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.
What month was Jesus born in? / Odetta --Money crop / Malvina Reynolds --Legend of a girl child Linda / Joan Baez, Judy Collins, and Mimi Farina --Universal soldier / Buffy Sainte-Marie --La Colombe / Judy Collins --To my countrymen / Viveca Lindfors --Vido, vido / The Pennywhistlers --Masters of war / Barbara Dane --Janey's blues / Janis Ian --Pans of biscuits / Hedy West --Oh, had I a golden thread / Joan Baez and Judy Collins.
Track Information:
101 What Month Was Jesus Born In? / Odetta. English language.
102 Money Crop / Malvina Reynolds. Guitar. English language.
103 Legend of a Girl Child Linda / Joan Baez, Judy Collins, Mimi Fariña. Guitar. English language.
104 Universal Soldier / Buffy Sainte-Marie. Guitar. English language.
105 La Colombe / Judy Collins. Guitar. Spanish language.
201 To My Countrymen / Viveca Lindfors. English language.
202 Vido, Vido / Pennywhistlers (Musical group). Bulgarian language.
203 Masters of War / Barbara Dane. Guitar. English language.
204 Janey's Blues / Janis Ian. Guitar. English language.
205 Pans of Biscuits / Hedy West. Guitar. English language.
206 Oh, Had I a Golden Thread / Joan Baez, Judy Collins. Guitar. English language.
Local Numbers:
FW-ASCH-LP-3026
Women Strike for Peace.001
Publication, Distribution, Etc. (Imprint):
Women Strike 1967
General:
Judy Collins and Ethel Raim Dunson, producers for Women Strike for Peace; production, Ed Berger and Mary Clarke.
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.
Come by here., Freedom is a constant struggle., Go tell it on the mountain.--It isn't nice., You got to reap what you sow., You just can't make it by yourself., Pack up your sorrows., I am a weary and a lonesome traveller., We'll never turn back., Come by here.,
Local Numbers:
FW-ASCH-7RR-2097
General:
Folkways 2468
CDR copy--Principally Negro freedom songs; sung and played by Babara Dane and the Chambers Brothers.
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.
Come by here--Freedom is a constant struggle--Go tell it on the mountain--We'll never turn back--Ii isn't nice (2x)
Local Numbers:
FW-ASCH-7RR-2184
General:
Folkways 2468
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.
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.
Barry and Gorman--Dwyers hornppipe--Still I love him--Paddy Ryan's--Interview--Her mantle was so green--Interview--Down by the glenside/ Interview--Blarney Stone--Cottage with the horseshoe--Interview--Hornpipe
Local Numbers:
FW-ASCH-10RR-3224
Date/Time and Place of an Event Note:
Recorded in: United States, New York (N.Y.), September 15, 1965.
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.
Dink's song--Victim to the blues--You don't know me--Way behind the sun
Local Numbers:
FW-ASCH-7RR-5029
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.
The Paredon Records audiorecordings consist of all 50 of the recordings released by Paredon, along with the master audiotapes. Many of the recordings have a file containing business records relating to their production. These business records include artist contracts, recording reports, various notes on records produced, photographs of artists, news articles both about and by Barbara Dane, Irwin Silber, and Paredon Records, correspondence by Barbara Dane, Irwin Silber and Paredon Records, and other miscellany. Many contracts are signed by both Paredon Records and the artist. Correspondence is primarily between business associates. A complete inventory of the business records is available.
Scope and Contents:
There are two main components of the Paredon Records audiorecordings: the master recordings and corresponding commercial records themselves and the paper files relating to these recordings.
Series 1: Papers is primarily made up of "production files"--files containing materials related to specific albums. These production files can include artist contracts, recording reports, photographs of artists, clippings, royalty statements, licenses, album cover proofs, and correspondence between Paredon Records and the recording artists. news articles both about and by Barbara Dane, Irwin Silber, and Paredon Records. Many contracts are signed by both Paredon Records and the artist. Also included in this series are articles by Barbara Dane and Irwin Silber, a transcript of Daniel Sheehy's oral history interview with Barbara Dane, as well as miscellaneous ephemera.
Series 2: Master Audiorecordings includes all Paredon master tapes. Their corresponding commercial recordings are not described in this finding aid.
