**Excited to share this Guest post by Visual materials Processing Archivist at Wilson Special Collections Library, Patrick Cullom**
Bebo White (pictured left) was a 20-year-old student at UNC Chapel Hill in 1965, when he had this image made with musicians Joan Baez and Bob Dylan. It was March 19, on the campus of NC State in Raleigh, when White and a friend managed to make their way backstage at Reynolds Coliseum, eventually finding their way into Baez and Dylan’s dressing room. There for less than 30 minutes, White was able to conduct a short interview with the duo (which he recorded), and to have a photograph (pictured above) made commemorating the meeting. He ended up creating resources documenting these two influential songwriters/musicians, in what would become an important year in the careers of both, thanks to a portable tape recorder (small enough to wear on shoulder strap under arm) and a camera packed with Polaroid “Polacolor” film. Mr. White and his cohort were equipped to document the evening with some of the most advanced tools available to them in 1965, and they did not disappoint.
This version of Polacolor film was relatively new to the market and allowedusers to create color photographic prints in a matter of minutes after taking an image. In the era of film-based photography, where 1 hour “express” processing was available (at a cost and with limited availability) this advancement provided photographers with a virtually “instant” color photographic print that could immediately be created and shared. If the camera used that night had been loaded with “traditional” roll film to make the image, neither Dylan or Baez would have likely ever seen the image.The film packs were sold with cardboard mounts that allowed users to put the newly developed print onto a more stable backer, providing both support and a surface for writing descriptions or notes. In White’s case he used the mounts to get what appear to be autographs from both musicians.
The photograph is mounted on the mount bearing Ms. Baez’s signature. In addition to the signature, the mount also has notes for a 24×36 inch print that was made after the image was taken. These Polacolor prints had some “trade-offs” for their virtually instant print capability, key among them, was no reusable negative. This meant duplicate prints could not made without producing a copy negative (photograph of a photograph) which would not be as sharp or detailed (think “resolution” or clarity) as the original. The photograph taken that evening ends up being an extremely unique item that not only depicts White with the two musical icons, but also is an objectthat both Baez and Dylanviewed, commented upon, and interacted with.All of these aspects make it a one of a kinditem we are thrilled to welcome into the Southern Folklife Collection, where it now resides with the other materials in the Bebo White Collection (20544). Read more about White’s experience at the show from this 16 March 2018 News and Observer article:“2 UNC students snuck backstage at the 1965 Dylan and Baez show in Raleigh and left with an interview of a lifetime” Learn more about Polacolor format via Graphic Atlas (Image PermanenceInstitute)
Documenting Gravel Springs, Mississippi, in the 1970s
Exhibition opening with lecture by Dr. Cheryl Thurber and performance by Rising Star Fife and Drum 5:30 p.m. Reception and exhibition viewing 6:00 p.m. Lecture 7:00 p.m. Performance
Scenes and sounds of African-American musical traditions from Mississippi will greet visitors to Wilson Library during the opening of a new photographic exhibition in the Pleasants Family Assembly Room.
“Cheryl Thurber Photographs: Documenting Gravel Springs, Mississippi, in the 1970s” will launch with a talk by the photographer and a performance by Rising Star Fife and Drum.
Thurber is an interdisciplinary scholar, cultural historian, folklorist and photographer whose images have been published in the New York Times and Rolling Stone, as well as in numerous music and folklore publications.
During the 1970s and 1980s, Thurber traveled through the South and California, documenting African-American communities, musicians and musical traditions, including in the small town of Gravel Springs, Mississippi. Thirty prints from Thurber’s time in Gravel Springs will be on view. They are part of the Cheryl Thurber Photographic Collection in the Southern Folklife Collection at the Wilson Special Collections Library.
Following Thurber’s talk, Rising Star Fife and Drum will take the stage for a traditional performance of this iconic form of blues music.
Presented by the Southern Folklife Collection at the Wilson Special Collections Library, the American Studies department and the Center for the Study of the American South.
