ONLINE INFORMATION STAFF RESOURCES Administration The American Folklife Center’ s Peggy A. Bulger, Director Website provides full texts of Gene Berry, Assistant to the Director many AFC publications, informa­ Doris Craig, Administrative Assistant tion about AFC projects, multi­ Michael Taft, Head, Archive of Folk Culture media presentations of selected David A. Taylor, Head, co lle cti ons, li nks t o Web re s o u rc e s Research and Programs on ethnography, and announce­ Debra Murphy, Special Assistant ments of upcoming events. The Research and Programs The American Folklife Center a d d ress for the hom e page is Ilana Harlow, Folklife Specialist was created in 1976 by the U.S. h t t p : / / w w w. l o c . g o v / f o l k l i f e / A n Congress to “preserve and present Guha Shankar, Folklife Specialist index of the site’s contents is American folklife” through pro­ Processing and Cataloging available at h t t p : / / w w w. l o c . g o v/ grams of research, documentation, Sarah Bradley-Leighton, archival preservation, reference ser­ f o l k l i f e/a z - i n d e x . h t m l Processing Technician vice, live performance, exhibition, publication, and training. The The Website for T h e Ve t e r a n s Catherine Hiebert Kerst, Archivist Center incorporates the Archive of History Project p ro v i de s a n Maggie Kruesi, Cataloger Folk Culture, which was established o v e rview of the project, an online Judy Ng, Processing Technician in the Music Division of the Library “kit” for participants re c o rding oral Valda Morris, Processing Technician of Congress in 1928 and is now one histories of veterans, and a brief Marcia Segal, Archivist of the largest collections of ethno­ p resentation of some examples of Nora Yeh, Archivist, Coordinator g r a p h i c material from the United States and around the world. v i d e o - and aud io- re c o rdings of vet­ Publications erans’ stories. The address is Stephen D. Winick, Editor h t t p : / / w w w. l o c . g o v / v e t s Public Events Theadocia Austen, Coordinator BOARD OF TRUSTEES The Folkline Information Ser- Reference vice is a cooperative announce­ Jennifer A. Cutting, Folklife Specialist Librarian Appointees m e n t p ro g r am o f t h e A m e r i c a n Judith A. Gray, Folklife Specialist, Tom Rankin, Chair, North Carolina F o l k l o re Soc ie ty and the Ameri­ Coordinator can Folklife Center. It is available Jane Beck, Vice-chair, Vermont Stephanie A. Hall, Automation Specialist only on the American Folklore Norma Cantú, Texas Todd Harvey, Folklife Specialist Society’s server: w w w. a f s n e t . o r g Kojo Nnamdi, District of Columbia Ann Hoog, Folklife Specialist The service provides timely infor­ Congressional Appointees Audio Engineering mation on the field of folklore and Daniel Botkin, California Matthew Barton, Audio Engineer folklife, including training and Mickey Hart, California Jonathan Gold, Audio Technician p rofessional opportunities, and Dennis Holub, South Dakota Digital Conversion news items of national intere s t . William L. Kinney Jr., South Carolina John Barton, Specialist Marlene Meyerson, New Mexico Reference Service Presidential Appointees Tel: 202 707–5510 Fran Mainella Fax: 202 707–2076 Director, National Park Service FOLKLIFE CENTER NEWS E-mail: [email protected] Sonya E. Medina, Assistant Director of Stephen D. Winick, Editor and cover design Veterans History Project Projects, Office of the First Lady, David A. Taylor, Editorial Advisor Bob Patrick, Director The White House Sheryle Shears, Designer Peter T. Bartis, Senior Program Officer Lisette M. Mondello Peggy Pixley, Production Anneliesa Clump Behrend, Assistant Secretary for Public and Public Affairs Specialist Governmental Affairs, Folklife Center News publishes ar­ Jeffrey Lofton, Public Affairs Specialist Department of Veterans Affairs ticles on the programs and activ­ Sarah Rouse, Senior Program Officer Ex Officio Members ities of the American Folklife Cen­ Timothy Schurtter, Program Officer James H. Billington, Librarian of t e r, as well as other articles on Eileen Simon, Archivist Congress traditional expressive culture. It is Lawrence M. Small, Secretary of the available free of charge from the Smithsonian Institution L ib ra r y o f Co n g re s s , A m e r i c a n Dana Gioia, Chairman, Folklife Center, 101 Independence Cover: Pete Seeger displays his col- National Endowment for the Arts Avenue, S.E. , Washing ton, D.C. lection of recorders and flutes. Toshi Bruce Cole, Chairman, National 20540–4610. Folklife Center News Seeger is in the background. T h i s Endowment for the Humanities does not publish announcements photo was taken while AFC director Bill Ivey, President, f rom ot her i ns t it ut i on s or re v i e w s Peggy Bulger and AFC coordinator of American Folklore Society of books from publishers other acquisitions David Taylor were making Philip V. Bohlman, President, tha n t he Li brar y of Co ng re s s . arrangements to acquire the Seegers’ Society for Ethnomusicology Readers who would like to com­ collection of ethnographic films. See Peggy A. Bulger, Director, ment on Center activities or the full story on page 3. Photo: Peggy American Folklife Center newsletter articles may addre s s B u l g e r. S ou r c e : A m er i c an F o l kl i f e Judith McCulloh, Emerita, Illinois their remarks to the editor. Center

2 Folklife Center News The Incompleat Filmmakers: The Little-Known Career of Pete and Toshi Seeger

Pete and Toshi Seeger at the Library of Congress in February 2006. Photo: Stephen Winick. Source: American Folklife Center

