The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Richard York Gallery records, circa 1865-2005, bulk 1981-2004. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by Smithsonian Institution's Collections Care Fund
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Richard York Gallery records, circa 1865-2005, bulk 1981-2004. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by Smithsonian Institution's Collections Care Fund
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Richard York Gallery records, circa 1865-2005, bulk 1981-2004. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by Smithsonian Institution's Collections Care Fund
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
The 2011 Rhythm and Blues program was an exploration of the rich historical, cultural, and musical matrix of R&B. Through music and dance performances, workshops, and narrative discussions, the program considered R&B as a collaborative art form shaped by composers, performers, producers, and communities of listeners. Most importantly, it highlighted how music provides a dynamic lens to explore the relationship of African American history and experiences to American popular culture.
The history of R&B and the breadth of what it encompasses - socially, commercially, and artistically - suggests that it is not monolithic. It tells a complex story of many strands and experiences. A distinctly African American music drawing from the deep tributaries of African American expressive culture, it is an amalgam of jump blues, big band swing, gospel, boogie, and blues that was initially developed during a thirty-year period that bridges the era of legally sanctioned racial segregation, international conflicts, and the struggle for civil rights. Its formal qualities, stylistic range, marketing and consumption trends, and worldwide currency thus reflect not only the changing social and political landscapes of American race relations, but also urban life, culture, and popular entertainment in mainstream America.
This music that speaks about a history of marginalization and exclusion also tells a story about resilience and resistance. The 2011 Festival program underlined these latter qualities. It celebrated pioneers and iconoclasts, soloists and studio musicians, and relationships and collaborations through which a younger generation was taking ownership of the music. This was perhaps most dynamically revealed in the participation of the Stax Music Academy, a group of Memphis high school musicians who are learning leadership and teamwork skills through music that (in their own words) "embodies the spirit of harmony, respect and cooperation that defined Memphis' legendary Stax Records." These students not only learn the historic importance of the music, but also experience R&B through collaboration and practice as a living art form - an art form that Festival visitors in Washington could also experience vividly and directly on the National Mall.
Mark Puryear was Curator and Arlene Reiniger was Program Coordinator. Portia Maultsby, Bob Santelli, and Michael White constituted the Curatorial Advisory Committee. For the National Museum of African American History and Culture, Project Staff included: Lonnie G. Bunch, Director; Kinshasha Holman Conwill, Deputy Director; Timothy Anne Burnside, Research Assistant; Dorey Butter, Project Manager; Deirdre Cross, Public Programs Coordinator; Delphia York Duckens, Associate Director for External Affairs; Rex Ellis, Associate Director for Curatorial Affairs; Cheryl Johnson, Government Relations Officer; LaFleur Paysour, Media Relations and Public Affairs; Dwandalyn Reece, Curator of Music and Performing Arts; and Kevin Strait, Project Historian.
The program was produced in partnership with the Smithsonian National Museum of African American History and Culture.
Presenters:
Lawrence Bradford, Timothy Anne Burnside, Rex Ellis, Tuliza Fleming, John Franklin, Charles Hughes, Beverly Lindsay-Johnson, Kip Lornell, Barry Lee Pearson, Jeff Place, Dwandalyn Reece, Tulani Salahu-Din, Randy Short, Kevin Strait
Participants:
WILLIAM BELL
William Bell, 1939-, singer, Atlanta, Georgia
Performing with the Stax Music Academy
THE DIXIE CUPS®
Barbara A. Hawkins, 1942-, vocals, Tampa, Florida
Rosa L. Hawkins, 1945-, vocals, Tampa, Florida
Athelgra Neville, 1944-, vocals, New Orleans, Louisiana
Marc Adams, 1952-, keyboards, vocals, New Orleans, Louisiana
Anthony Brown, 1960-, guitar, New Orleans, Louisiana
Gerald French, 1970-, drums, vocals, New Orleans, Louisiana
James Markway, 1952-, bass, Covington, Louisiana
Joseph Saulsbury, 1951-, saxophone, New Orleans, Louisiana
NAT DOVE
Nat Dove, 1939-, keyboards, vocals, Bakersfield, California
David Cole, 1957-, guitar, Berwyn Heights, Maryland
Keith A. Mathis, 1958-, horn section coordinator, trumpet, flugelhorn, Washington, D.C.
GLOBE POSTER PRINTING
Bob Cicero, 1947-, owner, Pasadena, Maryland
THE JEWELS
Sandra Bears, 1943-, vocals, Washington, D.C.
Marjorie Clarke, 1945-, vocals, Washington, D.C.
Grace Ruffin, 1944-, vocals, District Heights, Maryland
Ronald Campbell, 1951-, bass, Washington, D.C.
Ronald Ford, 1951-, drums, Washington, D.C.
Joe Phillips, 1951-, guitar, Suitland, Maryland
Ron Reace, 1956-, keyboards, Hyattsville, Maryland
DR. MABLE JOHN
Mable John, 1930-, musician, Los Angeles California
Performing with the Stax Music Academy Accompanists -- Performing with the Stax Music Academy AccompanistsMildred Spikes, 1942-, vocals, East Orange, New JerseyNorma Jenkins Williams, 1948-, vocals, Gaithersburg, Maryland
FERNANDO JONES
Fernando Jones, 1964-, guitar, Chicago, Illinois
Roy Boyd, 1955-, drums, vocals, Chicago, Illinois
Chip Ratliff, 1965-, bass, vocals, Morton Grove, Illinois
SHIRLEY JONES OF THE JONES GIRLS
Shirley Jones, 1953-, vocals, McDonough, Georgia
Farnetta L. Baker, 1967-, vocals, Bryans Road, Maryland
Anissa Hargrove, 1969-, vocals, Waldorf, Maryland
Lorree K. Slye, 1962-, vocals, Washington, D.C.
Keith D. Busey, 1960-, bass, Silver Spring, Maryland
Charles Jerome Deas, 1964-, percussion, Upper Marlboro, Maryland
Jeno Marcus Meyer, 1972-, keyboards, Oxon Hill, Maryland
Joya Wesley, 1966-, group manager, Greensboro, North Carolina
KIM WESTON
Kim Weston, 1939-, singer, Detroit, Michigan
Performing with the Funk Brothers
Collection Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 2011 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
RICHARD HOYEN- CHINESE/JAMAICAN WORKED IN COMMUNITY FOR MANY YEARS; CONROY ALLISON- ADVERTISING SALES REPRESENTATIVE FOR JAMAICAN STATION TAPE 4 OF 10
Local Numbers:
FP-1988-CT-0682
Date/Time and Place of an Event Note:
Recorded in: New York, United States, August 12, 1988.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Beverly Buchanan papers, 1912-2017. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Beverly Buchanan papers, 1912-2017. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation.
Rathbun, L. V. Rochester, New York Richards, A. and Company New London, Connecticut Reakirt and Taylor, Philadelphia, PA Rath Mfg. Co. Philadelphia, PA
Collection is open for research. Some items may be restricted due to fragile condition.
Series 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.
Series Citation:
Warshaw Collection of Business Americana Subject Categories: Adhesives, Archives Center, National Museum of American History, Smithsonian Institution
