**Excited to share this Guest post by Visual materials Processing Archivist at Wilson Special Collections Library, Patrick Cullom**
Bebo White (pictured left) was a 20-year-old student at UNC Chapel Hill in 1965, when he had this image made with musicians Joan Baez and Bob Dylan. It was March 19, on the campus of NC State in Raleigh, when White and a friend managed to make their way backstage at Reynolds Coliseum, eventually finding their way into Baez and Dylan’s dressing room. There for less than 30 minutes, White was able to conduct a short interview with the duo (which he recorded), and to have a photograph (pictured above) made commemorating the meeting. He ended up creating resources documenting these two influential songwriters/musicians, in what would become an important year in the careers of both, thanks to a portable tape recorder (small enough to wear on shoulder strap under arm) and a camera packed with Polaroid “Polacolor” film. Mr. White and his cohort were equipped to document the evening with some of the most advanced tools available to them in 1965, and they did not disappoint.
Flipside of print mount signed by Dylan
This version of Polacolor film was relatively new to the market and allowedusers to create color photographic prints in a matter of minutes after taking an image. In the era of film-based photography, where 1 hour “express” processing was available (at a cost and with limited availability) this advancement provided photographers with a virtually “instant” color photographic print that could immediately be created and shared. If the camera used that night had been loaded with “traditional” roll film to make the image, neither Dylan or Baez would have likely ever seen the image.The film packs were sold with cardboard mounts that allowed users to put the newly developed print onto a more stable backer, providing both support and a surface for writing descriptions or notes. In White’s case he used the mounts to get what appear to be autographs from both musicians.
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 objectthat both Baez and Dylanviewed, commented upon, and interacted with.All of these aspects make it a one of a kinditem we are thrilled to welcome into the Southern Folklife Collection, where it now resides with the other materials in the Bebo White Collection (20544).
Audiotape of the North Carolina Folklore Broadcast Series found in the Joan Fenton Collection (FT-20015/909).
Joan Fenton was a folklorist and performer who earned a master’s degree in folklore from the University of North Carolina Chapel Hill. The sound recordings in this collection include interviews, oral histories, songs, and tall tales from artists and musicians throughout North Carolina, South Carolina, West Virginia, and Louisiana. She also recorded a gospel group at an African American church service near Princeton, West Virginia. Those recordings include sermons and testimonies from members of the congregation. Thanks to our generous grant from the Andrew W. Mellon Foundation, the audio items in the Fenton collection are available and streaming online from the finding aid.
Fenton wrote the thesis for her master’s on Howard Cotten, a black tall-tale teller from North Carolina. These recordings include songs, tales, and interviews with Mr. Cotton and others like Laura Lea, a quilter from Chatham County, NC and Cotton’s friend and cousin, Willie Brooks. In the interviews, Cotton sings and tellsstories about hitchhiking, ghosts, possum hunting, talking dogs, seeing a train for the first time and more (FT-20015/890-908).
Field notes and transcribed interview with Howard Cotten by Joan Fenton. Found in the field notes of the Joan Fenton Collection (Folder 5-6, FT890-908).
Field notes and transcribed interview with Howard Cotten by Joan Fenton. Found in the field notes of the Joan Fenton Collection (Folder 5-6, FT890-908).
Fenton was the editor and sound engineer on an episode of the UNC Folklore Broadcast featuring a recording of Howard Cotton and Willie Brooks telling tall tales or lies, as Fenton calls them in the introduction to the broadcast, along with blues songs and additional explanation and commentary in between songs and stories.
Some of my favorite audio recordings in the collection are from the John Henry Folk Festival in 1978. She gathered many interviews from this festival with musicians and attendees. She asks questions about the folk festival, why people attend this specific festival, what the blues mean to them, the importance of gospel music at a festival such as the John Henry festival, and many others. The answers she gets to her questions are part of larger conversations that are still relevant today. Some of the folks interviewed include Sparky Rucker, Ron Wilkerson, Hazel Dickens, Phyllis Boren, The Badgett Sisters, and Pigmeat Jarrett.