By Todd Harvey and sixty years, are both excellent cine­ The Pete and Toshi Seeger Film Stephen Winick matographers. Throughout Pete’s Collection contains hundreds of c a re e r, Toshi has pre f e r red to reels of film footage shot by the The world knows Pete Seeger as a remain in the background, helping Seegers between 1955 and 1965. pioneer of the folksong revival, not Pete manage the many demands Since acquiring the films, the AFC as a filmmaker. He has always been on his time, so interviews with her has sought an opportunity to inter­ ready to share his musical experi­ are rarely published. It was with view Pete and Toshi about their ences with interviewers, and has great pleasure, there f o re, that work as filmmakers and about the even written a book about his members of the American Folklife context of the individual films. m u si ca l c ar e e r, The Incompleat Center staff were able to interview That prospect became reality in Folksinger. As a result, his time with both Pete and Toshi about their e a rl y F eb ru a r y, w h e n P e te wa s su c h g ro u ps a s T h e A l m a n a c brief but important career in ethno­ scheduled to perform in Washing­ Singers and The Weavers, his solo graphic filmmaking. On February ton. The Library’s Information career as a folk musician, and his 6, 2006, both Seegers visited the Technology Services agreed to film social activism are all very well Center to speak about their film the interview to broadcast stan­ documented. It is generally not collection, which the Center d a rds, with the Motion Picture, well known, however, that Pete acquired in 2004 (see FCN 26, no. 1, Broadcasting and Recorded Sound and Toshi, his wife of more than winter 2004, pp. 9–10). Division providing its studio. Winter/Spring 2006 3 his family; he played at singing in colleges, and we were small venues such as sum­ able to buy the camera and buy mer camps and college cam­ some film.” puses, which had less to fear “I was thinking, not to make from the blacklist. 1955 was money at this,” he continued, “but also the year Pete himself to do something which would be of was subpoenaed to testify importance to folklorists aro u n d before HUAC. Details of his the world. If they were curious testimony and the ensuing about American banjo-picking, seven years of litigation are they couldn’t learn about it from given in David Dunaway’s just listening to tape recordings.” biography How Can I Keep The September 1955 issue of the f rom Singing (1981). In Ethno-Musicology Newsletter c o n ­ e ss en c e, P e te ’s sc ru p u l o u s tains an open letter from the adherence to his ideals made Seegers, which provides insight the time even harder for him into their plans: than for most artists called to t e s t i f y. Wh i l e m os t ar ti st s We have embarked upon a study of brought before this commit­ American folk instrumental tech - tee either informed on others niques using a 16mm sound motion or cited th e Fifth A m e n d ­ picture camera, and would welcome ment to the Constitution, correspondence from others in the field Pete felt either course went concerning the form of such films as Pete Seeger in the 1950s, around the start of against his ideals. The Fifth well as how best to make them general - his filmmaking career. Photo: Moss Photo, Amendment protects people ly available . . . . This year we are stick - New York. Source: American Folklife Center from giving self-incriminat­ ing fairly close to home (New York Ray M. Lawless Collection ing testimony. Pete believed State), and while learning to use the that singing and saying camera have completed a 30-minute During the two-hour interview, whatever he wanted was a film on the technique of the 5-string AFC director Peggy Bulger and right protected by the First Amend­ banjo; we also have miscellaneous collection curator Todd Harvey ment, and that therefore to admit shots of blues guitar players, fiddlers, showed the Seegers about a dozen singing communist songs did not harmonicas, washtub basses, and so clips from their films and solicited amount to self-incrimination. He on. Next year, if funds prove sufficient, their comments. The interview instead challenged the anti-com­ field trips will be taken. Aside from our shed new light on the film collec­ munistsbycitingthe Firs t needs to learn how to make high qual- tion as well as the activities of the Amendment, which protects the ity films, as well as the need for funds Seegers during this period. freedoms of speech and associa­ to permit more rapid progress, our The Seegers experienced signifi­ tion. This tactic pointed out to the most pressing problem is establishing a cant changes to their lives from committee the uncomfortable fact central library where all such films— 1950 to 1955. In 1950 Pete and the that communism itself, both as an not only ours, but others from every Weavers had reached their zenith, ideology and as a political affilia­ country—can be made available to stu - with performances in important tion, was protected under the First dents. (p. 17) ve nues an d hit re c o rds on the Amendment. It resulted in Pete’s charts. In 1952, however, testimony 1961 indictment for contempt of Although both Seegers shared b e f o re the House Un-American Congress, which was dismissed on duties as filmmakers, Toshi was Activities Committee (HUAC) appeal the following year. more often behind the camera. “I claimed that the Weavers were This unusual personal and poli­ was lucky that I had a natural eye communists. Like thousands of tical history was the backdrop to for composition,” she recalled. “I other artists, they found them­ the Seegers’ career as filmmakers. didn’t struggle over it. My mother selves on the blacklist, a list of In the February 6 interview, Pete was a photographer, and I was Americans with alleged ties to talked about the start of that career: brought up with various photogra­ communism. In the political “ F o l k l o re Resea rch Films wa s a phers.” As a result, her first a t m o s p h e re of th e 19 50 s, m an y tiny little nonprofit corporation attempts at using some of the managers and promoters ceased to which started in about 1955. I had equipment went very well indeed, associate with blacklisted artists, applied for a Guggenheim some and she commented on this while for fear of ostracism within the three years earlier to do this job, of looking critically at her own entertainment industry and boy­ filming the banjo and other tech­ footage: “I must say, considering cotts from audiences. The Weavers niques, and I was completely inex­ I’d never used a zoom camera, con­ could no longer find work, and perienced and didn’t apply for sidering I’d never done any of this, were forced to disband. more than three thousand dollars. I didn’t make that mistake that By 1955 Pete and Toshi had Anyone in movies said, ‘This per­ most amateur people make of moved from New York City to a son doesn’t know anything about moving too fast, all over the place!” log cabin in rural Beacon, New movies, so don’t waste your She was also generous in praise of York. Pete had become a barn­ money.’ So I didn’t get any grant. Pete: “Pete was as good a camera storming solo performer to support But I’d started making money person as I was,” she said. 4 Folklife Center News We showed the Seegers an Peggy Bulger excerpt from their film The 5-String asked about Banjo: An American Folk Instrumen- footage of his tal Technique (1955), which Toshi friend, blues- identified as having been made in man Big Bill their log cabin. Banjo students may B ro o n z y. Pe te already have known Pete’s booklet replied: ( 19 4 8) a nd Fol kw a ys re c o rd i n g (1954), both titled How to Play the 5- This was the last String Banjo. A film version, re ­ time that Bill leased under the Seegers’ own ever sang, be- Folklore Research Films, followed. cause he said Toshi referred to this short movie “Pete, I’m going when explaining the start of her under the knife career in cinematography: t o m o r ro w.” He had throat can - The way I got in the whole thing, cer. “So, do you everything, was getting married to have that camera Peter. And then he has all these bril - with you? Why liant ideas, which I know nothing d o n ’t you film Pete and Toshi Seeger in 1985. Photo: Robert Corwin. about. On The 5-String Banjo, that me?” Again, I Source: American Folklife Center Robert Corwin was one of the very first [films we was very unpre - Collection made]. He says, “Here’s a camera.” p a red. I didn’t And I had a brand new baby, Tinya. So know what to ask him to Leadbelly movies in his closet,” the in between things, I’d figure out what do....Itwas awonderful littlesum - Seegers sprang to action. button to push, and push when he told mer camp, which still exists in the far In 1944, Pete explained, Lead- me to push, and nurse the baby in southwestern corner of the state of belly had gone to California for a between. Michigan called Camp Circle Pines, a movie role. The idea was that he littlecooperativecamp ....Backthen play himself: Subsequent Folklore Researc h [1957], . . . . I took the camera with me Films include The Country Fiddle when I went out [on tour]. I did know They thought of Bing Crosby playing (1958), Many Colored Paper (1959), that Bill had been hired to be a kind of the part of John Lomax. It was going to and Finger Games (1959). This last artist in residence, and sing with the be based on [Lomax’s] book Adven­ film, Finger Games, sh ows To s h i kids. And that’s why I filmed him tures of a Ballad Hunter. Well, the S e e g e r’s mother teaching finger there. And I got close-ups on his fin - movie never got made, and Leadbelly games to a group of children; it gers, and he sang just a few verses. eventually came back east, disappoint - elicited interesting comments from And it’s true, the next day he went ed. But while he was there an artist the Seegers. Pete explained that he under the knife and he never sang [Blanding Sloan], said, “Leadbelly, made the movie for “nursery again, and he died a year later. I’ve got a movie camera. Would you school teachers, or conceivably any come to my house? I’d like to film parent who wanted to learn finger Another of Pete’s friends in the you.” games, more than one or two. blues world provided him with his These things appear in books, but most challenging film-editing job. Leadbelly said, “Don’t put any prison without the motions, you don’t It started when a television station stripes on me or anything like that.” really get the whole [game].” agreed to make a half-hour pro­ He dressed in a nice suit and a bow tie Originally, the Seegers envisioned gram about Leadbelly. However, and sang two songs. a whole series of films document­ the only footage available of the ing a range of children’s play activ­ great blues singer was from a 1935 But [Sloan and his co-worker, Wah ities. “Theoretically, there could be March of Time newsreel, in which Ming Chang,] did persuade Lead- other people in other countries, Leadbelly and John Lomax reenact­ belly . . . they said, “Come out back and who were interested in the same ed their first meeting and their sing like you might be outdoors. subjects, and we could exchange later relationship. The newsre e l Nothing but you, and a straw hat on films with them. But we never got footage showed Leadbelly singing your head, and the blue sky behind that far.” In the end, they only while dressed in prison stripes, you.” And that’s the way they did released a single ten-minute film. emphasizing that he had first come “Pick a Bale of Cotton.” So they did “It was [made] on the porch of a to prominence as a singer while in three songs in total. summer camp where Toshi’s moth­ prison for attempted murder and er and father were the caretakers, other crimes. Leadbelly had always Pete’s task of editing the film in Beacon, New York,” Pete been uncomfortable and ashamed was made vastly more complicated explained. “The children were our of that image, and the Seegers by the fact that the footage was three children, and our niece and wanted to avoid using it if they silent. Leadbelly was filmed play­ nephews.” could. Luckily, they found another ing along with his records, with the Pete’s concert tours also provid­ option. When filmmaker John idea that the recorded song could ed opportunities for filming. A t Cohen told Pete: “Out in Los be inserted as the film’s audio one point during the interview, Angeles I met a man who has some track. The challenge was to syn- Winter/Spring 2006 5 Just before he left, H o o t e n a n n y offered him a spot if he would sign a loyalty oath. “Dear ABC,” he replied brusquely: “I just finished a seven- year court battle to prove the principle that such oaths are unconstitutional, and I was acquitted and vindicated.” Next to this he noted: “Release after departure” and “Leave country with - out a stir.”

Pete and Toshi, along with chil­ dren Danny (16), Mika (14), and Tinya (8), departed around August 20, 1963, and returned around June 5, 1964. Their itinerary was approx­ imately as follows:

August 20, 1963: Leave U.S. West Coast September 9–11, 1963: A m e r i c a n Samoa September 11–22, 1963: Australia September 23–October 11, 1963: Indonesia The Seegers with AFC Staff during the 2006 interview. L–R: Jonathan Gold, October 12–November 20, 1963: Pete Seeger, Guha Shankar, Toshi Seeger, Todd Harvey. Photo: Stephen Japan Winick. Source: American Folklife Center November 21–December 9, 1963: India c h ronize the audio from Lead- edited version of the Sloan and December 12–30, 1963: Kenya and belly’s records with the silent film Chang Leadbelly footage as a sepa­ Tanganyika footage, and at least one profes­ rate film, entitled Three Songs by December 30, 1963–January 9, sional film editor found the task Leadbelly. 1964: Nigeria and Ghana too daunting. Pete sat down in his S ome o f th e mo st in ter e s t i n g January 12–19, 1964: Italy, Austria, barn with his Movieola, a film-edit­ footage in the collection was shot and Switzerland ing machine that cost the consider­ during the Seegers’ 1963–64 world January 19–February 15, 1964: able sum of three thousand dollars. trip, which took them to four conti­ Israel “It took me two weeks,” he remem­ nents. Things had brightened February 16–23, 1964: England bered. “I kept cutting back and somewhat for the Seegers in 1962 March 2–12, 1964: Holland forth, with lots of cuts, so if it when Peter, Paul and Mary had a March 12–17, 1964: Denmark would get a quarter of a second out hit with “If I Had a Hammer,” a March 17–29, 1964: Czechoslovakia of synch, I’d cut it, and get it back song written by Pete with his March 30–April 8, 1964: Poland in synch. Every time I cut, I could Weavers bandmate, Lee Hays. The April 8–May 6, 1964: USSR get it back in synch again . . . . So next year, Pete presided over the May 6–June 5, 1964: England, with those three songs, and Newport Folk Festival and Scotland, and Ireland me singing and talking about swapped topical songs in a June 5, 1964: Return to U.S. Leadbelly, and some still pictures workshop with Bob Dylan. Still, of Leadbelly, came a half-hour the effects of the blacklist contin­ Toshi emphasized during the show.” ued to stymie him. Again and interview that their world trip was The Seegers’ copy of the result­ again television producers of pro­ a working tour. “We sang for our ing program, Two Links of the Chain, grams such as Hootenanny refused supper,” she said. In just over nine can be dated to about 1963. Ironi­ to book him. As a result, the months, the Seegers visited ap­ cally, more than thirty years after Seegers decided to spend the year proximately two dozen countries, Leadbelly’s Hollywood career fiz­ touring internationally and performing, giving press and tele­ zled, Paramount made a biograph­ making ethnographic films in their vision interviews, and shooting ical movie about Leadbelly rather spare time. Dunaway (1981: 217) film footage in many of them. The than John Lomax. In L e a d b e l l y captures the moment: whole family got in on the work; (1976), Roger E. Mosley played the Seegers’ son Danny was the L e a d b e l l y, an d J am e s Bro d h e a d They told the press they wanted to sound engineer, and Tinya carried played a supporting role as Lomax. travel as a family before the kids grew the battery pack. Some of the footage from Two Links too old. Interestingly enough, the bulk The pace of their trip is made of the Chain inspired a scene of of their baggage turned out to be movie clear through correspondence writ­ Mosley playing and singing out­ equipment. They were determined to ten by Pete and Toshi to Sis doors in a straw hat. Subsequently, film folk music in authentic settings, Cunningham and Gordon Friesen, in 1985 Film Images released Pete’s not in front of screaming college kids. the editors of Broadside; the papers 6 Folklife Center News are currently in the possession of music had been broadcast to tens, Ronald Cohen. In a March 18, 1964, p e rhaps hundreds, of millions letter from Prague, Czechoslo­ through television programs and vakia, for example, Pete writes: interviews. And through it all, Pete and Toshi made precious films. At a conference in the hotel lobby Toshi The traditions Pete and Toshi and I find out they plan to keep us documented on their trip include a busy: nine concerts and a radio sympo - wide range of music, song, and sium on folk music, all in ten days. dance from around the world. They want me to do more concerts, There are films of Ghanaian fisher­ because these nine are all sold out, but men singing rowing songs and I have to be firm: if I try too much I’ll Indonesian dancers performing get hoarse. I know from sad experience. court dances. There are also films of important individuals within A few days later (March 22) Pete music traditions, such as Irish fid­ laments a cold, and describes a dler John Doherty and Indian sitar concert: player Imrat Khan—the latter at the very start of an illustrious Last night I had my first concert [in career. There is even footage docu­ Czechoslovakia], with a shaky weak menting the globalization and cre­ voice. Plunged bravely on, with help of olization of folk and popular a very nice woman interpreter. Audi- music, a topic of much concern to ence exceedingly friendly, but very ethnomusicologists today; the best s h y. Like blues especially. Listened example is the Seegers’ footage of politely through my singing of strange the Wagon Aces, a Japanese blue­ and unfamiliar things. Stood clapping grass band. for ten minutes at end. O, maybe Pete Seeger in 1997. Photo: Robert The Seegers continued to make seven. But I was mightily flattered. Corwin. Source: American Folklife films for a brief period after their Maybe partly it was because I was the Center Robert Corwin Collection return to the United States in 1964. first American performer in 18 years The last film in the collection, Afro- to have sung in Brno. But I could not in Yiddish. We got our driver to American Work Songs in a Te x a s get them to open up and really sing. drive up there, and we met a man Prison, was made in 1965 at the who remembered, ‘Yes, this song Texas State Penitentiary in Hunts­ Pete’s concert schedule in the was written in 1926. There were a ville. Toshi was the cinematogra­ USSR during April was similar: lot of young people making up pher. Pete explained that folklorist songs then.’ ” B ruce Jackson arranged for the I’m scheduled for 15 concerts in 5 One highlight of Pete’s trip was Seegers to film. Jackson was con­ cities. They are not sending me as far his attendance at Moscow’s May cerned about the disappearance of east as I hoped, but we will get down to Day parade. In a letter written from work songs in the prison system Tbilisi, in the Caucasus ....Allcon - Moscow, he observed: following a period of automation certs are sold out. A young woman in of many of the tasks once per­ a fur coat stopped me in the lobby of Every single store is closed; in the cen - formed by work gangs. “It was the the concert hall: “Mr. Seeger? Why ter of the city all streets are roped off, last crew that knew how to sing the aren’t you giving more concerts? I and there is not a car to be seen. We old songs,” Pete said. came in from 60 miles, and cannot get have special passes which allow us T h roughout their decade of even one ticket.” I apologize, but can through police lines, and make our way filming Pete and Toshi generally only tell her to check the TV schedule. to Red Square. On the sloping pave - shared the work, but when the long Last night Toshi and I were inter - ment near the Kremlin walls is space hours over an editing machine viewed briefly on the evening news for about 30,000 people to attend. began to take its toll on his eyes, program (60 million viewers, I was Already the square is filled with ten Pete gave up the medium. Later, he told) and I sang three songs. thousand troops at attention. We l l , suggested Toshi preserve her eye­ think I to myself, this is a May Day sight and give it up, too. She Still, the April schedule did parade, all right. A parade to end all agreed. To some extent, Pete said in leave them some time to visit parades. the interview, he re g rets having places they wanted to see, especial­ asked her to stop, since he believes ly those Pete had sung about. One Two years earlier Pete couldn’t she could have been a great film­ such visit occurred on April 21. buy his way onto American televi­ maker had she continued. “We were in Yalta, a vacation spot sion and was indicted by a Of the roughly five hundred and ont heBlackSea...p art oft he C o n g ressional committee for his thirty items in the collection, thus Ukraine,” Pete remembered during political beliefs. During the world far only about forty edited films the AFC interview. “I found that trip he had performed for hun­ have been transferred to a preser­ the town of Dzhankoy was right d reds of thousands of listeners vation format and then to DVD for n e a r. I ’d su n g a s on g ab o u t (one hundred thousand at a single public use—about ten h ours of Dzhankoy for years. It was a song concert in Calcutta), his face and material. These composites are