We were thrilled to see our colleague, collaborator, and constant source of inspiration Dr. William R. Ferris honored with two Grammy awards at yesterday’s ceremony for the box set Voices of Mississippi: Artists and Musicians Documented by William Ferris. Ferris, along with compilation producers April Ledbetter and Lance Ledbetter of record label Dust-to-Digital and mastering engineer, Michael Graves, received Grammy recognition for “Best Historical Album” and Ferris, along with David Evans, also won for “Best Album Notes.” Materials for the box set come from the William R. Ferris Collection (20367) that is part of the Southern Folklife Collection at Wilson Special Collections Library here in the University Libraries at UNC Chapel Hill.
Over the past decade, archivists, audio engineers, photo technicians, students, researchers, and Bill Ferris himself have worked to arrange, describe, and digitize the more than 250,000 sound recordings, photographs, videos, films, papers, and ephemera that make up the William R. Ferris Collection. Thanks to the dedicated teams at Wilson Library and with support from the National Endowment for the Humanities and the Andrew W. Mellon Foundation, a few thousand of these sound recordings, videos, films, and photos are digitized and can be streamed or viewed in their entirety online. It’s exciting to think of listeners hearing a track on Voices of Mississippi and then be able to find that recording and many others in the William R. Ferris Collection (20367) finding aid. They may want to hear more of Lovey Williams, or to hear James “Son” Thomas playing in a juke joint, or Fannie Bell Chapman singing in her back yard
These examples are the smallest sample of the opportunities available to interested researchers and listeners and explorers of the rich cultural history and beautiful human artistry documented by Dr. Ferris. B. B. King recorded at home, extensive conversations with brilliant minds like Eudora Welty, Walker Evans, Alice Walker, tales told by Ray Lum and Victor Bob and many, many others are streaming online. There are also thousands of photographs digitized and searchable through the William R. Ferris Collection Digital Photographs.
It is exciting to see recognition for the work that Dr. Ferris dedicated his life to. It is also exciting to see recognition for the people of Mississippi who, in Bill’s words, “so courageously shared their stories.”
That list is long, but to start, thanks to Scott Dunbar, Lovey Williams, Walter Lee Hood, Tom Dumas, Mississippi Fred McDowell, Wash Heron, Wallace “Pine-Top” Johnson, Sonny Boy Watson, Mary Alice McGowan, The Southland Hummingbirds, Liddle Hines, Mary and Amanda Gordon, Reverend Isaac Thomas, Bobby Rush, Barry Hannah, Joe Cooper, Joe Skillet, Shelby “Poppa Jazz” Brown, Pete Seeger, Charles Seeger, Imamu Amiri Baraka, Victor Bobb, Cleanth Brooks, Fannie Bell Chapman, Edith Clark, Leon “Peck” Clark, Bill Clinton,
Hillary Rodham Clinton, Willie Dixon, John Dollard, Louis Dotson, Walker Evans, Marcie Cohen Ferris, Shelby Foote, Ernest J. Gaines, Allen Ginsberg, Theora Hamblett,Bessie Jones, B.B. King, Alan Lomax, Ray Lum, Arthur Miller, Ethel Wright Mohamed, Ola Belle Reed, Harry Smith, James “Son” Thomas, Othar Turner, Alice Walker, Pecolia Warner, Robert Penn Warren, Eudora Welty, and members of the Rose Hill Baptist Church in Vicksburg, Miss.
Our sincerest thanks and gratitude to all of these individuals and many more unnamed, for their willingness to share parts of their lives with Dr. Ferris and then with all of us. But once more, many congratulations to our friend Bill Ferris and his fellow award winners Lance, April, Michael, and David. We can’t wait to hear what stories you will turn up next.
This past weekend, friend of the Southern Folklife Collection (and to all of Chapel Hill/Carrboro/humanity) Bill Smith worked his last official shift as executive chef of Crook’s Corner restaurant. It is impossible to quantify the amount of joy and happiness that Bill has brought to so many people over the last five decades as a chef, former co-owner of the Cat’s Cradle, community leader, and friend. In honor of his illustrious career, we pulled a few special items from the Bill Smith T-Shirt Collection (20498). These well-loved, and well-worn, t-shirts were collected by Smith over the years, attending shows after shifts at Crook’s. In honor of Smith’s stature in our community, we have chosen shirts representing local bands including; Johnny Quest, Shiny Beast, Spatula, Erectus Monotone, and the Merge Records 10th anniversary shirt. We can only imagine what delicious things Smith was cooking up while wearing these in the kitchen. Perhaps those stains on the Erectus Monotone shirt below could come from one of his signature dishes Atlantic Beach Pie? Shrimp and Grits? Green Tabasco chicken? We can’t wait to see what Smith get’s into next. From all of us: thank you, Bill Smith.
