First Impressions: Arhoolie Records

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title banner, Arhoolie Records, El Cerrito, California, 1960 to 2016

First Impressions is an ongoing series on the “first records” of several independent record labels releasing folk, blues, bluegrass, country, and other vernacular musics. Drawing from records and other materials in the Southern Folklife Collection, the focus of this virtual exhibition is on the albums that started it all for these labels in the LP era.

THE ALBUM

Album cover of Mance Lipscomb's Texas Sharecropper and Songster, features black and white photo of Mance playing guitar

Mance Lipscomb, Texas Sharecropper and Songster | FC-457

center LP label, Mance Lipscomb, featuring Arhoolie Reccords logo and track listing

In 1959, Chris Strachwitz, a high school teacher living in California, set out for Texas hoping to meet and record one of his heroes, Lightnin’ Hopkins. Unable to find him, he resolved to return the next year, this time with a longer list of musicians to find and record. He had been buying and selling old 78 rpm records for several years, providing him with a little extra cash to buy some basic recording equipment. In 1960, with Mack McCormick’s help and a few tips from people along the way, he managed to meet Mance Lipscomb at his Navasota home. Texas Sharecropper and Songster is the product of recordings made that day, with the 65-year-old singing 14 songs he had picked up over a lifetime of playing music for friends, family, and both white and African-American dances. This impromptu session was Lipscomb’s first recording, and Strachwitz was initially unimpressed: “To be honest, I didn’t like his music that much – I love tough, nasty, old blues, and Mance was so pretty” (Goodwin, 1981). Of course, as Mance’s music elevated Arhoolie Records to a full-time venture, it must have grown on him: Lipscomb recorded 5 more albums for the label before his passing in 1976.

Listen to “Shake, Shake, Mama” from Side 2 of Texas Sharecropper and Songster:

The label

covers of three Arhoolie Records catalogs, featuring album covers

Assorted Arhoolie Records catalogs from the SFC Discographical Files (30014), Folders 59-61.

Arhoolie Records takes its name from a word for a field holler, more often referred to as a “hoolie.” Chris Strachwitz founded the label in 1960, ultimately establishing its headquarters in El Cerrito, California. Arhoolie primarily released original recordings of living musicians, whereas two of Strachwitz’s later ventures, Blues Classics and Old Timey Records, were devoted to reissues of older recordings. Chris Strachwitz remained at the helm for the label’s lifetime, continuing to record and release all varieties of music, and leading the transition into the CD and digital realms. In May of 2016, Smithsonian Folkways acquired the Arhoolie catalog, and Texas Sharecropper and Songster was one of the first batch of albums re-released by the new label owners.

The Founder

The founding of Arhoolie Records marked Chris Strachwitz’s first big step into the world of traditional music, but the label will be far from his only legacy. After moving to the United States from Germany in 1947, Strachwitz could hardly seem to stay away from the music. His passion for collecting 78s evolved into the Arhoolie Foundation, a nonprofit devoted to preserving and sharing his extensive collection. He started the Old Timey and Blues Classics labels soon after founding Arhoolie to release out-of-print recordings of blues and old-time musicians. Through Arhoolie, he published the Arhoolie Occasional and The Lightning Express, periodicals devoted to spreading information about blues music and recordings. Through a long-time friendship with documentary filmmaker Les Blank, he supported the production of documentaries on Arhoolie musicians like Mance Lipscomb and Lightnin’ Hopkins. Below is a segment from a 1981 interview by Strachwitz with Moses Asch, founder of Folkways Recordings, from the Archie Green Collection (20002).

Chris Strachwitz (CS): I’d like to get some of this on tape about your feelings in regard to reissuing old material or, that is, recordings that are really historical that have not been used by the major labels. You were certainly one of the first people to take a stand on this, weren’t you?

Moses Asch (MA): That’s right.

CS: What’s your attitude on this?