Winter/Spring 2006 7 the films that the Seegers’ Folklore a n d a c c om p an y i n g a u d i o t a p e s , recent interview will serve as a R es e a r c h F i l m s , F i l m I m a g e s , work prints, negatives, and magnet­ research tool, but it also provides a and other commercial companies ic tracks. They will be processed in glimpse into a lasting partnership. released over the years. These two stages. First, archival staff will The Seegers have been married films, a subset of which was issued rehouse and index the elements at since 1943—more than six decades on VHS and DVD by Stefan Gross­ the same time, determining exactly of professional and personal part­ man in 1996 as A Musical Journey: which reels need to be preserved, nership, of childrearing, family The Films of Pete, Toshi & Dan Seeger, which are copies, etc. Second, all of responsibilities, and intellectual 1957–1964, can be viewed in the the material will be transferred to a interaction. “The last sixty-four Folklife Reading Room. An index to preservation format, and finally to years,” Toshi claimed, “is nothing all films avai lable fo r re f e rence DVD for reference viewing. but being full of ideas.” Pete cor­ v i e w i ng m a y b e obtained by In addition to its ethnographic rected her, saying they had only visiting or contacting the AFC ref­ and ethnomusicological value, the been married sixty-three years. erence desk. film collection sheds new light on Toshi shrugged him off with The remaining elements of the the lives of the Seegers, including characteristic wit: “We must have collection include original footage Pete’s career from 1955 to 1965. The kissed beforehand!”

Society for Ethnomusicology Honors Hickerson and McCulloh

By Judith Gray of archiving con­ temporary mate­ Since 1998, the Societyf or rial for the fu- Ethnomusicology (SEM) has been t u re.” As a per­ awarding Honorary Memberships former himself, to people who, over the years, have he has mined made special contributions to the song traditions life of the Society. At its celebra­ “in order to give tory 50th Anniversary meeting in them back anew Atlanta (November 17–20, 2005), to the communi­ the Society made five such awards. ties in which they Two of the recipients—Joseph C. a rose as well as Hickerson and Judith McCulloh (as to scholars and well as their presenters: Judith the next genera­ Gray and Kay Shelemay)—are peo­ tion of perform­ ple with connections to the ers.” Given Joe’s AFC’s coordinator of reference services, Judith Gray, American Folklife Center, and the thirty-five years presents the encomium for Joseph Hickerson, retired encomiums read in Atlanta high­ of service, he i s head of the Archive of Folk Culture. Photo: Alan Burdette, lighted their ties both to the Society the institutional Source: Society for Ethnomusicology and to the Center. memory of the Judith Gray, AFC’s coordinator Archive. He has also been the face leader of the American Folklife of reference services, presented the of the Archive in exhibition spaces Center at the Library of Congress, a encomium for Joe Hickerson, for SEM, the American Folklore commitment to which she has focusing on his SEM contributions Society, the Folk Alliance, and sis­ given untold hours of service and but also pointing to his invaluable ter organizations, roles that he con­ creative advocacy as a congression­ c a ree r i n t h e A rch i v e o f F ol k tinues to play to some extent in al appointee to that board between Culture: “In 1963 he was hired as a retirement. 1986 and 2004.” reference librarian in the Archive of The encomium for Judith “During recent years, Judy has Folk Song at the Library of McCulloh was presented by Kay continued to help guide the AFC C o n g res s, b e co mi n g i t s e ig h th S h e l e m a y, m em b e r ( 1 99 8 –2 0 04 , through a transition into a new, head in 1974....Andw itha llo f 2006–) and former Chair (2002– expanded role of leadership in his links to scholars, performers, 2004) of the AFC Board of Trustees. American folklife,” Shelemay con­ and the media, to traditional as In her statement, Shelemay said, tinued. “Everyone who values the well as the burgeoning folk revival “Judy McCulloh’s unique contri­ American Folklife Center owes communities, he has been through­ bution to yet another domain, Judy McCulloh their gratitude.” out his career an advocate for beyond her worthy activities in The Center celebrates the archiving, bringing to the attention SEM and her lifelong work as a achievements of Joe Hickerson and of many audiences the treasures to folklorist, editor, and administra­ Judy McCulloh, and takes pleasure be found in archiva l re s o u rc e s tor . . . must be highlighted as well. in the honors given them by the and the need to think in terms Judy McCulloh has been a great Society for Ethnomusicology. 8 Folklife Center News AFC Symposium Celebrates Alan Lomax Legacy in Story and Song

of Lomax’s life when he said, “His greatest legacy will always be his M iss iss ipp i f ie ld re c o rd i n g s . ” Ferris noted the intimate connec­ tion between the national library, with its mission to preserve a record of the history and creativity of the American people, and Lo­ max’s mission to document Ameri­ can and world traditional culture. “Their worlds are inextricably linked,” said Ferris, who is current­ ly professor of history and senior associate director of the Center for the Study of the American South at the University of North Carolina, Chapel Hill, and former chairman of the National Endowment for the Humanities. “The Library was a second home for Alan Lomax and Alan Lomax at Mississippi Festival, 1979. Photo: Bill Ferris. Source: his father, John A. Lomax.” Ferris American Folklife Center compared the Library’s acquiring By James Hardin as in the Caribbean, Great Britain, the Lomax Collection to the acqui­ Ireland, Italy, and Spain. With the sition, in 1815, of Thomas Jeffer­ Alan Lomax had a genius for dis­ material he collected, Lomax pro­ son’s library, and called the two covering genius. In his travels duced folksong anthologies, films, men “icons of American culture.” throughout the United States, the and radio and television programs. “The Library of Congress has legendary American folklorist He developed a system for analyz­ had a long and valued association (1915–2002) met and re c o rded ing and studying folk music and with Alan Lomax,” said Associate blues musicians Son House, Sid dance traditions; and devoted him­ Librarian for Library Services Hemphill, David “Honeyboy” self tirelessly to disseminating the Deanna Marcum, who welcomed Edwards, Muddy Waters, and Big creative work of remarkable per­ symposium participants. Marcum Bill Broonzy. He was the first to formers and cultural communities, noted that Lomax’s lifelong mis­ record Leadbelly, Woody Guthrie, using the latest technologies and sion—to give voice to the world’s and Aunt Molly Jackson. In Wa s h ­ media outlets. many diverse cultural communi­ i n gton, D.C., in 1938, working at On January 18–20, 2006, the ties through the use of the latest the Library of Congress as assis­ American Folklife Center (AFC), in technology—coincides with sever­ t a n t - i n - c h a rg e of th e A rc h ive of cooperation with the Association al recent initiatives of the Library American Folk-Song, he recorded for Cultural Equity in New York of Congress, such as the Global the flamboyant jazz pianist and City (ACE), sponsored a sympo­ Gateways Project, which is provid­ composer Ferdinand “Jelly Roll” sium entitled “The Lomax Legacy: ing access to the Library’s rich Morton. Folklore in a Globalizing Century,” international collections and to the In a career than spanned sixty celebrating the life and work of re s o u rces of other libraries and years, beginning in the 1930s, the Alan Lomax and AFC’s 2004 acqui­ archives throughout the world. indefatigable collector and advo­ sition of the Lomax Collection, a Peggy Bulger, director of the cate for folk culture and expres­ vast quantity of documentary American Folklife Center, said sion, working alone and with his materials Lomax amassed after he the AFC’s acquisition of the Lo­ father, John A. Lomax, his sister left his position at the Library of max Collection “brought together Bess, Zora Neale Hurston, Mary Congress in 1942. under one roof the entire body of Elizabeth Barnicle, John Work, and At the opening session of the Lomax’s work, from the time he others, conducted recording expe­ symposium, keynote speaker Bill began making field expeditions ditions in the United States, as well Ferris introduced the central theme with his father to the end of his