Nashville really likes holiday records it seems. The collage above is just a few from the Southern Folklife Collection LPs. We’ve got a few more treats to share over the next few days, but for now, a bit of “A Christmas To Remember” from FC-15906, Kenny Roger and Dolly Parton’s classic Once Upon a Christmas released on RCA in 1984. If you can determine what is happening in the top left image below, please let us know.
We love all of our sound recordings at the Southern Folklife Collection, and of course we especially love our 12″ LPs. Library staff are always working to make more of our records discoverable in the UNC Libraries online catalog, but first we need to sort through new accessions and do some inspection and quality control to get them ready for our Wilson Special Collections Library Technical Services team.
Through this process, we began to notice several “first records.” These albums, the first full-length releases by independent record labels, were fascinating and downright good listens in their own right. Collectively, however, they offer a valuable point of entry into the overwhelming catalogs of the many labels in the archive. The SFC holds a growing collection of tens of thousands LPs, spread across far too many labels to list here. Some of these labels are familiar, from early giants like Columbia and Victor, to folk music mainstays like Folkways. Still others are virtually unknown, like the often short-lived local, one-artist, or one-album ventures that appeared from time to time. For the most part, the labels presented here exist in a middle ground between these two extremes, releasing what could be broadly defined as vernacular music from a variety of traditions (folk music, blues, cajun music, zydeco, bluegrass, country, conjunto, etc.).
From off-shoots of non-profits to international operations, these labels and their founders were united by a common goal: to share the music they felt passionately about with as many people as possible. In some cases, recording the specific musicians on these first albums was the primary motivation for a label’s founding. Many of these labels are still releasing music, while others folded after only a few releases. Still others formed sub-labels, or were bought by or merged with like-minded collaborators, forming a sort of tangled family tree. The aim of this series is to provide a starting point for research, adding context to these recordings, the artists, the music, and the labels that formed with their release. Most of all, we hope you enjoy the music.
The first installment of “First Impressions”: Arhoolie publishes tomorrow, Thursday, November 15. We’ll put up a new post in the series every couple of weeks. Follow along here.
UNESCO, in cooperation with the Co-ordinating Council of Audiovisual Archives Associations (CCAAA) and other partners, has adopted 27 October as the World Day for Audiovisual Heritage to better focus global attention on the significance of AV documents and to draw attention to the need to safeguard them. The theme for this year’s celebration is “Your Story is Moving” described in a statement from the CCAAA Board.
Every year millions of people record stories of all varieties on audiovisual media, ranging from narratives of everyday life to historic events. These moments are chronicled and stored each day on multiple formats and media, whether they are digital or analogue. How do we ensure that this ever-growing corpus that is our cultural history today is preserved and exists in the future? And how do we guarantee that this rapidly accumulating, collective moving story of ours is not lost, as much of our history on these fragile media has been over the past 150 years?
Reliably, thousands of archivists, librarians and preservationists around the world strive to make our world’s cultural heritage accessible and safeguard it for the future. In addition to their daily efforts to provide access to historic collections housed in established archives, archivists actively rescue collections in danger of loss or destruction due to poor climates, less than ideal storage conditions, political unrest or the economic challenges that many countries are confronted with daily.
…stories move us emotionally. We see this every year on Home Movie Day, an event that provides a moment for publics around the world to bring their visual cultural heritage to archives and libraries, to view, sometimes for the first time in decades. As they see lost family members, loved ones and ancestors long gone come to life on the screen, tears flow, emotions are high, and these moments of our captured history transport us to new heights as our histories unfold before our eyes. History too comes to life through the power of the moving image and in sound recordings which connect us personally with those events and moments in time which have shaped our memories and who we are.