Arrangement:
Series 1: Papers (1970-2007, bulk 1970-1980)
Series 2: Master Audiorecordings (1969-1985, bulk 1970-1980)
Biographical / Historical:
Paredon Records was founded in 1969 in New York by Barbara Dane and Irwin Silber, and its first recordings were released in 1970. Paredon released four records at a time. Barbara Dane, a singer/songwriter herself, produced the albums and recruited the musicians, artists who worked on the covers, and volunteers who translated foreign language material and contributed stories for the record booklets. Irwin Silber, a writer and editor for The Guardian newspaper, assisted Dane in all aspects of production. Irwin worked on business aspects of the label, such as distribution, orders, and editing and printing the record supplemental materials. Dane and Silber traveled to almost all of the countries mentioned in these records, as part of their work as activists and personally knew the musicians and artists.
According to the interview with Barbara Dane, "Paredon" means "a big wall" in Spanish. Paredon represents "a wall of culture defending us [listeners] against this 'sleazy' culture that's out there on the other side of the wall." The mission of Paredon Records was to use music as a tool to spread culture: the stories and experiences of those involved in protest and revolution movements all over the world, in order to increase dialogue among similar movements and peoples. Dane and Silber hoped these records would promote social and political activism, and that the uplifting power of music would inspire people to be agents of social change. The records reflect the most important socialist or liberation movements in world politics as well as domestic issues in the United States of the late twentieth century.
The 50 Paredon record albums constitute a unique historical documentation of the political protest and revolutionary currents in the world over the course of three decades. 31 of the 50 albums come from national liberation movements in Asia, Africa and Latin America. These include music, song, poetry and speech from Angola, Argentina, Chile, China, Cuba, The Dominican Republic, Ecuador, El Salvador, Haiti, Mexico, Nicaragua, Palestine, Philippines, Puerto Rico, Thailand, Uruguay, and Vietnam. Another five albums come out of the European oppositional political movements from; Greece, Italy, North Ireland and the United Kingdom. In all cases, the materials are performed and/or presented by the participants in these movements. A number of world renowned artists are among the performers, including Mikis Theodorakis (Greece), Marcel Khalife (Lebanon), Quilapayún (Chile) and Silvio Rodriguez (Cuba). Several important world political figures — Fidel Castro, Ho Chi Minh, Don Albizu Campos and Che Guevara — also appear on these records delivering seminal speeches. Not all of the political figures deliver their speeches, such as the Ho Chi Minh album, but were read by someone else. The other 14 record albums document political and social protest movements in the U.S. during this same period. The songs reflect currents in the civil rights, women's, and labor movements. Two albums document GI opposition to the Vietnam War. These recordings include a broad array of singers and songs associated with the political protest of the times. Albums by the band "The Men of No Property" and others were obtained clandestinely, as the movements often became dangerous. Smithsonian Folkways Director Daniel Sheehy interviewed Barbara Dane in 2007, the transcript of which is contained in the Supporting Materials folder in Series 1: Papers.
Shared Stewardship of Collections:
The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://doi.org/10.25573/data.21771155.
Provenance:
The Ralph Rinzler Folklife Archives and Collections acquired the Paredon Records audiorecordings in December, 1991, when Barbara Dane and Irwin Silber donated their record company papers to the Center for Folklife and Cultural Heritage. The Center for Folklife and Cultural Heritage agreed to keep the record titles available for purchase, and to accession and store the Paredon Records Collection in the archives.
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.