Winter/Spring 2006 9 song and story texts, said Jake Homiak, director of the paying little attention Smithsonian’s Anthropology Col­ to music, dance, or the lection and Archives Program. performers them­ A c c o rding to John Szwed, selves, Lomax fell in “Alan’s entire extraordinary career love with the intense is connected inextricably to his cre­ vitality and creativity ation of recordings.” Field record­ of traditional life and ings had a “spiritual quality” that sought to capture that could not be experienced in field experience in film and notes and written accounts. They recorded sound, both provided liberating outlets for both to preserve it for fu­ performer and collector. In a num­ ture generations and to ber of Lomax’s re c o rdings, for s h a re it with the example, the performers address world. His mission public officials, such as their state was “to get the best governors or President Roosevelt, singers and story­ speaking of their daily lives. tellers, and get them Describing his own work in h e a rd everywhere,” Carriacou, Grenada, Don Hill, pro­ said Robert Baro n , fessor of anthropology at State folklorist at the New University College at Oneonta, York State Council on New York, praised the recordings Symposium keynote speakers John Szwed, of Yale the Arts. “He was big­ Lomax made in the Caribbean in and Columbia universities, and Bill Ferris, of the ger than life,” said Lo­ the 1960s. Lomax “re c o rded the University of North Carolina at Chapel Hill. Photo: max biographer John right people at the right time,” he Stephen Winick. Source: American Folklife Center Szwed, who is profes­ said, for many of the island tradi­ so r of a n th ro p o l o g y tions Lomax captured have now long career.” She explained that the and African American studies at declined. purpose of the symposium was “to Yale University and Louis Arm­ In his keynote address on examine the persistence of past s t rong professor of jazz at January 20, John Szwed raised an folklore scholarship in the present, Columbia University. “He had a o n g oi n g q u e st i on re g a rd in g t h e and the resonance of Alan Lomax’s fan’s passion, even a teenage fan’s publication of field record i n g s pioneering work for scholars to- passion.” when he asked, “Who owns the d a y. ” Sy m p os i u m co or d i n a t o r William Westerman, director of recordings, the performer or the Guha Shankar added that the AFC the Cambodian American Heritage re c o rdist?” AFC director Peggy wanted to find out “who is work­ Museum and Killing Fields Bulger said that the related and ing now in the same arenas where Memorial in Chicago, Illinois, larger question—“Who owns cul­ Lomax worked, and how their underlined Lomax’s concern that ture?”—increasingly confronts in­ work is similar to or diverges from “mass media was supplanting local dividuals and nations today, as his.” music traditions and local voices.” they consider matters of intellectu­ A diverse group of scholars, cul­ According to Robert Baron, Lomax al property rights, ownership and tural workers, and media produc­ b el i eved t ha t a p ro f i t - m o t i v a t e d c o n t rol, un iversal sharing of ers gathered in the Library’s society destro y s Mumford Room on the morning of diverse culture s . January 19, to reflect on Lomax’s L om ax pro d d e d life and work, and discuss their and encouraged own re s e a rch, publications, pro­ folklorists to ductions, and advocacy. Panelists advocate for the discussed the care and manage­ f o l k , p r o v i d e ment of the Lomax Collec­ access to tradi­ tion materials (including issues of tions to a broad p reservation, cataloging, and ac­ au dience , re t u r n cess); intellectual property rights, copies of docu­ with a special emphasis on the mentary material rights of traditional performers to the places of and indigenous communities; origin, and dis­ Lomax’stheoriesofmusic and seminate gener­ dance, which he called cantomet­ ally recordings of rics and choreometrics; and the dis­ traditional cul- Outside the Library’s Mumford Room, on January 19, semination of collection materials t u r e . L o m a x 2006, Anna Lomax Wood, Director of the Association for t h rough radio and television believed in the Cultural Equity; Peggy Bulger, Director of the American broadcasts, published recordings, “ i n h e rent genius Fo l k l i f e C e n t e r; a nd D ea n na M ar cu m , A s s o c i a t e and the Internet. and viability of Librarian for Library Services. All three made presenta- At a time when many folklorists every cultural tions at the symposium. Photo: Stephen Winick. Source: w e re concerned primarily with c o m m u n i t y, ” American Folklife Center 10 Folklife Center News knowledge, and dissemination on the Internet. Preston Hardison, representing the Tulalip Tribes of Washington, warned that some native peoples are not interested in having their culture documented and dissemi­ nated. The concept of property and c u l t u re ow ner ship is foreign to indigenous peoples, who re g a rd themselves as custodians rather than owners. Hardison said that institutions need to establish long- term relationships with tribes and work out mutually agreeable pro­ cedures for using their materials. In addition to the formal sympo­ sium, there were three public events.On January 18,Lomax biographer John Szwed presented a lecture on Jelly Roll Morton in the Coolidge Auditorium, where Lomax interviewed and recorded the great jazz pianist in 1938. Composer and pianist Dave Burrell played examples of Morton’s work, as well as one of his own. Alan Lomax’s image on the screen dominated the room during some presen- Rob Bamberger, host of the pub­ tations. Photo: Stephen Winick. Source: American Folklife Center lic radio program “Hot Jazz S a t u rday Night,” introduced the ditional, African American a cap­ devoted to publishing anthologies lecture-concert. Morton claimed to pella choir, performed in the to ensure that America’s traditional have invented jazz in the early Coolidge Auditorium. Alan Lomax music and songs would not be lost, 1900s, Bamberger said, but at the had re c o rded the sa me church and such publications as American time he met Lomax he was playing organization’s Belleville, Virginia, Ballads and Folk Songs (1934), Our inaUStreetn ightclubi nW ash­ choir in 1960, while making a film Singing Country (1938), and F o l k ington, D.C., and was “isolated in Colonial Williamsburg. Among Song: USA (1946) contributed to musically and historically” fro m the choir members Lomax record­ and provided re s o u rce materials the newer musical styles, such as ed was Solomon Carey, whose chil­ for the folksong revival of the 1950s swing. For him, the recording ses­ d ren, Solomon Carey Jr., A a ro n and 1960s. sion was an opportunity “to set the Carey, and Sabrina Johnson, pre­ At ACE, Lomax continued his record straight” according to his sented several songs in honor of own studies; developed his own view of musical tradition. All their father. One of the Belleville “Global Jukebox,” an interactive nine hours of the historic recording choir member s Lomax re c o rd e d , computer audiovisual system for session are now available in a new, Rhonda Jackson, flew from Alaska studying world music and dance; uncut, unexpurgated release from to attend the concert, and sang sev­ and made arrangements to publish Rounder Records, “Jelly Roll eral songs with the Careys. Also on c o m m e rcial releases of his field Morton: the Complete Library of the program, singing songs from recordings, notably through a 1995 C o n g res s R ec or di n g s b y A l a n the Luso-Hispanic tradition collect­ contract with Rounder Record s . Lomax.” ed during her fieldwork in rural The commercial contracts served At an evening program in the Spain and Portugal, was Judith R. the purpose of dissemination and Mumford Room, filmmaker John Cohen, ethnomusicologist, per­ in addition brought in much-need­ Bishop presented ’Oss ’Oss, We e f o r m e r, a n d p rof e ss or a t Yo r k ed revenue. As Anna Lomax Wood ‘Oss, a film made in 1951 by folk­ University, Toronto. Cohen’s work explained, Alan “got into collabo­ lorist Peter Kennedy about the in Spain today parallels and com­ ration with music publishers . . . to annual May Day celebration in plements Lomax’s field trip in the support his work.” Padstow, England. The film fea­ 1950s. A n d, i n cre a s i n g l y, th a t w or k tured cinematography by George After a peripatetic career of col­ was noticed: New York author, per­ P i c k o w, a n d w a s w ri t te n a n d lecting in the United States and former, and radio producer Henry directed by Alan Lomax. Bishop abroad, Alan Lomax settled in New Sapoznik said that A a ro n also showed a film he made of the York City and, in 1983, founded the Copeland drew inspiration fro m same event in the same Cornish Association for Cultural Equity to Lomax’s field recordings. Goffredo town, fifty years later. preserve, disseminate, and study Plastino, lecturer in ethnomusicol­ On the evening of January 19, folk performance traditions from ogy at the International Centre for the National Chorus of the Church around the world. Both Alan and Music Studies of the University of of God and Saints of Christ, a tra- his father, John A. Lomax, had been Newcastle, United Kingdom, Winter/Spring 2006 11 Acantometrics chart, and timely access, and showing correlations be- work closely with ACE tween singing style and on all matters of mutual sexual behavior in differ- concern and interest. ent communities. Canto- According to the ACE metrics was one of Lo- Website, Alan Lomax m a x ’s m a j o r t h e o r e t i c a l was a controversial and contributions to compar- complex figure in Amer­ ative ethnomusicology. Source: American Folk- ican life, regarded with life Center Alan Lomax a ffection by many, in- Collection. cluding those he record­ ed in the field, resented by others for his occasional high-handedness. Nick Spitzer, host of the public radio program “American Routes,” called him the “gigantic model of the twen­ tieth-century ethnographer,” and said, “it is liberat­ ing to think of the many different roles he played.” In commenting on Lomax’s work as an anthro­ pologist-scholar examining his own materials, film­ maker John Bishop said that Lomax’s enthusiasm sometimes triumphed over the need for detached analysis, that “the scientist clashed with his inner poet.” Bishop displayed the candor and ironic affec­ tion of a family member (he is married to Lomax’s niece) with a final enigmatic characterization: “[Alan Lomax] could be very irritating, but he turns out to be right about most things.”