Thanks to a series of generous grants from the Andrew W. Mellon Foundation, the National Endowment for the Humanities, and the Grammy Foundation, the Southern Folklife Collection (SFC) has been able to complete a significant amount of digitization of its historic analog audiovisual holdings,
Most recently, UNC University Libraries received a $1.75 Million Grant from The Andrew W. Mellon Foundation, the largest ever made to the University Libraries, to allow the SFC to continue to preserve, digitize and share unique audio and moving image recordings. Collections targeted through the grant will come from the SFC and other curatorial departments within Wilson Special Collections Library, as well as six partner institutions across the state. The regional partnerships will take place through the North Carolina Digital Heritage Center, a statewide digitization and publishing program based at Wilson Library. The State Archives of North Carolina, the Southern Appalachian Archives at Mars Hill University and the Forest History Society in Durham have already committed to work with the SFC.
In honor of the 2018 World Day for Audiovisual Heritage, we wanted to highlight some of the recordings recently digitized as part of one of our current projects. These selections are just a few from materials that have moved through this workflow in the last few month. As of Friday,. October 26, thanks to the work of our incredible Mellon Project Team, Wilson Library has 29,857 streaming AV files made from 23,322 preserved audio recordings, and 1,191 preserved video and film items.
Click through the links below to listen or to view to streaming AV files.
Raw field recording used as source material for “North Carolina Traditions: Algia Mae Hinton: Blues Woman of Zebulon” (FT-20106/3413)
The North Carolina Foklife Media Project Collection (20106) consists of radio programs and associated field recordings, 1982-1983, produced by the North Carolina Folklife Media Project, a National Endowment for the Arts funded media project directed by folklorist Cecelia (Cece) Conway. As project director, Conway headed the production of North Carolina Traditions, an 8-part radio series featuring North Carolina based musicians that aired on WUNC, the flagship National Public Radio station for the Research Triangle area of North Carolina. The collection primarily consists of master recordings but also includes associated field recordings. Programs feature such artists as Etta Baker, a nationally-recognized African-American Piedmont blues guitarist from Caldwell County, N.C.; traditional Anglo-American fiddler Ike Rochelle, singer and accordion player Worth Mason, and fiddler Otha Willard, all from the coastal region of N.C.; Dorsey Dixon (1897-1968), Anglo-American singer and composer of textile and other songs from Richmond County; African-American gospel quartet the Golden Echoes of Granville County; Big Boy Henry (1921- ), African-American blues guitarist and singer from Beaufort County; Algia Mae Hinton (1929- ), African-American blues singer and guitarist and buck dancer from Johnston County; and John (“Frail”) Joines (1914- ), Anglo-American traditional storyteller from Brushy Mountain, Wilkes County.
Digitized version of F-20402/1 with added title cards and countdown. Digital Folder includes original DVD files and an access copy.
Processing information: The digital files were extracted from DVD-R. Original DVD files are dated October 2005. An access .mp4 file was made from the DVD files in August 2018 for viewing purposes.
The twenty-five minute film, titled A. R. Cole, Potter, documents the artistic practice and pottery shop of Arthur Ray “A. R.” Cole, whose family has worked in the ceramic arts for more than three generations. The film is shot entirely at A. R. Cole’s pottery shop in Sanford, N.C. (Lee County, N.C.), and includes footage of A. R. Cole grinding clay and throwing a pot on the wheel, as well as scenes of A. R. Cole’s daughters, Celia and Neolia, storing and preparing pottery orders. The non-synchronous soundtrack of the film consists of audiotaped interviews with A. R. Cole and his daughters, who discuss the family’s long history with the ceramic arts, A. R. Cole’s use of natural, or raw materials, and the evolving business of the pottery shop. The collection contains a 16mm moving image print of the film, as well as a digitized version with added title cards and countdown.
From the Archie Green Papers (20002), Sarah Ogan Gunning “goes through a series of songs for potential educational use,” singing and speaking with Green at a union meeting at Solidarity House in 1964, possibly in Chicago.