MA: Well, there’s a section in the Constitution of the United States, in which it says, “People have a right to know.” It’s part of the copyright, first copyright law of the land. And in there it says that no one is permitted, if they want the people to benefit, to take something out of circulation. If you buy a car, the manufacturer must have a replacement part as long as the car is operational. Otherwise, they lose all rights to the car. And I apply that same attitude to recordings. Once I feel that the manufacturer or the producer or the one that had the recordings originally issued the record, and then the record is not available, and it’s left out of their catalog, they throw that record into public domain and anyone can use it.

Listen to the full interview here. Digitization and streaming access to this recording were made possible through the SFC’s ongoing audiovisual preservation grant from the Andrew W. Mellon Foundation:

SFC Audio Cassette FS-20002/11183 (digitized)

Tape 28: Chris Strachwitz interviews Moses Asch, 1981

Audiocassette

The local connection

Album cover, Elizabeth Cotten's Live!, features close-up color photo of Cotten's face

Elizabeth Cotten, Live! | FC-17741

Elizabeth Cotten was born in Chapel Hill in 1893, the youngest of five children. After moving around the Southeast for many years, she settled as an adult in the Washington, D.C. area. Eventually, she came to work for the Seeger family of musicians, who, after hearing her play, helped expose her unique performance and songwriting abilities to the world. Most famous for her composition “Freight Train,” Cotten released just four solo albums in her lifetime: a series of three LPs for Folkways and Live!, a 1983 collection of live performances on Arhoolie Records.

Show me more!

The Southern Folklife Collection holds plenty of additional Arhoolie Records-related documentation, as well as a significant portion of the Arhoolie Records catalog on LP and other formats. Check out a few other documents and collections of interest below or search the collection yourself.

same black and white photo of Mance Lipscomb from album cover, holding guitar

Promotional photo from the release of Texas Sharecropper and Songster, from the John Edwards Memorial Foundation Records (20001).

Cover of the Lightning Express, no. 3 (1976). 0versize Paper OP-20245/16 in the Goldband Recording Corporation Collection (20245), with photographs of Clifton Chenier with accordion, Charlie Musselwhite with harmonica, and Narciso Martinex with accordion and group. Also features illustrations of traditional music genres illustrated by R. Crumb including: Blues, Tex-Mex, Jazz, Cajun, Novelty, Gospel, Polka, Folk

Lightning Express, no. 3 (1976). 0versize Paper OP-20245/16 in the Goldband Recording Corporation Collection (20245)

Cover of Arhoolie Occasional with photos of Lightning Hopkins, Mance Lipscomp, Clifton Chenier, Narciso Martinez, and others

Arhoolie Occational, no. 1 (1971). 0versize Paper OP-20245/16 in the Goldband Recording Corporation Collection (20245)

Front page of Arhoolie Occasional with articles about making Arhoolie LPs, Dr. Harry Oster's Folklyric Label

Arhoolie Occational, front page, no. 1 (1971). 0versize Paper OP-20245/16 in the Goldband Recording Corporation Collection (20245)

1975 American Traditional Old-time Music Festival

cover of festival brochure, with illustration of a scarecrow holding a banjosecond page of festival brochure, describing the scope and intent of the festivalThe American Traditional Old-time Music Festival was a touring festival of old-time musicians directed by Mike Seeger in 1975-76. This brochure, Folder 2877 in the D.K. Wilgus Papers (20003), is from the April 17, 1975 stop at UCLA. Song and interview recordings from throughout the tour can be found in the Mike Seeger Collection (20009), most of which are digitized: FS-20009/9655-9662,9688-9696. Here is one to get you started: Dennis McGee and Sady Courville, April 20, 1975 (FS-20009/9693).
third and fourth pages of festival brochure, providing brief biographies for the artists to appearthe last two pages of the festival brochure, detailing other bicentennial events at UCLA; acknowledgments

“We seen it right here didn’t we?”: Austin through the art of Micael Priest

concert poster with illustration of the dancehall Broken Spoke with tour buses for Alvin Crow and the Texas Playboys parked out front and an oversize fiddle in between. 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.

