2018 was the second year of our partnership with YepRoc Records and saw the release of three new recordings. In February, we released Doc Watson, Live at Club 47 with a record release party at Club Passim featuring songwriter and 2017 IBMA Guitar Player of the Year Molly Tuttle accompanied by her bandmates in The Goodbye Girls, Allison de Groot, Lena Jonsson, Brittany Karlson and guitarist and singer Stash Wyslouch. Live at Club 47 documents Doc Watson in top form recorded in February 1963, between his first solo public performance at Gerdes Folk City in New York City in November 1962 and his breakthrough performance in August 1963 at the Newport Folk Festival. 55 years after the recording, Live at Club 47 reached #9 on Billboard’s Bluegrass Album Chart.
In March we released a special 10” vinyl EP for Record Store Day, Tia Blake, Paris and Montreal Demos 1973-1976. Tia released only one record in her lifetime, Folksongs & Ballads, for a small record label in France. Her demos had briefly been available on a CD reissue by Water Records that had quickly gone out of print. We hated to see this material unavailable to a broader audience, and with both Tia’s and her mother Joan’s blessing, made the tracks available again on vinyl, newly remastered by Brent Lambert of Kitchen Mastering, from the SFC’s 24bit 96kHz transfers of the analog masters. The demos are intimate and beautifully sung in Tia’s rich melancholy voice. The recordings are some of our favorites in the collection.
July saw the release of Bluegrass Champs, Live from the Don Owens Show. These rare live 1950s radio broadcasts featured Scotty, Donna, Van, and Jimmy Stoneman of the Stoneman Family.
The recordings came from the legendary private collection of Leon Kagarise and were produced by Joe Lee of Joe’s Record Paradise. Live from the Don Owens Show reached #2 on Billboard’s Bluegrass Album chart.
At the end of July, we completed the implementation phase ofExtending the Reach of Southern Audiovisual Sources, our 2015-2018 grant from the Andrew W. Mellon Foundation. The grant has been transformative, allowing us to implement large-scale preservation and access workflows for archival audio and video holdings of the Southern Folklife Collection. This August we started a new expansion phase of the grant to broaden the focus to all archival AV materials in the Wilson Special Collections Library and to pilot AV digitization services for partner institutions across the state through UNC Libraries’ North Carolina Digital Heritage Center.
Another key initiative has been providing access to our collections backlog. In 2018, brief online finding aids and library catalog records were created for many of the SFC’s hidden collections. We hope to complete this process and have all of the SFC’s collections discoverable in 2019. For an updated listing of our collections visit our website.
My thanks for your continued support! We are looking forward to 2019, which is the 30thAnniversary of the SFC’s official opening. We have a number of events and exhibits planned. More news to come.
“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.
Don Reno & Bill Harrell & The Tennessee Cut-Ups, Dear Old Dixie | FC-17121
In 1975, country music industry veterans Martin Haerle and Arthur Smith started CMH Records, and Don Reno, Bill Harrell, and the Tennessee Cut-Ups were a perfect fit for the label’s first release. Haerle had many connections from his experience at Starday Records and in the radio business, and Don Reno had performed with Arthur Smith on several occasions. Don Reno, Bill Harrell, and their band were, by 1975, long-established bluegrass musicians. Performing with Bill Monroe’s Blue Grass Boys and, most famously, Red Smiley, Don Reno was a member of the first generation of bluegrass musicians that established the sound of the genre in the 1940s and 50s. Bill Harrell, too, was one of bluegrass’ most popular musicians, most successfully recording and performing with his band the Virginians. CMH, short for Country Music Heritage, aimed to give a home to these prominent, if aging, artists, many of whom had been dropped from the rosters at major labels. Don Reno and Bill Harrell had been performing together for over 10 years by the time they recorded Dear Old Dixie at Arthur Smith Studios in Charlotte, North Carolina. The album features mostly original and arranged tunes by the pair, and Arthur Smith even steps in to join Don Reno on guitar on “B.G. Chase,” an instrumental he co-wrote with Reno.
