Collection is open for research. Access to original materials in boxes 76-80 is prohibited. Researchers must use digital copies.
Additional materials have been removed from public access pending investigation under the Smithsonian Institution's Ethical Returns and Shared Stewardship Policy.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Robert "Mack" McCormick Collection, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Digitization of Series 1: Photographic Negatives, Photographs, and Slides was made possible by Andrew and Anya Shiva.
Side A: Pee Wee Maddux interview, July 9, 1977; John Wiley interview, July 9, 1977; and Corrine Forsyth Harter interview, undated.
Side B: Jose Morante interview, July 10, 1977; and Leo Raley interview, August 15, 1977.
Side A: Pee Wee Maddux interview, July 9, 1977.
McCormick conducts telephone interview with Pee Wee Maddux (Murphy Monroe Maddux Jr.) songwriter, steel guitarist, fiddler, and guitarist for his research with the Library of Congress. Born October 1923, Maddux sings songs that he learned from his mother as a child, discusses the lyrics of the songs and their significance, and expresses the desire to do research on Cajun music in Lafayette and Breaux Bridge, Louisiana. Maddux states he believes the ideas, melodies, and lyrics of American songs originated in Ireland, England, and France.
John Wiley interview, July 9, 1977.
McCormick conducts telephone interview with Wiley in reference to his work with the Library of Congress (LC) and the recording of a song relating to the Wreck of 97. The Library of Congress (LC) was releasing a recording of the song about the event which had never been heard. Wiley, born November 1886 near Chatham, recounts the events as he saw it. He states that himself and Ethel Foust are the only eyewitnesses to the event. McCormick is fact checking a story that came out about him.
Corrine Forsyth Harter interview, undated.
McCormick conducts telephone interview with Forsyth Harter in reference to his work with the Library of Congress (LC) which is including the song Mountain Meadow Massacre sang by George Harder in an anthology. McCormick is writing the notes for the song and gathering information relating to George Harder. Forsyth Harter is the daughter-in-law of Harder and she informs McCormick that Harder never joined the Mormon church and that he learned the song in Utah. It is a song, according to Forsyth Harter, about Native Americans attacking and killing people living on a ranch owned by her uncle Thomas Forsyth.
Side B: Jose Morante, interview July 10, 1977.
McCormick conducts telephone interview with Morante as part of his work for the Library of Congress (LC). He is writing the liner notes for an album about death and tragedy. Morante's
song about the death of Kennedy, which is sang in Spanish, is included in the anthology. Morante is one of the singers and gives McCormick the names of the other singers and musicians. According to Morante the song was recorded in San Antonio, Texas about two weeks after JKF was assassinated.
Leo Raley, interview, August 15, 1977.
McCormick conducts telephone interview with Raley in reference to the recording Graveyard Blues. The song is sang by Raley and recorded by Bob Dunn for Decca Records. Raley, born in Hubbard, Texas on April 1, 1913, discusses his work with Bob Dunn. He also converses about his performances with the Alabama Boys and the Floyd Tillman band. Early in his musical career the guitar was the first instrument he played; he performed in black face; and travelled, played, and peddled medicine with the Dr. Scott medicine show. In addition, he discusses other Texas musicians, playing on KXYZ radio, and managing the Plantation Club and Palatium Club.
Collection Restrictions:
Collection is open for research. Access to original materials in boxes 76-80 is prohibited. Researchers must use digital copies.
Additional materials have been removed from public access pending investigation under the Smithsonian Institution's Ethical Returns and Shared Stewardship Policy.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Robert "Mack" McCormick Collection, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Digitization of Series 1: Photographic Negatives, Photographs, and Slides was made possible by Andrew and Anya Shiva.
Fred Bacon--Ghost dance--West lawn pollka--unk; Cajun tunes; Pugh and Lacy--Red wing--Harmonica tunes--Turkey in the straw; Sanford Rich--Leather britches--Square dance; John Lomax--Dink's song; Sanford Rich--Arkansas traveler; Alice and Johnnie--Dickman's song--Swing low sweet chariot--Down the Street We Hold Our Demonstration--Study war no more--Rock a bye baby--Marching all around
Track Information:
101 Ghost Dance / Fred Bacon. Banjo.
102 West Lawn Polka / Fred Bacon. Banjo.
103 Unknown.
104 Cajun Tunes.
105 Red Wing / Doyle Pugh, Willard Lacy. Harmonica.
105 Turkey in the Straw / Doyle Pugh, Willard Lacy. Harmonica.
106 Leather Britches / Sanford Rich.
107 Square Dance / Sanford Rich.
109 Dink's Song / John Avery Lomax.
110 Arkansas Traveler / Sanford Rich.
111 Dickman's Song / Alice and Johnnie (Musical group).
112 Swing Low Sweet Chariot / Alice and Johnnie (Musical group).
113 Down the Street We Hold Our Demonstration / Alice and Johnnie (Musical group).
114 Study War No More (Down by the Riverside) / Alice and Johnnie (Musical group).
115 Rock A Bye, Baby (Union) / Alice and Johnnie (Musical group).
116 Marching All Around / Alice and Johnnie (Musical group).
Local Numbers:
FW-ASCH-7RR-0806
Date/Time and Place of an Event Note:
Recorded in: Saint Louis (Mo.), Missouri, Washington (D.C.), Arthurdale (W. Va.), United States, West Virginia.
General:
REEL 28; CDR copy
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
101 Weave Room Blues / Dixon Brothers. Guitar. English language.
102 Sleep On, Mother, Sleep On / Lonnie McIntorsh. Guitar. English language.
103 The Death of Leroy Carr / Bumble Bee Slim. Piano. English language.
104 Gold Daddy Blues / Gertrude Perkins. English language.
105 Jazzbo Stomp / Memphis Jug Band. Guitar,Jug. English language.
106 Te Ma Leesa Jolie Blonde / Miller's Merrymakers. Fiddle,Accordion. French language.
107 La Two-Step A Erby / Thibodeaux Boys. Fiddle,Accordion. French language.
Local Numbers:
FW-ASCH-10RR-3128
General:
Potentially the "real" missing fourth volume to Harry Smith's Anthology of American Folk Music. 78s sides from 1928-1936. At Smith's memorial, it was joked we are still waiting on the 4th volume. Notes in box indicate these tapes were compiled by Moe Asch, Sam charters, and Harry Smith, though without dates. Various interviews with Asch, Smith, and John Cohen claim the project was scrapped because Asch "did not have the documentation" and Harry "wanted to do more content analysis" but lost interest and many of his original working notes, and sold much of his own 78 collection to the New York Public Library. A "Volume 4" (2012) was put out by Revenant (RVN 211) in accordance with the Harry Smith Archives, it is unclear how they chose songs, supposedly compiled contemporaneously with the first three volumes, but it shares only a few artists and none of the songs found on this version, and none of Smith's unique graphics and descriptions, and Dick Spottswood claims no song titles or topical hints were known other than the Carter's "I am a Stranger Here" which does not appear in this collection. This series is likely what Asch referred to in 1972 when he said he had tapes of volume 4, and even a volume 5. Spottswood also mentions that a tape of 78s had been made. What seems to make this the "genuine" 4th volume is Smith's claim that "the problems involved in those interrelationships (shown in the original Anthology) have been solved since then, so there is no reason to bring those records out, they aren't as relevant." This series seems to be a more recent effort by Smith, Charters, and Asch to show new sets ethnomusicological interrelationships relevant to the cultural and scholarly problems of the 1960s. With newly available info on these 78s, it seems a viable project for Folkways to complete.
CDR copy
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Colinda (Cheese Read)--Tu peux cogner (Mrs. Odeus Gullory)--Grand Texas (Chuck Guillory)--unk--Contredanse de Mamou--T es petit mais t'es mignonne (Cheese Read)--Le danse de Mardi Gras-- unk--Le patate chaude (Mrs. Rodney Fruge)--Je charche tout partout (Cheese Read)--Saute crapeau (Isom Fontenot)--unk--Sugarfoot rag--Beaumont rag-- unk--unk
Local Numbers:
FW-ASCH-7RR-4191
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Child singing--Allons y Lafayette--Billy Boy--others
Local Numbers:
FW-ASCH-7RR-1102
General:
CDR copy
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Une livre de tabac --Tu peux cogner --Ah mon beau chàteau --Mon cherri berber crerole --C'est aujourd'hui la fète du village --Jolie blonde --La valse du dimanche aprers-midi --La porte de la prison et walk it to me --Pain de mai.s --Quoi faire? samedi soir et bonsoir Moreau --Les haricots sont pas salers -- Mamade Bosso --J'ertais au bal --Les maringouins -- Bosco stomp.