Concert poster for Willie Nelson, August 12, 1972, a cowboy cries into his beer while a jukebox in the background plays Nelson's hit song "Hello Walls" Willie Nelson AWHQ concert poster by Micael Priest, Archie Green Papers (20002)

Cousin Emmy: Looking for a Name

CD Cover, Carolina Chocolate Drops seated with instruments, sepia-toned to appear oldLast year, while writing a final research paper on the Carolina Chocolate Drops’ wonderful 2012 album, Leaving Eden, I encountered the music of the late hillbilly performer Cousin Emmy. The Carolina Chocolate Drops had covered her single “Ruby” for the album, notably adding a beat boxer for their arrangement. I loved the song, and the difficulty of finding anything beyond variations on the same basic biography of Emmy was intriguing. Besides wondering how her actual childhood and life compared to the brief anecdotes I found mentioned constantly, I came upon a more simple question: what was her real name?

In theory, the answer was as simple as the question: several credible sources mentioned Cynthia May Carver as Cousin Emmy’s real name. However, the 1946 Decca single that featured “Ruby” credited the songwriter as one “Joy May Creasy.” When the Osborne Brothers had their first hit on MGM Records in 1956 with their rendition of “Ruby Are You Mad,” the song was simply credited to Cousin Emmy, suggesting that Joy May Creasy and Cousin Emmy were one and the same. This seemed to be further confirmed by an oft-cited 1943 Time magazine profile that claims Cousin Emmy was christened Joy May Creasy outside Lamb, Kentucky. After searching pictures of gravestones, countless liner note mentions, copyright renewals, and census records, I had found many more instances of both names, including some minor variations (Mae instead of May, Jo rather than Joy, etc.). I felt that I could safely conclude that both these names held some truth, and the variation in reporting was probably due to a failed (and unmentioned) marriage, the use of pet names, and/or some other unknown factor.

Record label, Cousin Emmy's song "Ruby," Decca Records; LP Cover, Osborne Brothers sitting with instruments, stylized writing of Ruby

This summer, I was fortunate to begin working here in the Southern Folklife Collection, where I have been exposed to a wealth of information on early hillbilly performers like Cousin Emmy. As I pulled items for researcher questions and digitization, I began to revisit Cousin Emmy and to try to add some more context to her story. I settled on a simple goal: find a resource that mentioned both Joy May Creasy and Cynthia May Carver, or at least something that explained the difference.

In the SFC Song Folio Collection (30006), I found Chimney Corner Songs, FL-0137, which offered an interesting biography of Cousin Emmy and her fellow performers. Although it did not specifically mention her real name or a marriage, it led me to two different, illustrative sources in the Special Collections and Archives at Berea College. First, I searched a similar songbook collection and found a songbook that includes a biography for Johnny Creasy, the announcer on Cousin Emmy’s show, that also mentions his attraction to Cousin Emmy. Chimney Corner Songs was published and largely credited to John Lair, whose papers and correspondence are held at Berea. In that correspondence is a 1941 letter from Cousin Emmy, in which she champions herself and her husband, an announcer: “My husband is a very good announcer. We both work nice together.”

Song folio cover, drawing of fireplace and photos of Cousin Emmy and Frankie MooreBlack and white photograph of cousin emmy

So, Cousin Emmy was born Cynthia May Carver outside Lamb, Kentucky. At least at some point, she also went by Joy. She was married to a Johnny Creasy (whose first name might have been Alfred) for some time, despite many claims, including in the Time article, that she had never married.