James Hardin retired from the Library of Congress in 2004. He lives on Capitol Hill. pointed out that they were used in Pier Paolo Pasolini’s 1971 film Il Decameron and, later, in Hollywood films such as The General’s Daughter (1999) and O Brother, Where Art Thou (2000). Today, the Association for Cultural Equity, under the direction of Alan’s daughter, Anna Lomax Wood, carries on Alan Lomax’s mission to further what he called “cultural equity,” the concept that all local and ethnic cultures and traditions should be represented in the media and the schools. As she explained, “Alan Lomax believed in the importance of making sure cultural materials—especially oral cultural materials—would be available to people. [During Alan’s career], we were at a threshold where many of [the cultural expressions that people had developed over many years] were in danger of being flushed away.” Now devoted to her father’s cause, and handling matters per­ taining to licensing the use of materials from the collection, Anna Wood is mindful of her father’s high standards and dedication. “He never felt satisfied with his day’s work,” she said. The American Folklife Center maintains and provides research access to the Alan Lomax Collection—a treasure house of ethnographic documenta­ tion including re c o rdings, manu- Alan Lomax and film- scripts, photographs, films, and maker John Bishop more—the largest of its kind in the editing films, New world. Collection curator To d d York City, probably Harvey says the AFC aims to employ the 1980s. Photo: th e highest stan da rds o f a rc h i v a l F o l k -l o r e F i l m . p reservation and conservation, S o u r c e : A m e r i c a n honor the intellectual property rights F o l k l i f e C e n t e r of the performers, provide consistent Alan Lom a x C o l l e c t i o n . 12 Folklife Center News Alan Lomax (1915–2002)

1915 Born in Austin, Texas. Lomax records 1929-30 After his junior year at Terrill Preparatory School, in Dallas, “Jelly Roll” Morton Texas, transfers to Choate School, in Wallingford, Connecticut. in 1938. 1931–32 Attends Harvard University. 1932 Transfers to University of Texas. 1933 Assists his father, John Avery Lomax, on their first recording field trip for the Library of Congress. 1933–42 Working alone and with his father, as well as with his sister Lomax playing the Bess, Zora Neale Hurston, Mary Elizabeth Barnicle, John guitar in about Work, and others, records folk and traditional music for the 1940 Library of Congress throughout the Southern United States, as well as in New England, Michigan, Wisconsin, New York, Indiana, Ohio, Haiti, and the Bahamas. 1934 Publishes, with John A. Lomax, American Ballads and Folk Songs. 1937–42 Assistant in charge of the Archive of American Folk-Song at Lomax at the type- the Library of Congress. writer in 1942 1938 Records Ferdinand “Jelly Roll” Morton in the Coolidge Auditorium of the Library of Congress; publishes Our Singing Country, with John A. Lomax. 1939–40 Writes and directs “American Folk Songs,” a twenty-six-week survey for the CBS radio series American School of the Air. 1942-46 Serves in the U.S. Army. 1948 Host and writer of On Top of Old Smokey, folk music program Lomax on the air on the Mutual Broadcasting radio network circa 1948 1950–58 While living in England, records the traditional music of England, Scotland, and Ireland. Makes numerous radio and television broadcasts of folk music for the BBC. 1952–53 Records traditional music in Spain. 1954–55 Records traditional music in Italy. 1959 Back in the United States, on a major field trip, records tradi­ S i d H e m p h i l l a n d tions in Virginia, Kentucky, Alabama, Mississippi, Tennessee, Lucius Smith, Sena- Arkansas, and the Georgia Sea Islands. tobia, Mississippi, 1962 On a six-month field trip to the West Indies, records tradition­ 1 9 5 9 . P h o t o : A l a n al music of English-, French-, and Spanish-speaking Lomax Caribbean, as well as of the Hindu community in Trinidad. 1978–85 Makes numerous field trips to Mississippi, Virginia, West Lomax gives a lec- Virginia, North Carolina, South Carolina, Alabama, Louisiana, ture in 1974. Georgia, Arizona, and Brooklyn, New York, to videotape tra­ ditional culture for the PBS television series American Patchwork, broadcast in 1990. 1983 Founds Association for Cultural Equity, which is chartered by the State of New York. 1986 Receives the National Medal of Arts from the National Lomax receives the Endowment for the Arts. National Medal of 1989–94 Develops the “Global Jukebox,” an interactive computer Arts from president audiovisual system for studying the music and dance of the Ronald Reagan. world. 1993 Receives the National Book Award for The Land Where the Blues Began (Pantheon; reissued in 2002 by the New Press), an account of his work in the South from the 1930s to the Lomax and his 1980s. daughter Anna at 2000 Named a “Living Legend” by the Librarian of Congress. the Library of Con- 2002 Dies in Holiday, Florida, at the age of 87. gress in 2000. Photo: James Hardin Jelly Roll Morton photo courtesy of Rounder Records All other photos are from the American Folklife Center Alan Lomax Collection Winter/Spring 2006 13 Ethnic and Regional Music and Jefferson Building of the Library of Christman—Blues Guitar fro m Dance Concerts from the Library of Congress, 10 First St. S.E., Wash­ Mississippi Congress ington, D.C. The closest Metro stops are Capitol South (blue and Sprinkled with stories about life in Each year, the Homegrown concert orange lines) and Union Station the Mississippi Delta, the music of series presents the very best of tra­ (red line). James "Super Chikan" Johnson has ditional music and dance from a been heard from Rovigo, Italy, to variety of folk cultures thriving in April 12: David and Levon Russia, from Dakar, Senegal, to the United States. To make sure we Ayriyan—Armenian music fro m Dayton, Ohio. An energetic and are presenting the very best artists Rhode Island exciting performer in the Delta f rom all regions of the country, blues tradition, he offers a variety AFC works closely with state folk­ David Ayriyan is the inheritor of a of original and traditional music, lorists in each state, who advise us long family tradition in music. He spanning the blues spectrum from on artists and styles of perform­ learned to play the violin and the country to contemporary. Per­ ance that are important in their kemancha from his father and from forming solo or with his band, regions. The performances are doc­ such illustrious masters as Nefton “The Fighting Cocks,” Johnson umented and become part of the Gregorian. Mr. Ayriyan is a true gives memorable performances to permanent collections of the Li­ master with an impressive list of audiences from juke joints to ele­ brary of Congress for future gener­ performances both as a soloist and mentary schools. His debut album, ations to enjoy and study. The con­ as an instrumentalist with interna­ Blues Come Home to Roost, received certs are held once a month from tional symphony orchestras. His wide critical acclaim, including April through November; this astounding playing never ceases to t h ree Handy Aw a rds. He has year’s concerts are listed below. All e n th ra ll a u di e n ce s . Mr. Ay i r i a n released three CDs and was a 2004 concerts are free of charge and plays Armenian dance music, and recipient of the Governor's Award require no tickets for admission. will be accompanied by his son on for Excellence in the Arts. Concerts will be presented from the dumbek, a Middle Eastern noon to 1 P.M.int heT homas drum. The kemancha is one of the June 21: The River Boys Polka oldest stringed Band—Dutch Hop Polka music i n s t ru m en t s f ro m from Nebraska theMiddleEast. Played in ancient Robert Schmer (accordion), Dave Persia, it has con­ Beitz (hammered dulcimer), Jerry tinued to be used H e r g e n re d er ( tro mb on e , voc a ls ), for both classical and Steve Deines (bass, vocals) and popular reper­ make up the River Boys Polka toires in such areas Band. They have played traditional as Armenia and Dutch Hop dance music together Azerbaijan. It is a for ten years. All four have per­ t h ree-stringed or formed at traditional weddings, f o u r - s t r i n g e d anniversaries, and other German i n s t rument played Russian celebrations for thirty-five with a bow, held years or more in various groups. upright like a cello. The term “Dutch Hop” can be used generically to describe all of the May 23: J a m e s traditional dance music of the James “Super Chikan” Johnson. Source: Mississippi “Super Chikan” John­ Germans from Russia in Nebraska, Arts Commission son and Richard eastern Colorado, and Wyoming. 14 Folklife Center News wooden instruments. Born October 18: Sonny Burgess and the in Atapeu in southern Pacers—Rockabilly music fro m Laos, Inpanh moved to Arkansas Vientiane, the capital, at the age of ten. He and his Sonny Burgess’s music spans five family fled Laos in 1979 decades of airplay, concerts, dance for a refugee camp in parties, and radio shows. An origi­ Thailand, and on April 17, nal re c o rding artist with Sun 1980, Inpanh came to Des records, he recorded classic songs Moines, IA. such as “Red Headed Woman” and “We Wanna Boogie” in the style August 16: Mary Louise now known as Rockabilly. Defender Wilson and Rockabilly is an exciting blend of Keith Bear—Sioux and the blues, country, and gospel, and Mandan Hidatsa story­ was an important building block of telling and music fro m 1950s Rock and Roll. Burgess and North Dakota fellow band members put on a famously energetic rock and roll Mary Louise Defender s h o w, originally in their home Wilson, also known by her region of northeastern Arkansas. In Dakotah name, Gourd the 1950s they joined Elvis Presley, Wo m a n - Wa g m u h a w i n Carl Perkins, Billy Lee Riley, (wha’ gmoo ha wi’), was Charlie Rich, Johnny Cash, and The Gannon Family. born in 1930 on the many others on regional tours in Standing Rock (Sioux) local school gyms, promoting their However, specifically, Dutch Hop Indian Reservation of releases on Sun Records. Sonny is the name for a unique, quick- North Dakota. She has spent a life­ B u rgess and the Pacers were tempo polka dance that includes a time telling stories and performing known not only for their music, but slight hop not present in the polkas songs and dances about the life, for their acrobatic stage shows. of other ethnic traditions. This hop, land, and legends of the Dakotah They continue to perform regular- and the inclusion of the hammered (Sioux) and Hidatsa people. Mary l y,andwereinductedinto the dulcimer, give the Dutch Hop its Louise first heard these stories at Rockabilly Hall Of Fame in 2002. unique, lilting sound. In addition home from her family, especially to the dulcimer, the other typical her grandfather and her mother. instruments in today’s Dutch Hop November 15: The Gannon bands are piano accordion, trom­ Keith Bear’s name in the Nu E’ta Family—Irish music and dance bone, and electric bass guitar. (Mandan) language means from Missouri Northern Lights, or “He Makes the July 26: Natasinh Dancers and Sky Burn with Great Flame.” A Helen and Patrick Gannon emi­ Musicians—Lao music and dance self-taught flute player, Bear has grated from Ireland in 1967. Since from Iowa been performing since 1986. His then, they have brought traditional critically acclaimed performances Irish music, song, and dance to Music in Laos is ubiquitous. It is include traditional storytelling and thousands of children and families influenced by Indian, Chinese, the sacred Buffalo Dance, a cere­ nationwide. They are also accom­ Khmer, Thai, Hindu, and Buddhist mony which only h o n o red tribal plished teachers, sharing their tra- traditions, and can be heard at m e mbers may per­ Buddhist Temple functions, at ritu­ form. During the als and festivals, and for social summer of 1995, events to accompany sung poetry, Bear made his pro­ dance, and religious rituals. The fessional acting i n s t ruments used to accompany debut in the fea­ and complement classical dance ture film, “Dakota include the lanath (curved wooden Sunrise.” Born and xylophone), lanath oum (bass xylo­ educated in North phone), k h o n g v o n g ( go ng circ l e ) , Dakota, Bear lives khouy (flute), gong (drum), khene on the Fort Ber­ (mouth organ made of bamboo thold Reservation. reeds), and ching (small hand cym­ bals). Inpanh Thavonekham, a 2005 September 20: Master Artist in the Iowa 2006 NEA National Tra di ti o nal A rts A p p re n t i c e s h i p Heritage Fellow—­ Program, plays with the Natasinh TBA musicians, who will accompany the Natasinh dance troupe. He also The River Boys makes a variety of traditional Lao Polka Band. Winter/Spring 2006 15 dition each week with over one Helen became the first commis­ are accomplished on fiddle, con­ hundred current students in the St. sioned Irish Dance teacher in certina, and whistle. Louis Irish Arts school of music, Missouri in 1987. Helen and song, and dance. Their students Patrick’s daughter, Eileen, became Homegrown Concerts are presented by have won over thirty-five all- all-Ireland champion on Irish harp the American Folklife Center of the Ireland Championship medals, and in 2000, and their son Niall won the Library of Congress, in cooperation sixty-six Congressional award senior ensemble (g roupai cheoil) with the Kennedy Center Millennium medals, fourteen of which are gold competition in 2004. Eileen’s hus­ Stage, the Smithsonian Institution’s medals. This concert will present band Kurt plays piano and guitar, Arthur M. Sackler and Freer Gallery t h ree generations of an accom­ and Niall’s wife Gretchen is the of Art, and the Smithsonian Insti- plished musical family. Patrick was family’s singer. Niall and Gre t ­ t u t i o n s ’s N at io n al M us e u m of t he the all-Ireland champion on har­ chen’s daughters, Riley and Fiona, American Indian. monica in 1980 and 1981, and