Local Numbers:
FW-ASCH-LP-0716
Expression Spontan‚e.17
Publication, Distribution, Etc. (Imprint):
Expression Spontanée 197x
General:
Chansons et musique instrumentale: divers interprertes. Paroles et notes biographiques imprimeres ar l'interrieur du conteneur. Production notes: Enregistré en Louisiane en 1972 et 1973
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
124 Swimmy Swim (ACT-062) / Woody Guthrie. Guitar. English language.
125 Poor Boy (ACT-064) / Woody Guthrie. Guitar. English language.
126 Put Your Finger in the Air (ACT-065) / Woody Guthrie. Guitar. English language.
127 Dance Around (ACT-065) / Woody Guthrie. Guitar. English language.
129 Wake Up (ACT-065) / Woody Guthrie. Guitar. English language.
131 Clean-O (ACT-065) / Woody Guthrie. Guitar. English language.
132 Put Your Finger in the Air (ACT-066) / Woody Guthrie. Guitar. English language.
133 Dance Around (ACT-066) / Woody Guthrie. Guitar. English language.
134 Wake Up (ACT-066) / Woody Guthrie. Guitar. English language.
135 Clean-O (ACT-066) / Woody Guthrie. Guitar. English language.
136 Songaree (ACT-067) / Cisco Houston. Guitar. English language.
138 Miner's Song (ACT-069) / Woody Guthrie. Guitar. English language.
139 Put Your Finger in the Air (ACT-071) / Woody Guthrie. Guitar. English language.
Local Numbers:
FP-CDR-0188-7
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only; No duplication.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
Events in the Louisiana program at the Festival spoke to the context created by the unique history and geography of that part of the continent, where rich forms of creolization, or cultural mixture, have flourished. Creative blending of cultural aesthetics and repertoires has also occurred in other places in our country, but in few places to as great an extent and with the public vitality of the traditional cultures of Louisiana. To hear the diversity of musical styles, to see the varied dance and craft traditions, and to taste the renowned foods of the region should all lead one to reflect on the social and environmental conditions that brought Africans, American Indians, Anglo Americans, French, Spanish and other groups together in ways that led to the rich mixtures of language and culture distinctive of "The Creole State."
The Louisiana program at the Festival of American Folklife presented the best of traditional life to show how folk cultural resources can help sustain the State in the future if properly encouraged. Previous festivals showed Louisiana folk culture primarily in terms of Cajun and New Orleans musical traditions. The 1985 Festival attempted to correct this imbalance by presenting the traditions of the entire State: south Louisiana, north Louisiana, the Florida Parishes and New Orleans
Perhaps because Louisiana as a whole still speaks with diverse and contrasting voices of tradition, the State was just beginning to recognize and support programs that conserve and promote its folk cultures at the time of the Festival. In 1985 the legislature in Baton Rouge was considering first-time funding for the Louisiana Folklife Program. The efforts of the Smithsonian Institution and other groups over the preceding 20 years through fieldwork, sound recordings and festival presentation had done much to assist the conservation and renaissance of Cajun culture. Those presenting New Orleans culture had long emphasized tourist promotion but with less attention to the conservation of what some have called "the cultural wetlands" of the city, that is, its root traditions and communities. But the cultures of the Florida Parishes and north Louisiana had remained virtually ignored until quite recently. Festival planners hoped that the celebratory mingling of all the regions and cultures of Louisiana at the 1985 Festival would bring them their due applause that could be heard back home.
Susan Levitas and Larry Deemer served as Louisiana Program Coordinators, with Kate Porterfield as Assistant Coordinator, and Nicholas Spitzer as Consultant.
The Louisiana program was made possible by the Louisiana Department of Culture, Recreation, and Tourism through the Louisiana Office of Tourism and private donations through the Louisiana Heritage Foundation.