Audiocassette tape of a Hazel Dickens and Phyllis Boyens interview at the John Henry Folk Festival in 1978. (FS-20015/1167)
Finally, Fenton took part in video documentation of blues musicians including videos of Willie Trice. Fenton is described as recording the videos. They are also accessible and streaming in the Southern Folklife Collection Moving Image Materials finding aid. (VOR-30002/110-111).
Willie Trice playing his guitar (VOR-30002/110).
Fenton resides in Charlottesville, VA where she owns 9 retail stores. She is one of the organizers of Blues Week at the Augusta Heritage Workshop in Elkins, WV.
Yesterday marked what would have been the 80th birthday of musician, folklorist and proponent of American Primitive Guitar, John Fahey. In honor of this occasion, we pulled a few Fahey-related highlights from our collection.
The 1967 rerecording of his debut set Blind Joe Death provides an excellent primer on the breadth and depth of his idiosyncratic playing style, nicknamed “American Primitive Guitar,” juxtaposing traditional country blues fingerpicking guitar techniques against melodies drawn from traditions ranging from gospel hymns and 20thcentury classical music to Indian ragas.
By the late 60s, Fahey had expanded the sonic palette of his recordings significantly: incorporating found sound and tape collage techniques and occasionally bringing in additional musicians to flesh out his solo guitar performances. The Yellow Princess exemplifies this experimentation by featuring contributions by Jay Ferguson and Mark Andes from the psychedelic band Spirit and ex-Byrds drummer Kevin Kelley alongside musique concrete pieces and Fahey’s own consistently excellent solo guitar.
Fahey was also known for founding the influential folk label Takoma Records, which was responsible for several high-profile releases by like-minded musicians such as Leo Koettke, Robbie Basho, Peter Lang and Joseph Byrd among others. The 1974 split LP Leo Koettke/Peter Lang/John Fahey shows all three guitarists in fine form, each performing a set that exemplifies the American Primitive Guitar style.Our archival holdings also include a number of fascinating Fahey-related items. Of particular note in the Greenhill Family/FLi Artists/Folklore Productions Collection (20542) are tapes containing safety masters and rough mixes from Fahey’s 1975 LP Old Fashioned Love as well as promotional artwork meant to accompany the Shanachie records re-release of Death Chants, Breakdowns and Military Waltzes.
In addition, this collection holds a number of unique Fahey manuscript items: including a typescript copy of Fahey’s unpublished book Admiral Kelvinator’s Clockwork Factory. Especially exciting are handwritten lead sheets and orchestration charts for a number of his pieces, prepared as part of the copyright registration process for these compositions.
John Fahey passed away in 2001, leaving behind a vibrant and restlessly imaginative body of work that continues to inspire musicians to this day.
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.
Over the past decade, archivists, audio engineers, photo technicians, students, researchers, and Bill Ferris himself have worked to arrange, describe, and digitize the more than 250,000 sound recordings, photographs, videos, films, papers, and ephemera that make up the William R. Ferris Collection. Thanks to the dedicated teams at Wilson Library and with support from the National Endowment for the Humanities and the Andrew W. Mellon Foundation, a few thousand of these sound recordings, videos, films, and photos are digitized and can be streamed or viewed in their entirety online. It’s exciting to think of listeners hearing a track on Voices of Mississippi and then be able to find that recording and many others in the William R. Ferris Collection (20367) finding aid. They may want to hear more of Lovey Williams, or to hear James “Son” Thomas playing in a juke joint, or Fannie Bell Chapman singing in her back yard
These examples are the smallest sample of the opportunities available to interested researchers and listeners and explorers of the rich cultural history and beautiful human artistry documented by Dr. Ferris. B. B. King recorded at home, extensive conversations with brilliant minds like Eudora Welty, Walker Evans, Alice Walker, tales told by Ray Lum and Victor Bob and many, many others are streaming online. There are also thousands of photographs digitized and searchable through the William R. Ferris Collection Digital Photographs.
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 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.
B. B. King in repose. Photo by William Ferris. William R. Ferris Collection (20367)
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 email@example.com. 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.