Remembering Nevada Cattle Rancher Les Stewart By Carl Fleischhauer touches, no arched entry gates, not hot shot [cattle prod]. The chute work even a paved driveway. The old two- is just plain old downright dirty hard Leslie Stewart died at the age of 85 story house and its stand of trees, the old drudgery work, and if you stand on January 28, 2006, near his home stone horse barns, and the gray willow there and tip that chute over all day, in Paradise Valley, Nevada. During corrals are striking, but the com - there’s not much romance in it. But if the Paradise Valley Folklife Project pound's ensemble of widely-spaced you can rope calves, and sometimes (1978–1982), Les was the most buildings make no unified impression. somebody’s horse’ll get mixed up and important person that the Amer­ Buildings are constructed of stone, the horse’ll go to bucking, and some - ican Folklife Center field team wood, sheet metal, painted or unpaint - body’ll get bucked off—there’s even a visited. He ran one of the biggest ed tarpaper, placed somewhat haphaz - little element of danger, people might ranches in the valley, was influen­ ardly as changing needs have dictated. get hurt, and excitement. It’s just a lot tial within the community, and In all these things, Les Stewart is like better way to do it than to make com - provided team members with rich his neighbors. But his fidelity to tradi - plete drudgery out of it. anddetailedinformation about tion and his guarded, somewhat regal regional folklife. temperament set him apart. Les is survived by his wife, the Les lived his entire life on the former Marie Jones, two adopted family ranch in Paradise Valley. In The things we learned from Les daughters, Debbie and Darlene, his German-American grandfa­ have been distilled for the Ameri- and his son Fred. Fred and his wife ther’s day, it was called the William can Memory Website Buckaroos in Kris operate the Ninety-Six today. Stock Farming Company; by the Paradise ( h t t p : / / m e m o r y. l o c . g o v / Their eight-year-old daughter time we visited, it had been a m m e m / n c rh t m l / c rh o m e . h t m l ) . Patrice Marie represents the fifth renamed the Ninety-Six Ranch, There you will find film footage Stock-Stewart generation on the with a brand that consisted of the that Les himself produced from the ranch. numbers 9 and 6. One member of mid-1940s to the 1960s, still photo­ Carl Fleischhauer directed the the team, the photographer and graphs and video footage of work Center’s Paradise Valley Folklife Proj- filmmaker Bill Smock, off e red a on the ranch, and video and audio ect. He currently works in the Li- reminiscence of Les in 1985: recordings of interviews with him. In 1981 we asked Les why he was brary’s Office of Strategic Initiatives. Les Stewart offers a good counter - slow to adopt labor-saving ad­ poise to the Hollywood image of ranch - vances such as the chutes, squeeze ers as courtly men of leisure. Although gates, and calf tables his neighbors he is a wealthy man, at least in terms use to manage cattle and carry out of property, Les Stewart and his family the spring branding: live very simply. Their home is a stan - dard suburban-style “ranch house.” If you’re gonna run cows and have Like his neighbors, Les has always worked a cow ranch, you ought to run cows seven days a week, often prodigiously and have a cow ranch, and do it a- hard, often in bitter weather . . . . Les's horseback and not afoot. And for young everyday attire is, if anything, plainer fellows in the business, it’s a kind of a than that of his hands. This distaste rough, tough, not very exciting busi - for ostentation is characteristic of ness. And some of these things that are Les Stewart in 1980, posing with a Paradise Valley; there are no Cadillacs traditional and are a little more excit - sign made for the “Buckaroos in with longhorn hood ornaments. The ing, a little more action, it takes a little Paradise” exhibit. The sign was not Ninety-Six ranchstead is neither sleek more skill to rope a calf than it takes to used. Photo: Carl Fleischhauer. nor picturesque. There are no Spanish poke one up through the chute with a Source: American Folklife Center 16 Folklife Center News Tell Me ’Bout: AFC Acquires an Important Series of Hooked Rugs By Stephen Winick

The American Folklife Center recently acquired a set of twelve hooked rugs and associated docu­ mentation from Maryland artist Mary Sheppard Burton. Burton is considered one of the world’s fore­ most hooked-rug artisans, and is active in promoting the art form nationally and internationally. Max Allen, founding curator of the Textile Museum of Canada, has called her work “inventive, origi­ nal, astonishingly beautiful, fun, historically significant, and won­ derfully crafted.” AFC dire c t o r Peggy Bulger agrees. “Mary’s rugs are a part of her family and com­ munity history, and are precious beyond their monetary worth,” she said. The set of rugs acquired by the Detail from “Tell Me ’Bout #4: Strawberry Capital of the World.” Photo: Center is a discrete series entitled Stephen Winick. Source: American Folklife Center Tell Me ’Bout. It consists of twelve individual rugs, each hooked on a Mary’s grandmother, Alice had a days. Another detail shows a horse b a cking of tw el v e -t hre a d - c o u n t secret hiding place in a cherry tree, and buggy hurrying to the scene of linen, using hand-dyed strips of where she would retreat to read. an accident, carrying the town doc­ wool. Each rug presents a tableau Mary accompanies this rug with tor, Lawrence Feeney. inspired by a personal narrative the following rhyme: AFC was originally given a sin­ from Burton’s family history. One gle rug in 2004. That rug, “Tell Me rug recounts a tale about a distant Alice had a secret place. ’Bout #7: A Chicken in Every Pot,” ancestor of Burton named Richard ’Twas her special hiding space. depicts Charles Henning Burton Dale (1756–1826), a commodore in She ate sweet cherries and read her (Mary’s husband) as a boy in 1929. the U.S. Navy. Two rugs depict the book, In that year, Charles climbed a tree a d v e n t u res of Burton’s grandfa­ And no one even dared to look . . . on Capitol Hill and, from that van­ ther. Three depict the actions of her ’Twas her SECRET PLACE. tage point, witnessed the inaugura­ mother, and one large rug tells a tion of Herbert Hoover. The rug story about her father. One depicts Another fascinating rug, “Te l l shows Charles in his tree, the U.S. a childhood exploit of her step­ me ’Bout #4: Strawberry Capital of Capitol building, a group of specta­ mother. Two represent the adven­ the World,” depicts a day in the life tors, and a small group of men in tures of her husband, one shows of Pittsville, Maryland, the home­ suits, inaugurating the president. her own story, and one depicts two town of Burton’s father, John At the bottom of the rug are a num­ of her children. The vibrant colors Raymond Sheppard. Sheppard ’ s ber of brightly colored hens and vary from cool blues and whites for general store, the church, the roosters, recalling Hoover’s cam­ winter scenes to bright greens for schoolhouse, the juice factory, and paign promise of “a chicken in summer and reds for fall. the railroad are all featured promi­ every pot.” This piece is currently One of the most poignant rugs, nently. One detail shows a woman on display in the Center’s adminis­ “ Te l l m e ’ Bo u t # 3 : T h e Se cre t showing a hooked rug to a conduc­ trative offices, a fact that pleases Place,” depicts Mary’s mother tor at the train station. Burton Burton considerably. “Having my Alice Phipps Sheppard, who died explains that the figure represents art shown as part of this collection, of tuberculosis when she was a student of Burton’s grandmother, and in this wonderful location, is only thirty-two. A c c o rding to who taught rug-hooking in those one of the greatest honors of my

Winter/Spring 2006 17 life,” she commented. In f rom the Library’s 2006 she expanded the Collections Access, Loan gift to include the other and Management Divi­ eleven rugs. sion, are planning cus- The American Folklife tomized housing for the Center does not typically rugs. “Each rug will be seek to collect artifacts, m e a s u red, weighed , care ­ but Burton’s rugs are fully vacuumed, and especially compelling for inspected for any signs of several reasons. First and insect infestation,” Leigh- most simply, they are ton explained. “Custom- spectacular and colorful ized boxes will then be e xa mp l e s of A m e r i c a n c reated for each rug folk art. They also repre­ based on its weight and sent an unusually effec­ dimensions. Each box tive form of both story- will contain a spindle telling and oral history onto which the rug will documentation. Rather be rolled and suspended. than writing down the Storing the rugs in this oral traditions of her fam­ manner will help to min­ i l y, B u rto n h o ok s h er imize any stretching or family stories into rugs, Preservation Specialist Lisa Moburg vacuums “Tell Me compression of the fabric but the end result is simi­ ’Bout #11: Day’s End on the Sinepuxent Bay.” Photo: over long periods of lar: the stories are told for Stephen Winick. Source: American Folklife Center time.” A c c o rding to c u r rent audiences, and Leighton, the front and preserved for future generations. bedtime,” she remembered. “‘Tell back of each rug will be pho­ “Mary Sheppard Burton is a story­ Me ’Bout’ was a familiar phrase tographed, and the images used to teller, a treasured tradition-bearer during a much loved time in our c reate re f e rence tools for re­ who recounts the history and her­ own lives.” searchers. Researchers will only be itage of rural Maryland in the early The newly acquired rugs pre­ able to view the rugs upon special years of the 20th century,” Bulger sent AFC with many processing request, as they will be transferred explained. “Her stories are told in a and preservation challenges. Pro­ to off-site storage in Fort Meade, tangible, vibrantly visual medium: cessing technician Sarah Bradley Maryland. exquisitely designed and crafted Leighton, conservator Lisa Moberg Plans are also being developed hooked rugs.” f rom th e Li b ra ry ’s P re s e r v a t i o n to display more of the rugs in the This role as a storyteller is one of D i rectorate, and Beatriz Haspo AFC’s main office and in the Burton’s primary Fol klife re a d i n g goals, as she room for limited explained in her periods of time. book A P a s s i o n Leighton and fo r t he C re a t i v e M o b e rg are de­ Life: Textiles to veloping guide­ Lift the Spirit: “I lines that will hope, by putting help AFC dis­ each story into play the ru g s rug form, to cre­ without stre t c h­ ate a continu­ ing the fabric or ing love story exposing the from generations rugs to adverse past that will conditions such n u r t u r e t h o s e as direct sunlight who follow.” Ac­ and temperature c o rding to B u r- fluctuations. By ton, the rugs em­ following these body not only guidelines, A F C her family’s oral will be able to tradition, but also s h a re the full specific acts of beauty of these oral storytelling. rugs with visi­ “My own four tors from across children used to the country and love the time of AFC staff members Ilana Harlow, Jennifer Cutting, and Margaret Kruesi a r o u n d t h e day when we examine one of Mary Sheppard Burton’s hooked rugs. Photo: Stephen world. g a t h e red before Winick. Source: American Folklife Center