Fieldworkers:
Barry Ancelet, Ray Brassieur, Joel Gardner, H.F. Gregory, Joyce Jackson, Allison Kaslow, Ulysses Ricard, Jr., Susan Roach-Lankford, Nicholas Spitzer
Foodways fieldworkers
Ulysses S. Ricard, Jr., Susan Roach-Lankford, Nicholas Spitzer
Presenters:
Barry Ancelet, Ifama Arsan, Maida Bergeron, Ray Brassieur, Joel Gardner, Joyce Jackson, Allison Kaslow, Sue Manos Nahwooksy, Ulysses Ricard, Susan Roach-Lankford, Kalamu ya Salaam, Nicholas Spitzer
Foodways presenters
Ulysses S. Ricard, Jr., Susan Roach-Lankford
Participants:
Crafts
Bel Abbey, blowgun, toy maker, Elton
David Allen, 1925-, walking stick maker, Homer
Rosie Lee Allen, 1929-, quilter, Homer
Barry Barth, float builder, New Orleans
Joseph Barth, III, 1951-, float builder, New Orleans
Tana Barth, float builder, New Orleans
Marjorie Wilma Battise, 1942-, pine straw basket maker, Elton
Hezekiah and the Houserockers, -- river blues -- Hezekiah and the Houserockers, river bluesJames Baker, guitar player, St. JosephHezekiah Early, 1934-, drums, harmonica player, vocalist, Natchez, MississippiPee Wee Whittaker, trombone player, Ferriday
The Ott Family, -- urban gospel -- The Ott Family, urban gospelE. L. Ott, 1936-, second lead, AvondaleElijah Ott, 1963-, tenor, AvondaleJerry Ott, Sr., 1943-, alto, MetairiePatricia Ann Roberts Ott, 1964-, tenor, soprano, AvondalePurvis Lorenzo Ott, 1961-, alto, AvondaleSolomon Ott, 1957-, bass, Avondale
St. Landry Playboys, -- zydeco music -- St. Landry Playboys, zydeco musicCalvin Carrière, fiddle player, OpelousasPhillip Carrière, drummer, OpelousasJ.C. Gallow, 1944-, frottoir player, MamouR.L. Joubert, 1935-, guitar player, OpelousasNolton Semien, 1939-, accordion player, Church Point
White Cloud Hunters, -- Mardi Gras Indians -- White Cloud Hunters, Mardi Gras IndiansCharles Taylor, 1954-, "Chief", New OrleansKeith Barnes, 1956-, "Spyboy", New OrleansTony Guy, 1969-, "Lil' Chief", New OrleansGeorge Harden, 1955-, "Flagboy", New Orleans Lionel Oubichon, "Uncle Bird", 1925-1995, New OrleansAlbert Richardson, "Al", 1913-, New Orleans
Young Tuxedo Brass, -- New Orleans jazz -- Young Tuxedo Brass, New Orleans jazzCharles Barbarin, bass drum player, New OrleansLucien Barbarin, 1956-, tuba player, New OrleansDavid Grillier, tenor saxophone player, New OrleansScotty Hill, trombone player, New OrleansAwood Johnson, trombone player, New OrleansGreg Stafford, coronet player, New OrleansJoseph Torregano, clarinet player, New OrleansMichael White, clarinet player, New Orleans
Zion Travelers, -- old-time gospel -- Zion Travelers, old-time gospelAdo Dyson, 1926-2005, first tenor, Baton RougeJames Harvey, 1937-, baritone, Baton RougeJoel Harvey, 1913-1991, bass, Baton RougeRobert McKinnis, 1953-, first tenor, Baton RougeBurnell James Offlee, second tenor, lead, Baton Rouge
Oliver Anderson, 1926-1986, tap dancer, parade marshal, New Orleans
Curt Blackwell, old-time fiddler, Covington
Clifford Blake, cotton press caller, Natchitoches
Thomas Edison "Brownie" Ford, cowboy skills, ballads singer, Hebert
Pleasant "Cousin" Joseph, old-time blues piano player, New Orleans
Issac Mason, tap dancer, New Orleans
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 1985 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
Cultural Conservation was identified by the Smithsonian as a scientific and humanistic concern for the continued survival of the world's traditional cultures. Like its sister concept, environmental conservation, it grew from several related insights of scientists and humanists over the preceding quarter century.
First, living individuals and groups exist within ever-widening webs of relationships that form systems. The concept of ecosystem, for example, has helped us to understand interrelationships between natural species and to devise strategies for conserving threatened parts of our environment. In the understanding of traditional cultures as well we are learning to look at larger economic, political and social contexts as elements in systems of which traditional cultures are also parts. Seeing them in these larger contexts allows planning for their continued vitality.