Of course, I also found a scribbled note card in the SFC Artist Name File (30005) for Cousin Emmy, NF-538, that states “Cousin Emmy was married to Joe Fred White before she was in radio (He’s in Florida).” In the Entertainment Industry Magazine Archive, an online database, I found a small blurb in a 1949 issue of Variety magazine:

“St. L.’s ‘Cousin Emmy’ Divorced

St. Louis, June 14

Elmer Schaller, farmer living at Lenzburg, Ill., near here, last week won an uncontested divorce from his wife, who has been the “Cousin Emmy” of KMOX’s early a.m. hillbilly program. Couple was married April, 1945, and separated March, 1948. Mrs. Schaller has been a radio entertainer for seven years.”

handwritten notes on Cousin Emmy

Cousin Emmy’s on-stage persona and biographical information were constantly being tailored to her audience, from hillbilly music on the radio to the folk revival with Alan Lomax in the 1940s and the New Lost City Ramblers in the 1960s. Separating all the details of her life from the stories spinning all around her would surely be an impossible task, but I plan on putting on “Ruby” and digging around a little more.two posters, one featuring Cousin Emmy and other performers, the other is the Cousin Emmy Show

78 of the week: “Droan Waltz”

Labels for 78 rpm disc, Grapevine Coon Hunters. "Droan Waltz" and "The Grapevine Waltz", Brunswick Recording Co. GrThere 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”

Close up on text from Page 839 from "Country Music Sources" a discography of commercially recorded traditional music, entry 77. Droan WaltzWe checked Country Music Sources: A Biblio-Discography of Commercially Recorded Traditional Music by Gus Meade, Douglas Meade, and Dick Spottswood for other recordings, but only came up with this single disc. The recording on the opposite side is “Grapevine Waltz” but the label interestingly includes a Spanish title as well, “El Vals de la Vida.”

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. handwritten notes on yellow legal paper, citations from newspapers that included Grapevine Coon Hunters and Grapevine Rabbit Twisters

Now Available for Research: Duck Kee Studio Collection

A selection of audio recordings found in the Duck Kee Studio Collection (20553) at the SFC. Recordings are pictured in the vault at Wilson Library.

A selection of audio recordings found in the Duck Kee Studio Collection (20553) at the SFC.

This week we published a new finding aid for the Duck Kee Studio Collection (20553), which contains multi-track and mixdown studio master tapes of Triangle favorites recorded at Duck Kee Studio from 1984-2009. Recordings are on 2″ open reel, 1/2″ open reel, and ADAT analog formats.

Duck Kee Studio was founded by musician and recording engineer, Jerry Kee (Dish, Regina Hexaphone, Cat Toy), who began recording local bands out of a house in Raleigh in the late 1980’s. In 1995, Kee relocated the studio to Mebane, N.C., its eighth location.

The studio has close ties to the Triangle’s indie rock music scene, recording early work by Archers of Loaf, Tift Merritt, Pipe, Polvo, and Superchunk, among others. Kee has historically relied on analog recording equipment, including a 4-track and later a 24-track tape machine.

In January 2018, Duck Kee Studio no. 8 was tragically damaged in a fire. Kee recently talked with WUNC’s “Songs We Love” podcast about the fire, which destroyed his recording equipment and severely damaged open reel tapes stored at the studio.

Thankfully Kee donated a large batch of master tapes (about 175 in total) to the Southern Folklife Collection before the studio fire. These tapes are featured in the newly published finding aid and include recordings by local acts, like Cobra Kahn, Dish, Eyes to Space, Jennyanykind, Malt Swagger, Picasso Trigger, Portastatic, Queen Sarah Saturday, Regina Hexaphone, Schooner, and Superchunk.

The back of an open reel tape box featuring a handwritten track listing of songs by Tift Merritt and the Carbines.

A 1/2″ open reel tape (FT-20553/34) featuring early recordings of Tift Merritt and her band, The Carbines.

