How Polacolor film helped document Bob Dylan and Joan Baez in Raleigh

**Excited to share this Guest post by Visual materials Processing Archivist at Wilson Special Collections Library, Patrick Cullom**L to R: Bebo White in sport coat and tie, Joan Baez in blue blouse with flowers, and Bob Dylan in pinkish button down shirt with a scowl on his face

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. 

back side of polaroid photo mount with instructions on how to peel off photograph and attach it to the mount

Flipside of print mount signed by Dylan

This version of Polacolor film was relatively new to the market and allowed users 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.      

plain white card with Joan Baez autograph in cursive handwriting

Back of “print mount” print is mounted on (Baez signature & order for duplicate print—No negative)

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 object that both Baez and Dylan viewed, commented upon, and interacted with.  All of these aspects make it a one of a kind item 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 Permanence Institute) 

plain white card with Bob Dylan signature.

Dylan’s signature on “Polacolor print mount” (Not attached to image)

 

 

Documenting Gravel Springs, Mississippi, in the 1970s: Dr. Cheryl Thurber and Rising Star Fife and Drum

Othar Turner blowing fife at picnic 1973. Photographed by Cheryl Thurber.

One week from today, Monday February 25.

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.

Congratulations Bill Ferris! “Voices of Mississippi” box set wins two Grammys

Double Grammy award winning box set released by Dust-To-Digital in 2018. Produced from materials in the William R. Ferris Collection (20367).

photo by Marcie Cohen Ferris

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

SFC Audio Open Reel FT-20367/10256

(digitized)

Ferris Folklore Tapes: James “Son” Thomas, Shelby Brown. FFT 41-69-5/24

SFC Audio Open Reel FT-20367/11175

(digitized)

Lovey Williams blues

SFC Audio Open Reel FT-20367/9958

(digitized)

Fannie Bell Chapman: Singing in back yard, 10 August 1973. FCT 68-73-8/10

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.

Bill Ferris, Bruce Payne (WOKJ radio announcer), and Robert Slattery (sound technician) in the WOKJ radio station during the production of the film “Give My Poor Heart Ease.” In DJ booth of radio station. Bill Ferris on left holds a soda bottle. DJ seated is talking with Ferris.

Bill Ferris, Bruce Payne (WOKJ radio announcer), and Robert Slattery (sound technician) in the WOKJ radio station during the production of the film “Give My Poor Heart Ease.

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,

Eudora Welty on left in white sweater, Bill Ferris on right with sport coat. they are standing outside

Eudora Welty at her home on Pinehurst Place in Jackson, Mississippi, 1976. William R. Ferris Collection (20367)

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.

BB King lying on a couch asleep before a show

B. B. King in repose. Photo by William Ferris. William R. Ferris Collection (20367)

First Impressions: a virtual exhibit of “first records” from independent record labels in the Southern Folklife Collection

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.

 

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

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

 

Czech Bluegrass Residency – Banjo Romantika at UNC, February 8-10, 2018

We are very excited for next week’s Czech Bluegrass Residency – Banjo Romantika at UNC and Chapel Hill, February 8-10, 2018. See the complete schedule of events, including performances, film screening, and banjo workshop below.

Czech bluegrass might seem like a contradiction, but work by musician and ethnomusicologist Dr. Lee Bidgood and banjo virtuoso Richard Ciferský shows how this music that emerged from post-WWII America has come to flourish in the heart of Europe. Bidgood and Ciferský are bringing their research and music to UNC Chapel Hill for a special three-day residency.

The residency will feature a screening of Banjo Romantika, a feature length documentary film that Bidgood co-produced with filmmaker Shara Lange,at the Nelson Mandela Auditorium in the FedEx Global Education Center on UNC’s campus. Dr. Bidgood (East Tennessee State University) will discuss the film briefly at the screening.

Based on Bidgood’s fieldwork in the Czech Republic, the documentary explores the Czech musicians’ lives, connections to bluegrass, and understanding of their culture as they blend and reimagine a style imported from beyond the Iron Curtain in the 1950s and cultivate it as their own. Music in the film includes live concert and festival recordings, field recordings of jams and interviews, studio recordings. The film incorporates additional footage with Slovak banjo standout Richard Ciferský and faculty from the East Tennessee State University’s Bluegrass, Old Time, and Country Music Studies program including Dan Boner, Ed Snodderly, and contemporary mandolin master Adam Steffey.

A Chapel Hill native, Bidgood graduated from Chapel Hill High School then received a degree in viola performance at UNC Chapel Hill. While a student, he played mandolin with Steep Canyon Rangers during their early years. Bidgood traveled to the Czech Republic on a student Fulbright grant, and completed a PhD from the University of Virginia with a dissertation based on his fieldwork in the Czech Republic. Bidgood’s book, Czech Bluegrass: Notes from the Heart of Europe, was published in 2017 by University of Illinois Press. He also reaches audiences through his radio show on global country music, “Over the Waves,” that is broadcast on Bristol, VA station WBCM.

Richard Ciferský, born in Pezinok, Slovakia, brings a lifetime of musical experience that seems far greater than his age. He first encountered bluegrass through a scout troop. His first instrument was a guitar, but he soon switched to banjo and started playing in bands. Richard co-founded the Slovak Bluegrass Association (SkBMA) in 1999 and served as its president from 2000 to 2005. He has toured in Europe and the US and recorded with artists including The Chapmans, Dale Ann Bradley, and Becky Buller. Fluent in both traditional and progressive styles, his technique is dazzling, and his soulful expression runs deep.