Second, the world's resources are limited, not unlimited. When cultures die, because their practitioners die or are forced or induced to give up their culture, great resources of understanding are lost. We all lose evidence of the variety of human cultural possibilities. Lost as well is native peoples' knowledge of their environment, based on intimate, painstaking observations compiled over generations - knowledge that may provide crucial information about managing ecosystems and the uses of particular plants. And aesthetic systems as complex and meaningful as any in humankind perish or leave artifacts devoid of their original meanings.
But more importantly, the people whose cultures are defaced, if they remain alive, lose the essential human tool for comprehending and coping with the world, for understanding and integrating their lives, and for orienting and raising their children. The effects of their loss - social dysfunction and alienation - may last for generations.
Finally, the Smithsonian has come to understand that it is possible to foster the continued vitality of "endangered species" - natural or cultural - without dismantling or derailing national and international economic, political and social institutions. Conservation can be made part of development plans. In the cultural sphere, this enables the bearers of traditional culture themselves to adapt their ideas and actions to a changing environment. They have done this when necessary for hundreds of years, within the context of their own cultural thought, on their own terms.
Cultural conservation had been an underlying, if implicit, principle of the Festival of American Folklife since its beginning in 1967. In 1985 the Festival inaugurated a program that explicitly explored the question of cultural conservation from several points of view. The exhibit examined the kinds of contexts in which cultural conservation becomes a necessary concern; it documented efforts on the part of the keepers of tradition themselves to conserve their own culture in the face of a changing social and physical environment; and it explored the efforts of U.S. public cultural institutions to address the problem of cultural conservation. Festival visitors were invited to participate in and comment on the exhibit, the performances by keepers of these valued traditions, and the discussions of various aspects of this important topic.
Marjorie Hunt served as Cultural Conservation Program Coordinator, and Ann Dancy as Assistant Coordinator.
Consultants and fieldworkers:
Consultants
George Abrams, Greig Arnold, Duncan Earle, Alicia María González, Rayna Green, Bess Hawes, Glenn Hinson, Stephanie Honeywood, Alan Jabbour, Robert Laughlin, Dorothy Sara Lee, Maxine Miska, Emily Norton, Frank Proschan, Bernice Reagon, Daniel Sheehy, Nicholas Spitzer, Nancy Sweezy, Ken Taylor, Bob Teske, Terry Zug
Fieldworkers
Roland Freeman, Marjorie Hunt, Yvonne Lockwood, Frank Proschan
Foodways fieldworkers
Olivia Cadaval, Yuet-fung Ho, Janet Theophano
Presenters:
Morrie Abrams, Barry Ancelet, Greig Arnold, Hal Cannon, Walter Murray Chiesa, Duncan Earle, Alicia María González, Rayna Green, Glenn Hinson Louise Jeffredo, Dorothy Sara Lee, Phyllis May, Mick Moloney, Barry Lee Pearson, Frank Proschan, Daniel Sheehy, Nicholas Spitzer, John Vlach
Foodways presenters
Cheryl Brauner, Olivia Cadaval, Alicia María González, Laurie Kalb, Tim Lloyd, Frank Proschan, Janet Theophano
Participants:
Crafts
Greig Arnold, 1951-, Makah woodcarver, Neah Bay, Washington
Miguel Caraballo, Sr., mask maker, Ponce, Puerto Rico
Miguel Caraballo, Jr., mask maker, Ponce, Puerto Rico
Greg Colfax, Makah woodcarver, Neah Bay, Washington
Lorenzo Martinez, violin player, Albuquerque, New Mexico
Robert D. Martinez, 1963-, guitar player, Albuquerque, New Mexico
Roberto Martinez, 1929-, vihuelaplayer, Albuquerque, New Mexico
Mayan Marimba Music
Jeronimo Composeco, Indiantown, Florida
Pedro Diaz, Willingboro, New Jersey
Pedro Franciso, Indiantown, Florida
Juan Gaspar, Indiantown, Florida
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 1985 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
The kings of Cajun music perform waltzes, two-steps, songs, and Zydeco assisted by a new accordionist and the extra energy of a bass guitar, as well as the ongoing commentary of fiddling great Michael Doucet.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Copyright restrictions; may not be copied. Must contact Kentucky Center for the Arts.
Collection Citation:
Lonesome Pine Specials, 1986-1991, Archives Center, National Museum of American History.