The collection also includes an early recording of Tift Merritt with her full band, dubbed The Carbines, which included Margaret White on fiddle, Christopher Thurston on bass, Greg Readling on keyboard and pedal steel, and Zeke Hutchins on drums. Above is an image of their fall 1998 recording that resulted in a self-released 7-inch single featuring “Juke Joint Girl” and “Cowboy” (1999, Oil Rig Music).

Duck Kee Collection materials are available for research on-site at Wilson Special Collections Library. The collection is a nice addition to the SFC and its growing collection of materials related to the Triangle’s independent music scene (Ron Liberti Collection, Merge Records Collection, Tift Merritt Collection, and Craig Zearfoss Collection, to name a few).

Remember those fire damaged tapes I mentioned earlier? About 170 of them arrived at SFC this past spring via Jerry Kee. We are currently assessing the tapes conditions and crafting a plan of attack to help preserve and provide access to the them. Stay tuned. Sending lots of positive thoughts and energy Jerry Kee’s way. We are hopeful that most of the damaged tapes can be salvaged.

And last but not least, shout-out to our graduate research assistant, Rae Hoyle, who helped process the Duck Kee Studio Collection – thank you, Rae!

Latest video roundup: From Tennessee to Hawaii

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As the AV Preservation team waits on the next large batch of digitized video content (check-in later this summer!), a small selection of videos has been described and made available for streaming in the last week, including:

VT-20004/1: 5th Annual Tennessee Grassroots Days
Held in Nashville’s Centennial Park in 1980, this video features performances by Leola Cullum, Gospel Stirrers, Bud Garrett, Lizzie Cheatham, Nimrod Workman, Jo-El Sonnier with Frazier Moss, Sam’s Ramblers, and Hazel Dickens. Also included are shots of the festival grounds, with demos spanning quilt-making to beekeeping.

Additional footage, PSAs and television coverage of annual Grassroots Days through the 80s can be found in the Southern Folk Cultural Revival Project Collection (#20004)

 

VT-20466/5: James “Son Ford” Thomas at Bacchus, Newark, Del., winter 1978

I highlighted a different James “Son Ford” Thomas video in the Robert Bethke Collection (#20466) in a previous post, in which he performed with George Thorogood and Ron Smith. Primarily playing solo, but joined by Ron Smith eventually, this performance takes place at the University of Delaware’s Bacchus Theater.

 

VT-20018/1 & VT-20018/2: Walter Raleigh Babson at UNC Chapel Hill with Andy Cahan, 1987
Walter Raleigh Babson performed twice at Chapel Hill in 1987, including his last public concert with Andy Cahan on November 12th (VT-20018/2), 26 days before passing away. Along with the performance, this tape includes a retrospective of Babson’s life through home movies and photographs.

 

Babson gracefully executes advanced yoga pose in home movie, undated (VT-20018/2)

VT-20018/1 documents Babson’s performance earlier in 1987 at Gerrard Hall on March 28th for the Southern Accents Fine Arts Festival at UNC, where he is again joined by Andy Cahan. Additional audio recordings and interviews of Babson can be accessed in the Andy Cahan Collection (#20018).

 

VT-20379/20 part 1 and part 2: Gene Bluestein with Nona Beamer on Folk Sources in American Culture, 1986

Gene Bluestein tries out the gourd rattle, with guidance from Nona Beamer

Gene Bluestein hosted a number of guests on his series Folk Sources in American Culture while at California State University. Many of these segments can be found in the Gene Bluestein collection (#20379). On this particular day, he hosted Nona Beamer, who shared examples of instruments and related Hawaiian folk traditions.