18 Folklife Center News Homehammered: a Collection of Woody Guthrie’s Letters Acquired by AFC

By Sarah Bradley Leighton and (Guthrie’s third Todd Harvey wife). In addition to the letters, there are a The American Folklife Center is few pages of lyrics pleased to announce the acquisi­ and verse embel­ tion of the Ken Lindsay Collection lished with draw­ o f Wo od y Gu t h ri e Co rre s p o n ­ ings. dence. The letters in this collection, Ken Lindsay (1923– written in 1952 and 1953, give evi­ 2001) was connected dence of Guthrie’s activities during with the jazz and the last creative period of his life. f ol k m usi c re v i v a l They complement existing hold­ movement of the ings in the Archive of Folk Culture 1950s in the United from and pertaining to the Okla­ Kingdom and made homa-born folksinger. a career of promot­ The new collection contains ing jazz, skiffle, and unpublished correspondence be­ folk music. He initi­ tween Woody Guthrie, his second ated contact with and third wives, and British Guthrie while work­ recording distributor Ken Lindsay. ing as a manager at There are fifteen letters written by The International Lindsay, seven written by Guthrie, Bookshop in Lon­ Woody Guthrie in 1943. Photo: Al Aumuller. Source: two written by Marjorie Mazia don. The first letter, Library of Congress Prints and Photographs (Guthrie’s second wife), and two dated February 15, Division written by Anneke Van Kirk 1952, expresses his company’s desire to hammered, longyshort, lowlyhung re c o rd and distribute progressive poems” typed on the the work of “left” and back of wrapping paper from a “ p ro g ressive” Amer­ local dry cleaner. In one poem, ican musicians and titled “Un Americans,” Guthrie p r o d u c e r s s u c h a s responds to the prevailing political Guthrie and Moses climate when he writes: If there be Asch. Guthrie wel­ any unamericans in this room/ It is comed Lindsay’s inter­ you guys that keep this room going/ est an d the re s u l t i n g For the good of your own paycheck and exchange of letters pocketbook/ That are the unamericans/ included plans for spe­ In my book. cial re c o rdings, radio Later that year, the letters reflect programs, and concert Guthrie’s struggle with family tours. Unfortunately, relationships, alcoholism, and such plans never mate­ Huntington’s chorea, the disease rialized, but the cor­ that caused his death. In a star­ respondence capture s tlingly honest and distressing letter the development of a written on September 30, 1952, special relationship be­ Guthrie admits, “My wild disease tween two men who of alcoholism got so terribly out of had never met. hand that I forsook and forsaken Guthrie’s letters to and tookoff [sic] and left her Lindsay also reveal his [Marjorie] at home here to battle quirky a nd c re a t i v e her wits and senses out to attend to flair during a period of all the needs and comforting of our both professional and three kids [Arlo, Joady, Nora].” He personal challenges. In concedes that his illnesses make his first letter to Lind­ him incapable of being a good say on Tuesday, Febru­ father, but, in true Guthrie form, A Letter from the Ken Lindsay collection. Source: ary 26, 1952, Guthrie uses his personal tragedy to make a American Folklife Center enclosed some “home­ political statement: “I trace and Winter/Spring 2006 19 track all of my disease and 99% of music scene in his newly adopted Found Land (c. 1941). Two pieces of ourm entalb reakdowns...t othe c i t y, the loo min g Sec on d Wo r l d correspondence overlap with the big general bill of our capitalist sys­ War, and his burgeoning care e r. new Lindsay collection, both writ­ tem, anyhow.” The AFC’s holdings, as well as ten from Stetson Kennedy’s trailer Ten years prior, in 1940, Guthrie Guthrie materials located in other located, as Woody puts it, in had relocated to New York City divisions within the Library of “Belutchyhatchee Klannyswamp,” and developed a friendship with C o n g ress, are summarized in a near Jacksonville, Florida. Al a n Lo ma x, th e n A s s i s t a n t - i n ­ finding aid accompanying the During the past two years, then, charge of the Archive of American online presentation (http://memo­ Woody Guthrie holdings at the Folk-Song. As a result of their asso­ r y. l o c . g o v / a m m e m / w w g h t m l / w American Folklife Center have ciation, the Library of Congress has wghome.html). i n c reased significantly, bringing long been a repository of Guthrie In 2003 the AFC and the Alan into greater focus Woody’s life materials such as correspondence, Lomax Archive formalized a coop­ between 1940 and 1953. Along with songbooks, and recordings, includ­ erative agreement that brought the other repositories, notably the ing his historic 1940 Library of original materials in that archive to Woody Guthrie Foundation and Congress sessions. In 2001 the AFC the Library of Congress. Included A r ch iv es i n Ne w Yor k a n d th e la unched an online pre s e n t a t i o n a re approximately six hundred R a l p h R i n zl e r F ol k l i f e A rc h i v e s titled Woody Guthrie and the Archive pages of Woody Guthrie materials, and Collections at the Smithsonian of American Folk Song: Correspon- primarily correspondence and Institution’s Center for Folklife and dence, 1940–1950 that highlights let­ songbooks. Highlights include a Cultural Heritage, we are striving ters between Woody Guthrie and typewritten and hand-colored 1947 to preserve and make publicly staff of the archive. This correspon­ birth announcement for Woody’s accessible materials relating to this dence reveals a young and confi­ son Arlo (see page 21), and an icon of American folksong. dent Guthrie, reflecting on the unpublished songbook titled New

I Go By the Name of Arlo...

By Stephen Winick back. I had doctor Soifer to be my umpire and timeclocker. He said A b i r t h a n n o u n c e me n t f o r A r l o Marjorie and Woody both smiled Guthrie is one of the most whimsi­ all the way out. I got to ride out cal treasures in the Archive of Folk here and back in a big nice Cadilac C u l t u re. Ty ped an d embe ll ishe d Eight limousine which my daddy with fingerpainted lettering by swears he’s going to steal. I just folksinger and songwriter Woody mainly wanted you folks to know Guthrie, it announces the birth of that I run onto our painless trail. his son Arlo, now a well-known I’d like to see every wiggler in this s i n g e r-so ngwr iter himself. The humanly race come out painless announcement is in the form of a and go up painless and come down handmade greeting card, folded in Arlo Guthrie in 1966. Source: painless. It’s fun to be born when half to form a front and back cover American Folklife Center the Watergates are wide open and and a center spread. The front con­ you don’t whang your noggin. sists of stylized fingerpainted line from the baby Arlo, introducing art re p resenting a mother and himself to the Lomaxes. “This is to “I am Painless baby, a greeting to the Lomaxes, serve notice on you Lomaxes,” it Or I was and the name “Arlo Guthrie,” begins. “Alan, Chavella, Little And just hope painted in several different styles Annie Banannie . . . and to let you You world livers and colors. The back consists of the know I made it out. Come the pain­ Will words “Here I Am” in large paint­ less track and foot log. Found it.” It By God ed letters. Both sides bear the date, continues: Help me to and the name “Arlo Guthrie” writ­ “Marjorie smiled all the way Stay ten in Woody’s handwriting. through which gave me more room Painless. Inside the announcement is a to make my jump in. I had to dive typed passage that bears the elder feet first because the Bro o k l y n I go by the name of Arlo.” Guthrie’s characteristic loose Jewish Hospital was so little and so spelling and grammar, and salted noisey and so packed. I come out with a lot of his famous wordplay. weighing seven pounds and after Todd Harvey, a reference librari­ Dated “Tenth of Julio, Nineteen the first three rounds I melted an and folklife specialist at the Forty-Seveno, Brooklyn New down to a few ounces short, but Center, explained the item’s prove­ Yorkio,” the announcement con­ drawed out okay on my next few nance. “The Arlo Guthrie birth sists of a fanciful note, ostensibly hands and won my lost ounces announcement was acquired by 20 Folklife Center News the Folklife Center as part unique, because it’s of the Alan Lomax hand drawn, and be­ Collection, which contains cause it’s addressed to approximately six hundred the Lomaxes, who are pages of Guthrie manu­ as important to folk scripts, primarily corre­ music as the Guthries. spondence and song books,” he said. In March How interesting is 2004, the Center officially this piece? “I would acquired the Alan Lomax place it alongside the c o llection, comprising ma­ field notes Lomax terials Lomax collected made when he first after leaving the Library’s recorded Muddy Wat­ employ in 1942. The pur­ ers,” Harvey said. chase was made through an agreement with Lo­ The item is also a max’s organization the wonderful comple­ Association for Cultural ment to the other Equity, and with the help of The Arlo Guthrie birth announcement. Source: American Guthrie corre s p o n- an anonymous donor. It Folklife Center dence that AFC has was a particularly signifi­ acquired, including the cant acquisition because it allowed Even among the many treasures Ken Lindsay collection described Lomax’s later collections to join the of the Lomax collection, this piece on page 19. Together, these collec­ materials he collected for the stands out. “For an archivist, espe­ tions make AFC a significant Library between 1933 (his first field cially someone interested in folk resource for anyone interested in trip with his father, John A. Lomax) music history, this piece has very understanding this important and 1942, bringing all seventy high intrinsic value,” Harvey ex­ family and its contributions to years of Lomax’s collections under plained. He pointed out that the American folk and popular music. one roof for the first time. value increased because the item is

