers:
FP-RINZ-7RR-0117
FLP.52739
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.
Collection Citation:
Ralph Rinzler papers and audio recordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Abbeyville Tape part 2- Amy Dean Meaux- accordion, vocal, Joseph Schernayder (sic), William "Cat" Guidry Reel 4?
Local Numbers:
FP-RINZ-7RR-0165
FLP.52787
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.
Collection Citation:
Ralph Rinzler papers and audio recordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Recorded in: Naushon Island (Mass.), United States, Massachusetts, July, 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.
Recorded in: Naushon Island (Mass.), United States, Massachusetts, July, 1989.
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.
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.
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.
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: Naushon Island (Mass.), United States, Massachusetts, July, 1989.
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.
107 More Pretty Girls Than One / Mike Seeger, Peggy Seeger. Banjo,Guitar. English language.
108 The Mountain Road / Margaret Barry, Michael Gorman.
109 The Heather Breeze / Margaret Barry, Michael Gorman.
110 Smash the Windows / Margaret Barry, Michael Gorman.
110 When the Pirates are Dug / Margaret Barry, Michael Gorman.
110 The Frost is All Over / Margaret Barry, Michael Gorman.
110 Flannigan's Ball / Margaret Barry, Michael Gorman.
110 Off She Goes / Margaret Barry, Michael Gorman.
111 Swallow's Tail / Margaret Barry, Michael Gorman.
111 The Sligo Maid / Margaret Barry, Michael Gorman.
112 A Scot's Strathspey / Margaret Barry, Michael Gorman.
Local Numbers:
FP-RINZ-7RR-0653
Date/Time and Place of an Event Note:
Recorded in: London (England), England.
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.
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.
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, November 14, 1982.
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: Massachusetts, United States, July 27, 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.
