34.28 Cubic feet (3 record boxes of business records; 8 record boxes, including 374 non-master audio reels (10", 7", 5", 4" and 2" reels); 160 10" reels in open stacks; 4 record boxes, including 853 audio cassettes; 1 record box, including 36 video cassettes; and 491 long play records, 45s and compact discs.)
Type:
Collection descriptions
Archival materials
Digital audio tapes
Vhs (videotape format)
Audiocassettes
Audiotapes
Date:
circa 1937-2004
bulk 1960-1990
Summary:
This collection documents the activities of Joe Glazer's record label Collector Records. Materials include the label's original commercial recordings, paper records related to day-to-day business operations and production, field recordings made by Joe Glazer, and Glazer's personal music collection.
Scope and Contents:
The Collector Records business records, measuring 34.28 cubic feet, date from 1937-2004 and contain materials relating to founder Joe Glazer's work with the label, as well as his work as a participant in the labor movement.
The records include papers documenting the promotion, production, and business operations of Collector Records; original audiorecordings used for Collector Records masters; audiorecordings made in the field by Joe Glazer; video recordings of performances by and interviews with Joe Glazer, including performances at labor union events; audiorecordings of interviews with Joe Glazer; Collector Records recordings and releases; and Glazer's personal commercial music collection.
Arrangement:
Records are arranged in 7 series:
Series 1: Promotional, Performance, and Record Planning Materials, 1971-2004
Series 2: Financial and Administrative Records, 1966-2003
Series 3: Open-reel Audiorecordings, 1937-1990
Series 4: Cassette Audiorecordings, 1949-2002
Series 5: Video Recordings, 1984-2004
Series 6: Digital Audio Tape (DAT) Audiorecordings, 1982-1994
Series 7: Published Audiorecordings
Biographical / Historical:
Since the Industrial Revolution, working people have been organizing and campaigning for better treatment from their employers. The labor movement and its unions struggle for fair wages, safe working conditions, and many other benefits. Music is an important tool in the labor movement to motivate workers and help build solidarity. Labor songs detail political issues, glorify martyrs and heroes in the movement, and, most of all, inspire and uplift workers.
Joe Glazer (1918-2006), often called "Labor's Troubadour," spent a lifetime as one of America's noted historians of labor song. His booming baritone and exuberant guitar have performed for millions of workers, strikers, and students. He was the author of several significant labor songs, notably "The Mill Was Made of Marble," which is a commentary on the need for cleaner, safer mill conditions for textile workers. In addition to his performing, he was employed by the United Rubber Workers, the Textile Workers Union of America, and the United States Information Agency over the course of his career.
Glazer founded Collector Records in 1970 to distribute his own recordings of labor songs and those of younger and newer performers he had met through his work—many of them through the Labor Heritage Foundation, which he founded in 1978, and its yearly Great Labor Arts Exchange. Some artists, such as Bobbie McGee, went on to become well-known folk singers, but many Collector artists remained at their jobs. Eddie Starr (1956-2003) was a third-generation Illinois steelworker who declined a life on the road as a rock musician, and took a factory job at home to support his family. Kenny Winfree was a textile worker when Glazer heard his bluegrass-style labor songs. He continues to work, now at an aircraft plant in Texas, where he is an active member of UAW Local 848.
Collector Records paints a clear picture of workers' struggles. Songs depict everyday hazards and ailments encountered on the job, allowing workers to express their situation and make audiences aware of their plight. "Cotton Mill Colic" is a classic folk song written in 1926 by David McCarn, a textile mill worker in North Carolina that describes the harsh conditions and low pay of mill-working life. The steelworker in "Corrido Minero" sings about the ever-present danger of working in a mine with outdated equipment. Newer workplace issues are expressed in labor songs as well. The worker in John O'Connor's song suffers from carpal tunnel syndrome, one of the most frequent of modern workplace afflictions, occurring among those who perform a great deal of computer data entry and causing extreme pain in the hands and arms.