 

 

 

Martin Luther King, Jr. speaking from Birmingham, 1963

closeup of Martin Luther King, Jr. signature on Guy Carawan's banjo head Like many of you today, we remember Dr. Martin Luther King, Jr. and his legacy by turning to his own voice and words. In that spirit we’d like to share a clip of a speech Dr. King made to a group of organizers and activists at a Mass Meeting in Birmingham, Alabama, April 1963, digitized from open reel tape recording FT-20008/9832 in the Guy and Candie Carawan Collection (20008). He addresses the audience with seriousness and humor, inspiring them to continue to fight for the cause and lifting them up in solidarity before they all join together to sing “We Shall Overcome”. Listen to those clips here or read the transcription below:

Flyer for "Freedom Rally" with speaker Rev. Martin Luther King Jr. 20008_Folder17_FreedomRideFlyer_SFC006[Applause]

[Martin Luther King, Jr.]: Now what I’m saying to you we are in this together and they are scared to death they don’t know what to do but this demonstrates the power of numbers. Mr. Connor has hollered, I know he’s gonna be a hoarse tonight, he has hollered so loud and when we were leaving I said, “How you doing Mr Connor?”
[MLK mimicking Mr. Conner] “Arrrerrrarrrarr, How the hell you….!”
[laughter]
And so as we were driving out he looked at Billups and we were in the car, he said “You better get on back over that church and I hope you get there safe”
[Applause]
Yes but God bless you that’s all we want to say, “Don’t worry..” We’re gonna take care of everything and see that everybody’s treated alright. And I said this to Mr. Marshall, I said “Now, I want you to know this Mr. Marshall, they are not criminals.” And I said “It’s not our problem.”
And Mr. Marshall said, “Well you know the city’s had a real problem today with so many…”
And I said “Well that’s that your problem, not ours. When you arrest somebody it is the job of the city to see that they are housed, that they are fed this is the job of the city. These young people have been unjustly arrested for standing up for that right. Don’t you know it’s a sacred right to picket and to protest. People can march around the White House, 500 went to the White House yesterday nobody was arrested. And down here in Alabama we are put in jail because we will stand up for our rights.”
And we are going to let them know if they put us in jail they’re going to treat us right after we get there
[Applause]

[Speaking: Rev. Charles Billups]:

Now let us join hands and let us sing together, “We Shall Overcome”

[singing]
We shall overcome
We shall overcome
We shall overcome someday,
Oh deep in my heart
I do believe
We shall overcome someday.

You can hear the entire tape, as well as interviews and comments from participating student actives, streaming through the Southern Folklife Collections digital collections here: FT-20008/9832. Digitized recordings in the Guy and Candie Carawan Collection have been made accessible through streaming thanks to SFC’s ongoing audiovisual preservation grant from the Andrew W. Mellon Foundation.

The photo above is a closeup of Guy Carawan’s banjo head (pictured in full below), signed by Martin Luther King, Jr. as well as other leaders like Rosa Parks, Mahalia Jackson, Septima Clark, Fred Shuttlesworth and more. If you are interested in other archival materials related to Martin Luther King, Jr. you may want to read an article from today’s News and Observer, April 4, 2018, “Martin Luther King, Jr. and Chapel Hill’s Jim Crow Past,” by journalist Mike Ongle. The article based on research across the collections at Wilson Special Collections Library and details Martin Luther King’s visit to Chapel Hill and UNC Chapel Hill in May of 1960, including photos from the John Kenyon Chapman Papers (05441) .signatures and autographs of leaders in the Civil Rights Movement, including Martin Luther King, Jr., Mahalia Jackson, Rosa Parks, Fred Shuttlesworth and more on Guy Carawan's banjo head

 

Now Available for Research: Joan Moser Collection

newspaper clipping of Joan Moser holding a medicinal plant

Asheville Citizen-Times clipping found in Folder 2 of the Joan Moser Collection #20370

We recently published a finding aid for the Joan Moser Collection (20370), which contains the papers and audiovisual materials of the western North Carolina based folk musician and historian, Joan Moser. There’s a chance you may have heard of Joan’s father, Artus Moser, whose collection of papers also resides at the Southern Folklife Collection. Like her father, Joan studied and taught the music and folk traditions of Appalachia. She also played – guitar, banjo, lute, and dulcimer, to name a few.