In addition to events on campus, Bidgood and Ciferský will visit the Czech and Slovak School of North Carolina on Saturday morning to meet with adults and children who are renewing their language skills, or are working to make new connections through this language and its related cultures.

The Czech Bluegrass Residency with Dr. Bidgood and Mr. Ciferský is organized as part of UNC’s Bluegrass Initiative to integrate the study and performance of this music into the curriculum and artistic life of UNC. This residency will be a terrific opportunity to hear about their work and their music, and experience their playing live. Bidgood recognizes that a global awareness was one of the things he drew from his own undergraduate education at UNC, and he is eager to provide a new sense of the global dimensions of bluegrass to current students: “Gaining a global perspective is an important part of the college education experience, and considering Czech Bluegrass provides us with new insights on the processes, the problems and promise, of globalization.” It is also a chance to experience some fascinating music!

UNC Events – Banjo Romantika Residency

Thursday, February 8, 2018

12:30 p.m. Masterclass and Lecture with MUSC 144 Students, hosted by Dr. Jocelyn Neal, UNC Chapel Hill Hanes Auditorium

Friday, February 9, 2018

7:00 p.m. Banjo Romantika Band with Richard Cifersky perform at Vimala’s Curryblossom Cafe, 431 W Franklin St, Chapel Hill Free and open to the public.

Saturday, February 10, 2018

10:00 a.m. Visit to the Czech and Slovak School of North Carolina (contact: Marta McCabe: mccabe.marta@gmail.com)

2:00 p.m. Banjo Workshop with Richard Ciferský, UNC Chapel Hill, Person Recital Hall. Free and open to all banjo or bluegrass players.

4:00 p.m. Banjo Romantika, a film screening and Q&A with Dr. Bidgood, UNC Chapel Hill, Nelson Mandela Auditorium. Free and open to the public.

Sponsors:
UNC Bluegrass Initiative
Southern Folklife Collection
Germanic and Slavic Languages and Literatures
Czech and Slovak School of North Carolina

Between Midnight and Day: The Photography of Dick Waterman

Between Midnight and Day: The Photography of Dick Waterman, flier featuring Buddy Guy5:30 p.m. Reception and exhibit opening
4th Floor Reading Room

6:00 p.m. Film screening of Two Trains Runnin’
Pleasants Family Assembly Room

7:20 p.m. Q&A with Dick Waterman, moderated by author Peter Guralnick
Pleasants Family Assembly Room

The exhibit Between Midnight and Day: The Photography of Dick Waterman, is set to open September 26 in Wilson Library, featuring Waterman’s iconic photographs of Joan Baez, Bob Dylan, Son House, Howlin’ Wolf, Janis Joplin, and the Rolling Stones.

Dick Waterman played a key role in the folk revival of the 1960s, helping to revive the career of Son House and managing many prominent blues artists including Skip James, Mississippi John Hurt, and Bonnie Raitt.

Join us for the exhibit opening which will also feature a screening of the Sam Pollard documentary Two Trains Runnin’, a film centered on an astonishing historical coincidence: on June 21, 1964, two lost giants of the Delta blues were located and three civil rights activists disappeared. A Q&A with Waterman will follow.

George Hamilton IV “Behind the Iron Curtain”

"The International Ambassador of Country Music" (BILLBOARD MAGAZINE) in Red Square, Moscow, Soviet Union, March 1974.

“The International Ambassador of Country Music” (BILLBOARD MAGAZINE) in Red Square, Moscow, Soviet Union, March 1974.

Looking into the George Hamilton IV Collection (20410) recently, we were reminded that this month is the 42nd Anniversary of George Hamilton IV being the first performer to take American folk-country music “Behind The Iron Curtain.” His 1974 performances and lecture concerts at the Palace of Railway Workers and Moscow University were the first for an American country music performer. Other “first” performances on this tour were in Hungary, Poland, and in former Czechoslovakia, where Hamilton performed four sold-out Concerts for over 28,000 fans at the Sports Arena in Prague. It’s no surprise that later that year, Billboard Magazine began to refer to Hamilton as the “International Ambassador of Country Music.” He would eventually tour around the world, performing multiple times in Japan, South Africa, the former Soviet Union, and India. See this April 2, 1974 New York Times review of the Moscow performances on the George Hamiton IV “Folksy Music Festival” page here.
George Hamilton IV in Bangalore, India, 1986. P5034 in the George Hamilton IV Collection (20410), Southern Folklife Collection, UNC Chapel Hill

George Hamilton IV in Bangalore, India, 1986. P5034 in the George Hamilton IV Collection (20410), Southern Folklife Collection, UNC Chapel Hill

 

 

Join the SFC 78 Cataloging Project!

78 project_collageBe a part of our 78 rpm disc identification project!

In late 2015, the Southern Folklife Collection received a UNC Library Innovation Grant to experiment with technology-driven cataloging for more than 100,000 sound recordings.

Current estimates project that it would take catalogers approximately 45 years to research and create a standard record for each of the thousands of discs. SFC curator, Steve Weiss, proposed a pilot to speed cataloging through automation.

IMG_2549The idea is to take a digital photograph of printed record labels, convert the images to text using optical character recognition (OCR) software, and then combine the text and images to help with workflow, discovery, and access. Crowdsourcing tags and comments may help to add even more information to the process.

Now you can be part of the process. Help us shine a light on these rare gems by visiting our Facebook page and taking a few minutes to give us a little information. For detailed instructions and examples of the process, see our new page 78 Crowdsourcing Project linked to in the tabs in our header at the top of the page.

No prior cataloging experience required! All you need is a love of music and a desire to be part of the effort to help move these records out of semi-obscurity. See more details here.