Listen to a segment of “B.G. Chase,” from Side 2 of Dear Old Dixie, here:
And here’s “Make Believe (You Didn’t Set Me Free),” also from Side 2:
Country Music Heritage (CMH) Records was founded in 1975 by Martin Haerle, a former vice president of Starday Records, and Arthur “Guitar Boogie” Smith, famed performer, TV host, and composer of “Guitar Boogie” and “Fuedin’ Banjos.” Their vision of the label was to release contemporary country music recordings, with a particular focus on bluegrass music. From the beginning, CMH signed long-established musicians, from the Osborne Brothers, Mac Wiseman, and Lester Flatt to the Stonemans, Benny Martin, and Joe Maphis. Most of these early releases, like Dear Old Dixie, were produced and recorded at Arthur Smith Studios in Charlotte, North Carolina. Soon after the launch of the initial album series (starting with Dear Old Dixie, CMH-6201), CMH began releasing their popular “Bluegrass Classics” double LP series (starting with CMH-9001). These two primary series, featuring modern recordings of bluegrass and country greats, carried the label into the late 1980s. In 1990, after the death of Martin Haerle, his son David Haerle took over operations of CMH. The younger Haerle started the “Pickin’ On” series in the 1990s, which offered bluegrass cover albums of classic and popular songs, from Pickin’ on the Beatles (1999) to Pickin’ on Nirvana (2017). In this same spirit, CMH is now home to other labels offering interpretations of classic music: Vitamin Records, an outlet for the Vitamin String Quartet, releases instrumental interpretations of popular artists from Radiohead to Kanye West, and Rockabye Baby! releases lullaby versions of popular rock songs.
Born in South Carolina, Don Reno was raised in Haywood County, North Carolina, where he first picked up a banjo at the age of five. After a decade or two in the country music business, Don Reno achieved lasting fame through his partnership with Red Smiley as Reno & Smiley. Bill Harrell, another successful bluegrass musician, had been touring and recording with his band the Virginians. Reno and Harrell first started performing together in 1964, after Red Smiley retired from music performance. Backed by the Tennessee Cut-Ups, Don Reno could usually be heard playing the 5-string banjo while Bill Harrell joined him on the guitar and sang lead. When Red Smiley returned from retirement in 1969, he performed with Reno and Harrell until his death in 1972. After parting ways in 1977, Reno and Harrell continued to tour and record with their respective bands for the rest of their lives.
Here is a brief segment of an interview between Alice Gerrard and Bill Monroe, from the Alice Gerrard Collection (20006), in which Bill Monroe discusses Don Reno’s impromptu “tryout” for the Blue Grass Boys:
Alice Gerrard: How'd you happen to meet Don?
Bill Monroe: Don Reno?
BM: Oh, uh, I guess he'd heard that, you know, that Earl [Scruggs] had
quit, and he was going to be the next banjo player, you know, whether
AG: Yeah. [Laughter]
BM: He got into Nashville and we'd done gone, we'd left on Saturday
night, and he -
AG: Oh no...
BM: He followed us right on back into Taylorsville, North Carolina,
AG: Persistent, anyway...
BM: And Earl was working his two weeks down there, and he [Don Reno]
came right down through the audience with his banjo, take the banjo out,
walked right out on the stage where we were.
AG: Oh, that's great, that's really great. And did he just -
BM: Nobody didn't ask him to come out or nothing.
AG: [Laughter] Did it tickle you at the time or were you kinda mad?
BM: No, it came as a surprise, and tickled us, too. But Earl would take
a break while Don would get up and play.
AG: Oh no! That's a riot, Bill...
BM: I tell that on Don now, but you know, that kinda gets away from him,
but that's really the truth.
AG: That's really funny... How old was he then? Do you have any idea?
BM: Uh, I don't know - he's a little older than Earl, or a little
younger, I believe, isn't he?
AG: I guess he's probably a little bit younger. Was he pretty young,
though, when he came? Well, he must have been, to have that much nerve!
I tell you, only a young kid would have -
BM: He wanted that job, though, he knew what it would mean to him.
Listen to the full interview, on FS-20006/8640, here. Streaming access to this recording were made possible through the SFC’s ongoing audiovisual preservation grant from the Andrew W. Mellon Foundation.
The local connection
Arthur Smith was born in South Carolina, where he also began his musical career, but he achieved most of his success in Charlotte, North Carolina. After moving to Charlotte in 1943 to appear on WBT radio’s Carolina Calling, and was also featured on the later TV iteration of the show. Arthur Smith’s own The Arthur Smith Show was the first nationally syndicated country music television show, and ran for 32 years. When Smith’s 1955 recording “Fuedin’ Banjos,” which he had recorded with Don Reno, was reinterpreted without credit as “Dueling Banjos” in the 1972 film Deliverance, he successfully sued Warner Bros. for a substantial settlement and a songwriting credit. In 1957, Smith established Arthur Smith Studios in Charlotte, the location of many seminal recordings and prominent radio shows, as well as much of the CMH Records catalog of releases.