The Archie Green Papers also include correspondence, interviews, a discography, research notes, and other items relating to Green’s involvement in three performance events in Gunning’s life between 1964 and 1970. These include the production of a Folk-Legacy album, Girl of Constant Sorrow; Gunning’s performance at Carnegie Hall as part of the New York Folk Festival; and her appearance at the Newport Folk Festival. In his work with Gunning, Green collaborated to some extent with folklorist Ellen Stekert. Gunning was the half-sister of Aunt Molly Jackson and sister of Jim Garland.
An extensive interview with Riddles, a blues guitarist from Kingsport, Tenn. About his own music and his relationship with older blues musicians and early country performers in the Kingsport area during the 1930s.
The Kip Lornell Collection consists of audio recordings, 1932-1976, created and compiled by ethnomusicologist, Christopher “Kip” Lornell, while he was a graduate student of Folklore at the University of North Carolina at Chapel Hill. The recordings are primarily field tapes featuring performances and interviews with African American blues and pre-blues secular musicians from North Carolina. Music performed includes blues, old-time songs and tunes, boogie-woogie, and gospel songs, played on banjo, guitar, and piano. Performers featured in the field recordings include Jamie Alston, Wilbert Atwater, Pernell Charity, George Letlow, Arthur Lyons, Lesley Riddle, Dink Roberts, John Snipes, Leo Strowd, Joe Thompson (1918- ), Odell Thompson (1911- ), Willy Trice (1910-1976), and Clarence Tross (1884-1977). Also included in the collection are an interview with Guy B. Johnson, University of North Carolina at Chapel Hill sociologist who studied African American musical traditions; interviews with the Chapel Hillbillies, an African American string band in the 1920s and 1930s; a lecture on folk medicine by Wilbert C. Jordan, medical doctor and sixth generation voodoo priest; a re-recording of Primitive Baptist singing by Elder Golden Harris and others, ca. 1932; and performances by Anglo-American fiddler and hammered dulcimer player Virgil Craven (1902-1980).
And one last item from the Apollo Records Collection (20539). The Apollo Records Collection consists of 16″ master lacquer disc audio recordings, 1943-1958, affiliated with Apollo Records, a record company and label founded in New York City in 1944. Bess Berman, one of the few women executives in the recording industry, ran Apollo Records from 1948 until it closed in 1962. The company and label was known for their rhythm and blues, doo-wop, gospel, jazz, and rock and roll releases. Notable artists featured on the recordings found in the collection include jazz saxophonist and composer, Charlie Barnet; African American comedian and film actor, Stepin Fetchit; African American male vocal group, The Four Vagabonds; African American gospel singer, Georgia Peach; African American male vocal group, The Larks; female vocal group, The Murphy Sisters; country and western singer, Merle Travis; harmonica instrumentalists, The Three Harpers; and African American blues singer and guitarist, Josh White. The collection also includes scattered memos and tape logs found with the lacquer disc recordings. Conservators recently cleaned a number of discs for preservation and digitization, including this recording of the great pianist Ralph Font with his ensemble doing a wonderfully rhythmic version of “Habanera” from the opera “Carmen”
These clips offer but a glimpse into the Southern Folklife Collection’s preservation efforts. The public is encouraged to explore our finding aids for detailed inventories and description of archival collections and the UNC Libraries online catalog for materials of interest and request that they be preserved and made available for research. Feel free to contact the SFC with any comments or questions at firstname.lastname@example.org. While you explore the content shared above, we hope think about institutions like the Southern Folklife Collection, Wilson Special Collections Library, the Library of Congress, and countless other archives and institutions that are working to preserve our aural and visual history in communities around the world.
The Southern Folklife Collection is honored to hold a number of collections of individual poster artists including the Ron Liberti Collection (20398), Casey Burns Collection (20415), Jason Lonon Poster Collection (20451), Matt Hart Poster Collection (20457), Steve Oliva Collection (20506), Skillet Gilmore Poster Collection (20468), Clark Blomquist Collection (20465), as well as the work of many other artists represented across the collections, like that of Micael Priest whose work can be found in Folders 3218-3240 in the Archie Green Papers (20002). Priest died yesterday at the age of 66.