Joan’s collection is made up mostly of open reel tapes that she compiled over the years. Thanks to SFC’s ongoing audiovisual preservation grant from the Andrew W. Mellon Foundation, the Joan Moser Collection is now available for research and her tapes have been queued up for digitization.

Many of the tapes found in her collection have close ties to the music and traditions of western North Carolina. Below is a visual sampling of these tapes, including live recordings from the Asheville Mountain Dance and Folk Festival and recordings made at the Moser family home in Swannanoa, N.C., located on Buckeye Cove in Buncombe County.

open reel tape box from Joan Moser Collection

“Asheville Mountain Dance and Folk Festival, 1st and 2nd nights, tape 1, Asheville, N.C., 8 August 1959” (FT-20370/1) A live recording from the 32nd annual Mountain Dance and Folk Festival in Asheville, NC. The festival was founded by musician and folk historian, Bascom Lamar Lunsford.

open reel from Joan Moser Collection

“J. J. Bailey and A. M. Moser, oral history continued, 5 July 1972” (FT-20370/3) An oral history conducted with Artus Moser and Jesse James Bailey. According to the Southern Highlands Research Center Oral History Collection at UNC-Asheville, “Bailey was born 14 June 1888 in Madison County, N.C. He was Sheriff of Madison County (1920-1922) and Buncombe County (1928-1930). For 58 years he worked as a telegrapher and then as a detective for the Southern Railroad.”

open reel tape box from Joan Moser Collection

“Pleaz Mobley at Artus Moser’s House, 7 August 1959” (FT-20370/17). In 1959 Joan Moser recorded the Kentucky born attorney, politician, and ballad singer, Pleaz Mobley, at the Moser family home. A note found on the recording reads, “Pleaz Mobley often stayed with Mosers when coming to Asheville Mountain Dance and Folk Festival.”

open reel tape box from Joan Moser Collection

“Party at Home with Ruth and Latrobe Carroll and children, 1960” (FT-20370/23) A home recording featuring the Asheville based children’s books illustrator, Ruth Crombie Robinson Carroll, with her husband and co-collaborator, “Archer” Latrobe Carroll.

open reel tape box from Joan Moser Collection

“Fiddle music 4: Mrs. Edd Presnell, Marcus Martin, August-September 1959” (FT-20370/42) Recordings featuring traditional musicians from western North Carolina, including Mrs. Edd Presnell on dulcimer and Marcus Martin of Macon County, N.C. on fiddle.

Documenting the origins of SNCC in the Guy and Candie Carawan Collection

The back of Guy Carawan singing to audience in auditorium at Shaw University, Durham, NC, 1960. Founding meetings of SNCC.

Our colleagues at Duke University are hosting a conference March 23-March 24 to honor the work of the Student Nonviolent Coordinating Committee and the creation of the SNCC Digital Gateway, a “documentary website tells the story of how young activists in SNCC united with local people in the Deep South to build a grassroots movement for change that empowered the Black community and transformed the nation.” [“About,” SNCC Digital Gateway]

In solidarity with the conference and the SNCC Legacy Project, we present these two images from the Guy and Candie Carawan Collection (20008).  The top image shows the back of Guy Carawan singing to the audience in an auditorium at Shaw University in Durham, April 1960. Brought together by the encouragement of SCLC Executive Director Ella Baker and Dr. Martin Luther King, Jr., the protest leaders founded SNCC at this meeting.

The image below shows the members of newly founded SNCC demonstrating the power of music and the movement at Fisk University. Guy Carawan is playing guitar, Candie Carawan is second from the left in the back row, and Congressman John Lewis is at the far right. These images serve as a powerful reminder that youth have been, and remain, at the forefront of activism advocating for social change.

Members of SNCC singing onstage at FIsk University, 1960, including Guy Carawan, Candie Carawan, and John Lewis, amongst others. PF20008_0058_0006_002. Guy and Candie Carawan Collection (20008).