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. Dale tu Mano al Indio. Give Your Hand to the Indian / Spanish. Uruguay. Daniel Viglietti. 00:01:55
102. A Desalambar. Tear Down the Fences! / Spanish. Uruguay. Daniel Viglietti. 00:02:20
103. Duerme, Negrito. Sleep, Little One / Ramiro Hernandez, Tumbadora (drums). Humberto Vasquez, Marimbula. Daniel Garcia, Claves y quijada. Spanish. Uruguay. Atahualpa Yupanqui. 00:02:15
104. Yo Naci en Jacinto Vera. I Was Born in Jacinto / Federico Britos, Violin. Spanish. Uruguay. Liber Falco, poem; Daniel Viglietti, music. 00:01:53
105. Cruz de Luz. Cross of Light / Spanish. Uruguay. Daniel Viglietti. 00:02:15
106. Milonga de Andar Lejos. Song of Going Far Away / Spanish. Uruguay. Daniel Viglietti. 00:01:35
107. Cancion del Hombre Nuevo. Song of the New Man / Spanish. Uruguay. Rafael Alberti and Daniel Viglietti. 00:01:35
108. Remontando los Rios. Going Upstream / Spanish. Uruguay. 00:01:20
109. Mi Pueblo. My People / Spanish. Uruguay. Rafael Alberti and Daniel Viglietti. 00:01:52
201. Me Matan Si No Trabajo. If I Don't Work They'll Kill Me / Spanish. Uruguay. Nicolas Guillen, words and Daniel Viglietti, music. 00:02:22
202. Soldado Aprende a Tirar. Soldier, Learn to Shoot / Spanish. Uruguay. Nicolas Guillen, words and Daniel Viglietti, music. 00:01:48
203. Ronda. Round / Spanish. Uruguay. Nicolas Guillen, words and Daniel Viglietti, music. 00:01:23
204. Remansos. Stagnant Pools / Spanish. Uruguay. Federico Garcia Lorca, words and Daniel Viglietti, music. 00:01:30
205. Remansillos. Little Stagnant Pools / Spanish. Uruguay. Federico Garcia Lorca, words and Daniel Viglietti, music. 00:01:00
206. Variacion. Variation / Spanish. Uruguay. Federico Garcia Lorca, words and Daniel Viglietti, music. 00:01:00
207. Cortaron Tres Arboles. They Cut Three Trees / Spanish. Uruguay. Federico Garcia Lorca, words and Daniel Viglietti, music. 00:01:00
208. Dos Baladas Amarillas. Two Yellow Ballads I / Spanish. Uruguay. Federico Garcia Lorca, words and Daniel Viglietti, music. 00:01:25
209. Dos Baladas Amarillas. Two Yellow Ballads II / Daniel Viglietti, Garcia Lorca. Spanish. Uruguay. Federico Garcia Lorca, words and Daniel Viglietti, music. 00:01:00
210. Masa. The Masses / Spanish. Uruguay. César Vallejo, words and Daniel Viglietti, music. 00:02:25
211. Pedro Rojas (part 1) / Spanish. Uruguay. César Vallejo, words and Daniel Viglietti, music. 00:02:15
212. Pedro Rojas (part 2) / Spanish. Uruguay. César Vallejo, words and Daniel Viglietti, music. 00:02:10
Local Numbers:
Paredon.1011
Publication, Distribution, Etc. (Imprint):
Brooklyn, N.Y. : Paredon Records, 1973
Participant or Performer Note:
Daniel Viglietti, voice and guitar, with additional musicians as noted.
General:
Recorded in Havana, Cuba, 1967.
Program notes by Barbara Dane, with Spanish texts of the songs and English translations (16 p.) inserted in container.
Album cover design by Collective Graphics Workshop. Cover art from 1972 Alamanaque, a Desalambrar.
Restrictions:
Access by appointment.
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.
Topic:
Political ballads and songs -- Uruguay Search this
Photographs taken by Diana Davies at the 1965 Newport Folk Festival. This series includes black-and-white contact sheets, negatives for the contact sheets, photographic prints, and slides. The photographs feature various performers and audience members at the Newport Folk Festival.
Restrictions:
Access by appointment only at the Ralph Rinzler Folklife Archives and Collections.
Rights:
Authorization to publish or reproduce requires written permission from Diana Davies. Please contact the Ralph Rinzler Folklife Archives and Collections for further information.
Topic:
Folk festivals -- Rhode Island -- Newport -- Photographs Search this
Genre/Form:
Contact sheets
Collection Citation:
Diana J. Davies photographs, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
or
Photo by Diana J. Davies. Ralph Rinzler Folklife Archives and COllections, Smithsonian Institution.
The collection is open for research. Only reference copies of audiovisual materials may be used.
Collection Rights:
Reproduction restricted due to copyright or trademark. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Floyd Levin Jazz Reference Collection, 1880-2010, Archives Center, National Museum of American History
Sponsor:
Processing and encoding funded by a grant from the Council on Library and Information Resources.
Recorded in: Oakland (Calif.), United States, California, December 9, 1991.
General:
tape 1/7
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only. No reproduction allowed..
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.
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:
Paredon Records audiorecordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
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:
Paredon Records audiorecordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
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:
Paredon Records audiorecordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
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:
Paredon Records audiorecordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
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:
Paredon Records audiorecordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
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:
Paredon Records audiorecordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
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:
Paredon Records audiorecordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
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:
Paredon Records audiorecordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.