From Robert Johnson to Texas Swing: AFC Acquires Important Test Pressings

By Michael Taft re c o rding equipment, collecting for internal use by their staff, and the performances of blues and these single stampings were The AFC recently acquired an gospel singers, preachers, tradi­ known as test pressings. In some important collection of rare, mint- tional musicians, early country cases, the only copy extant of a condition recordings of American music artists, and the music of eth­ recording is such a test pressing; in popular music from the pre-World nic groups. Among the artists they other cases, the clearest copy of a War II era. Perhaps the most strik­ found was Robert Johnson, who recording is its test pressing. In all ing elements of this acquisition are was recorded in 1936 and 1937 by cases, the test pressing of a com­ discs by the great blues singer and traveling units of the Columbia mercial 78 rpm is a rare item. composer Robert Johnson. These ( th e n A R C / B r u n sw i ck ) R e cor d The AFC has recently acquired recordings are not the kind found Company, first in San Antonio and 186 one-sided, 78 rpm test press­ in flea markets and old record bins; then in Dallas. In many other cases, ings, all of them in mint condition, they were manufactured especially of course, artists traveled to the from collector and blues enthusiast for non-commercial use, and in the studios of the record companies, To m J a co bso n. Th es e pre s s i n g s case of this collection, they repre­ w h e re their performances were were originally made for Columbia sent the most pristine sound possi­ c a p t u red under more contro l l e d producer Frank Driggs in the late ble from recordings of this era. conditions. 1950s or very early 1960s, when These recordings represent an Whether field or studio record­ Columbia was considering the re­ important development in the his­ ings, these masters were then sent issue of some of its back catalog of tory of the interplay between tradi­ to the record company’s factory, c ount ry a nd blues re c o rd i n g s . tional and commercial music. In where metal copies of them were Shortly afterwards, Columbia and the days when 78 rpm re c o rds made and used to stamp shellac almost all other record companies ruled the commercial music mar­ d is cs fo r co mm e rc i al re l e a s e . abandoned their old stamping ket, record company officials some­ O c c a s i o n a l l y, in a d d iti on to the equipment, and it was no longer times acted like folklorists: they mass production of the re c o rd , possible to make such test press­ traveled around the country with companies stamped just one copy ings.

Winter/Spring 2006 21 Johnson, Blind Willie Johnson, Blind Willie McTell, Memphis Minnie, Little Brother Mont- g o m e r y, S am M on tg o me ry, K i d Prince Moore, Tampa Red, Peetie W h e a t s t r a w, a n d S o n n y Boy Williamson. There are also thirty- six test pressings of the early coun­ tr y mu sic per for mer B ob Wi l l s , who pioneered the Texas swing style of music. Rounding out the acquisition are several of Driggs’s test pressings of blues reissue LPs that were never produced: a blues anthology, Kings of the Blues, and a t h re e - L P se t o f t he c om plet e recordings of Robert Johnson. Since the days of John and Alan Lomax, the Center has had an interest in African American blues, and among the many field record­ Michael Taft, head of the Archive of Folk Culture, displays a Robert Johnson ings in the Archive of Folk Culture, test pressing from the Jacobson collection. Photo: Stephen Winick. Source: there are a number by commercial American Folklife Center blues luminaries, such as Son H o us e , B u k ka W h i te , Wi l l i e Driggs is probably best known important first-person account of M c Tel l , M u ddy Wat e rs, a n d f or p ro du ci n g th e f i rst re i s s u e his recording sessions with Robert Huddie Ledbetter. In fact, the anthology of Robert Johnson’s Johnson. Law’s description of Center already holds a few Robert recordings, King of the Delta Blues, Johnson, who died only a year after Johnson test pressings acquired by in 1961—an LP which proved to be their final session together, is terse Alan Lomax in the 1940s. But the the most influential blues album and poignant: “medium height, scope of this new acquisition of f or m od e rn po p u l ar g ro u p s , w i r y, sl e nd er, n i ce l ook i n g bo y. commercial field and studio test among them the Rolling Stones, Beautiful hands.” The collection pressings adds a further dimension Cream, and Led Zeppelin. Johnson also includes correspondence with to AFC’s collection, highlighting (c. 1911–1938) has since been recog­ blues researcher Mack McCormick the crucial interdependence be­ nized as one of the great geniuses and other Columbia Records docu­ tween traditional and commercial of American music, and his reputa­ ments relating to Johnson. music in the twentieth century. tion as both an innovator of blues Beyond the Johnson material, songs, and a major inspiration for the collection includes another 125 many other musicians, flourished test pressings by blues and gospel only after his premature death. His artists Leroy Carr, Ida Cox, Lil re c o rded re p e r t o i re c onsist s of only twenty-nine songs, which he recorded in 1936 and 1937, five of which were never issued during his short lifetime. The Jacobson acquisition includes twenty-five test pressings of eleven Robert Johnson songs: R a m b l i n ’ o n M y Mind, When You Got a Good Friend (takes 1 and 2), Phonograph Blues (takes 1 and 2), 32–20 Blues, If I had Possession Over Judgment Day, Little Queen of Spades, Drunken Hearted Man, Me and the Devil Blues, Stop Breakin’ Down Blues, Love in Vain, and Milkcow’s Calf Blues. This acquisition also includes c o r respondence between Driggs and Don Law, who originally re c o rded Johnson for Columbia. One document, which takes the form of typewritten questions f rom Driggs and handwritten Victor publicity photo showing Tampa Red and Leroy Carr in the Victor stu- answers from Law, includes Law’s dios in Camden, NJ. Source: Fred Barnum

22 Folklife Center News Still Tending: Tending the Commons Updated

By John Barton have supported a way of life that for many generations has entailed On October 17, 2005, The American hunting, gathering, and subsis­ Folklife Center released an updat­ tence gardening, as well as coal ed version of its American Memory mining and logging, which the presentation, Tending the Commons: community refers to as “timber­ Folklife and Landscape in Southern ing.” The online collection includes West Virginia. The Website is avail­ extensive interviews on native for­ able at the following addre s s : est species and the seasonal round h t t p : / / m e m o r y. l o c . g o v / a m m e m / c o l l e c - of traditional harvesting, including tions/tending/ . beans in the spring; berries and fish New audio recordings and man­ in the summer; and nuts, fruits, uscript items have been added to game, and roots such as ginseng in the Website along with an essay by the fall. It documents community former AFC staff member Mary cultural events such as storytelling, H u ff o rd entitled Landscape and baptisms in the river, cemetery cus­ History at the Headwaters of the Big toms, and the spring "ramp" feasts Coal River Valley. In all, the Website that feature the wild leek native to includ es 71 8 so und re c o rd i n g s , the region. Interpretive texts out­ 1,256 photographs, ten manu­ line the social, historical, economic, At a birthday party in 1997, Dave scripts, and seven essays. environmental, and cultural con­ Bailey holds out Russell Cox’s The presentation documents tra­ texts of community life, while a banjo. This photo is among the ditional uses of the mountains in series of maps and a diagram many items available in the online southern West Virginia’s Big Coal depicting the seasonal round of presentation Tending the Com- River Valley. Functioning as a de community activities provide spe­ mons. Photo: Mary Hufford. Source: f a c t o commons, the mountains cial access to collection materials. American Folklife Center

EDITOR’S NOTE ebrating the nation’s Bicentennial, and Lomax’s pocket.) A recent article on discussions about the richness and diver­ Seeger in the New Yorker, and a recent trib­ In this issue, we celebrate enduring lega­ sity of American history and culture. ute album by Bruce Springsteen, prove cies in our field and in the world. Not The American Folklife Center carries that Seeger’s legacy is being continued by least of these is the legacy of the American out its mission to “preserve and present the next generation of singer-songwriters. Folklife Center itself, which celebrated its American folklife” through programs of Other legacies we remember in this thirtieth anniversary on January 2. On research, documentation, archival preser­ issue include those of Alan Lomax, a cru­ that date in 1976, President Gerald Ford vation, re f e rence service, live perform­ cial figure in the history of the Archive of signed into law the American Folklife ance, exhibition, public programs, and Folk Culture; Woody Guthrie, who along P reservation Act, which created the training. An integral part of the Library of with Lomax, Seeger, and others, is credit­ American Folklife Center. The law defines Congress, the programs of the American ed with starting the “folk revival” of the American folklife as “the traditional Folklife Center and the collections of its 1940s that developed into the “folk boom” expressive culture shared within the vari­ Folk Archive broaden and enrich the his­ of the late 1950s and the “folk scare” of the ous groups in the United States: familial, torical record maintained by our great 60s and 70s; and Robert Johnson, the blues ethnic, occupational, religious, regional,” national library, and frequently serve as singer whose brief recording career has and states that “the diversity inher­ models for national and international influenced generations of pop musicians. ent in American folklife has contributed a rchival practice and public pro g r a m s . Closer to home, we celebrate the enduring g reatly to the cultural richness of the The Archive of Folk Culture, which was legacy of Mary Sheppard Burton, a Nation and has fostered a sense of indi­ established as the Archive of American Maryland artist who creates hooked rugs viduality and identity among the Folk Song in 1928, has an enduring legacy that depict the stories of her family; the American people.” of its own. It was part of the Library’s Center’s guardian angels Joe Hickerson To a large extent, the legislation was Music Division until the creation of the and Judith McCulloh, who were honored sparked by the success of the first Smith­ American Folklife Center gave it a new this year by the Society for Ethnomusi­ sonian Festival of American Folklife, held home and a mission that extends beyond cology; and James Hardin, retired editor on the National Mall in 1967. It owes its the collection and preservation of music to of this publication, who agreed to con­ passage to subsequent efforts by indefati­ encompass all areas of American folklife, tribute a major article—and who even gable cultural specialists and members of including folktales, foodways, oral histo­ helped me with several paragraphs for Congress to create a permanent institution ry, and material culture. this introduction. As I embark on my sec­ in the nation’s capital for celebrating our Our cover features Pete Seeger, who in ond year as editor, it’s good to know he’s diverse regional cultures. It was no coinci­ addition to being half of the filmmaking still on the team! dence that efforts to establish a folk- team celebrated in these pages, is also life center (originally conceived as a folk- referred to by our staff as “the Center’s Stephen D. Winick life “foundation” similar to the Na­ first intern.” (When he worked for the Editor, Folklife Center News tional Endowments for the Arts and Archive of American Folk-Song in 1940, Humanities) coincided with plans for cel- he was paid a modest stipend out of Alan Winter/Spring 2006 23 A detail from “Tell Me ’Bout #3: The Secret Place,” a hooked rug by Mary Sheppard Burton. The rug presents a moment in the life of Burton’s mother, Alice Phipps. As a girl, Phipps loved to climb a cherry tree and read among its branches. The American Folklife Center recently acquired a set of twelve of Burton’s rugs. Read the full story on pages 17–18. Photo: Stephen Winick. Source: American Folklife Center

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