Artist Micael Priest moved to Austin, Texas in 1969 and quickly became an active participant in the city’s growing counterculture. As a member of the famed music venue Armadillo World Headquarters’ Art Squad from 1972-1980, he created hundreds of iconic images that document the people, places, and activities of the music scene in the form of posters advertising upcoming shows, AWHQ calendars, advertisements, and record covers. With an instantly recognizable visual style, Priest’s posters distill the spirit of a community and, along with the work of his fellow AWHQ crew Jim Franklin and Kerry Awn, imbues such a strong sense of place that it serves as a simulacrum of an Austin that blurs the real and the remembered until the boundaries seem to disappear.
Folklorist Archie Green recognized the power of Priest’s work while teaching at UT Austin in the mid-1970s. Always an ethnographer, Green collected a number of posters, clippings, recordings and more documenting the “cosmic cowboy” scene at the Armadillo and around the city. In memory of Micael Priest we wanted to share a couple of these.
Below is the now famous poster for Willie Nelson’s first show at the club, August 12, 1972, arguably one of the most significant performances in Nelson’s career that marked his turn away from Nashville and toward his own unique sound. Above is one of my personal favorites featuring Alvin Crow and the Original Texas Playboys at the Broken Spoke. I had the fortune of growing up not 1/2 mile from the Broken Spoke, and despite the best efforts of “New Austin,” I am very glad to report that it’s still there, still honky-tonkin, and the Shiner beer is still cold. Priest’s note handwritten on the bottom of the poster is a prescient comment on the importance of his work and of all poster artists in the historical record. A comment that celebrates the general sense of wonder those cosmic cowboys and post-hippie hipsters must have felt to be able to attend shows like this on a regular basis — singular moments in music history that transcended the commercial drive of the social scene.
“We seen it right here didn’t we?”
Go on easy, Micael Priest.
There is not much information about the Grapevine Coon Hunters, a stringband out of Grapevine, Texas that operated in the late 1920s and early 1930s. A research request put us onto a 78 rpm disc released on the Brunswick label in 1932. The disc includes two recordings from a November 1930 recording session in Dallas, Texas, including the mysteriously named “Droan Waltz”
In folder 457 of the Guthrie T. Meade Collection (20246) we found some handwritten notes about the Grapevine Coon Hunters and another related stringband, The Grapevine Rabbit Twisters. Meade’s notes are citations from local newspapers, The Grapevine Sun and Dallas Morning News, about upcoming radio broadcast appearances and the songs performed on the air. If any readers out there have more information about the Grapevine stringband scene ca. 1930, or if you want to do more research into the Meade Collection, please contact the Southern Folklife Collection or visit at Wilson Library.
Peace to the Queen of Soul, may she rest in power. The love she brought to this world will forever be a spirit in the dark for so many. We had an emotional listening session in the studio this morning, sharing some of our favorite tracks from LPs in the Southern Folklife Collection. We started with one of her early recordings from 1962, a selection of spirituals released on Battle records that also featured singer Sammie Bryant and Franklin’s father, Rev. C. L. Franklin. Listen to her intro to “Precious Lord, Part 2” here:
With a voice that resonated with sounds from the past and into future of American music, she used her gifts to lift people up. Her voice commanded attention, and she used it to communicate a call to freedom rooted in feminism and the remarkable power of her being. When Franklin sang a song, she made it her own, whether it’s Otis Redding’s “Respect” or Nina Simone’s “Young Gifted and Black” from the 1972 album of the same name. Listen to a clip here:
It’s “Spirit in the Dark,” one of Franklin’s original compositions that we turn to again and again. In the Jerry Wexler Collection (20393) there are some photocopies of Franklin’s session notes for mixing the 1970 album of the same name. We loved reading her concise notes clearly directing the session according to her artistic vision-“Up the bass in spots, some turn arounds! Tambourines on fast part…” We wrapped the session with her live recording of the song from her 1971 album Live at Fillmore West. Looking at the gatefold image from the LP, we can only imagine what that night must have been like. Going to return to this one again and again as we remember the one and only Queen of Soul.