There is plenty of more information related to Don Reno, Bill Harrell, Arthur Smith, and CMH Records in the Southern Folklife Collection, as well as an extensive portion of the CMH catalog on LP, CD, and cassette. Check out a few other documents of interest below or search the collection yourself.
Our efforts to expand and improve on audiovisual preservation continue here in Wilson Library, with the recent hiring of our third Audio Engineer, Dan Hockstein, and two Audiovisual Archives Assistants, Mel Meents and Andrew Crook. These positions have been funded by the Andrew W. Mellon Foundation as part of our Extending the Reach of Southern Audiovisual Sources: Expansion grant. This phase of the project scales the digitization and preservation work we’ve done for the SFC to all of Wilson Special Collections AV.
Andrew, Mel and I have recently moved into a new space in Wilson Library’s Digital Production Center, and we now have an official AV Lab to call our own in addition to the Ben Jones and John M. Rivers Jr. audio studios. Mel and Andrew have stayed busy working across collections in the building, producing item-level descriptions for videotapes in the University Archives’ Student Television at the University of North Carolina at Chapel Hill collection (#40326), prepping films for cool storage from the Florentine Films Archives (#20193), and managing monthly pre and post-digitization tasks.
Audio and video equipment in our new AV lab location
Our photo stand for photographing items in the collection
In early 2019 we look forward to sending off our next batch of video priorities for digitization to our vendor. These items will be joined by recordings from a few of the regional institutions we have partnered with as part of an initiative in the grant to provide services to external collections, including Appalachian State University and North Carolina State Archives. More on that soon!
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.
A selection of audio recordings found in the Duck Kee Studio Collection (20553) at the SFC.
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).
16″ Lacquer Disc on Turntable, the middle of the disc shows what the disc looked like prior to cleaning. Recording features pianist, Ralph Font, “Habanera,” 25 June 1947
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.
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.
Our friends at The ArtsCenter in Carrboro are hosting banjo musician Jayme Stone and his Folklife Project on Friday, April 27. Continuing the practice from 2014’s Lomax Project, CD-15287 in the Southern Folklife Collection, Stone and his collaborators continue to look to recordings made by folklorists and field recorders for songs to reimagine. While Alan Lomax made recordings across the globe, opening up the source material allows for Stone to explore the work of other folklorists and song collectors, presenting that work to new listeners.
The Smithsonian Folkways recording artists Anna & Elizabeth have also looked to archival recordings for source material, and during a recent performance at Chapel Hill’s Nightlight, the duo performed along with a field recording of Margaret Shipman singing “Jeanno and Jeanette” recorded by Helen Hartness Flanders, a folklorist from Vermont whose collection is at Middlebury College Davis Family Library. The Flanders collection is digitized and you can hear her recordings of Margaret Shipman streaming online via the Internet Archive
There are well over 20,000 streaming audio recordings streaming online through the Southern Folklife Collection finding aids. Field recordings are made in the field, taking the listener to a specific time and place. With that in mind I selected a few recordings made in North Carolina. Be sure you click through to the streaming file to listen.
For some old time inspiration, the Paul Brown Collection (20382) includes many recordings made at the home of fiddler Benton Flippen. Audio cassette FS-6582 was recorded 22 October 1980 along with Paul Brown and Paul Sutphin.
For some blues, the Joan Fenton Collection (20382) includes open reel tape recordings she made of Howard Cotten, bluesman and storyteller from Goldston, NC. Audiotape FT-0891 was made 6 August 1976 and includes Mr. Cotten performing the Piedmont blues classic “Step it Up and Go” as well as sharing memories about Blind Boy Fuller.
Field recordings in the Artus Moser Papers (20005) were made on instantaneous discs. Listening through some of those recordings recently, I fixed on disc FD-0705. Songs on the recording, including a driving and lightly swinging version of “John Henry.” are performed by an unidentified female singer, recorded to instantaneous disc by Artus Moser in the 1930s.
If you are interested in other field recordings in the Southern Folklife Collection and Wilson Library, contact us anytime! And remember you can hear Jayme Stone’s Folklife interpret field recordings at The ArtsCenter this Friday.
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.
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).
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.
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:
[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….!”
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”
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
[Speaking: Rev. Charles Billups]:
Now let us join hands and let us sing together, “We Shall Overcome”
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) .
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.