Collector Records Business Records is a historic collection presenting music to inspire and motivate working people. The Glazer family donated the label's recordings, along with Glazer's original song and narrative recordings, business records, and personal commercial music collection to the Smithsonian Center for Folklife and Cultural Heritage in 2006.
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 Collector Records business records in 2006 through a donation by the Glazer family.
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.
Ralph Rinzler Memorial Festival, New Market, TN (Highlander Center), 9 April 1995, Disc 18 1. Union Round Robin: Rodolfo and Pat, Peggy Seeger, Elaine Purkey, Hazel Dickens and George Reynolds, Julie Belafonte and Kate Rinzler, Pete Seeger and Tao Rodriguez Lead Belly acetates, possibles for SF40044 9. ACT-280 Lead Belly "Big Fat Woman" 10. ACT-399 Lead Belly "Big Fat Woman" 11. ACT-399 Lead Belly "Big Fat Woman" 12. ACT-129 Lead Belly "Blind Lemon" 13. ACT-263 Lead Belly "Blind Lemon/Buck Dance" 14. ACT-3233 Lead Belly "Blind Lemon" 15. ACT-3233 Lead Belly "Bottle Up and Go" 16. ACT-317 Lead Belly "Bottle Up and Go" 17. ACT-129 Lead Belly "Bottle Up and Go" 18. ACT-399 Lead Belly "Bottle Up and Go" 19. ACT-317 Lead Belly "Bottle Up and Go (Uncle Sam Says)" 20. ACT-129 Lead Belly "On a Monday" 21. ACT-133 Lead Belly, Sonny Terry "On a Monday" 22. ACT-1612 Lead Belly, Sonny Terry "On a Monday"
Track Information:
101 null / Rodolfo. Spanish language.
102 We Gave the World for a Job / Peggy Seeger. Guitar. English language.
103 One Day More / Elaine Purkey. Guitar. English language.
104 America Our Union / Elaine Purkey. Guitar. English language.
105 Black Lung / George Reynolds, Hazel Dickens. Guitar. English language.
107 Hallelujah / Pete Seeger, Tao Rodriguez-Seeger. Banjo. English language.
109 Big Fat Woman (ACT-280) / Lead Belly. Piano. English language.
110 Big Fat Woman (ACT-389) / Lead Belly. Piano. English language.
111 Big Fat Woman (ACT-399) / Lead Belly. Piano. English language.
112 Blind Lemon (ACT-129) / Lead Belly. Guitar. English language.
113 Blind Lemon (ACT-263) / Lead Belly. Guitar. English language.
113 Buck Dance (ACT-263) / Lead Belly. Guitar. English language.
114 Blind Lemon (ACT-3233) / Lead Belly. Guitar. English language.
115 Bottle Up and Go (ACT-3233) / Lead Belly. Guitar. English language.
116 Borrow Love and Go (ACT-317) / Lead Belly. Guitar. English language.
117 Borrow Love and Go (ACT-129) / Lead Belly. Guitar. English language.
118 Bottle Up and Go (ACT-399) / Lead Belly. Guitar. English language.
119 Bottle Up and Go (Uncle Sam Says)(ACT-317) / Lead Belly. Guitar. English language.
120 On a Monday (ACT-129) / Lead Belly. Guitar. English language.
121 On a Monday (ACT-133) / Lead Belly, Sonny Terry. Guitar,Harmonica. English language.
122 On a Monday (ACT-1612) / Lead Belly, Sonny Terry. Guitar,Harmonica. English language.
Local Numbers:
FP-CDR-0071
Date/Time and Place of an Event Note:
Recorded in: New York, New Market (Tenn.), United States, Tennessee, 1995.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
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. Program in African American Culture Search this
Container:
Box 61, Reel 11
Type:
Archival materials
Audio
Date:
1978-02
Collection Restrictions:
Collection is open for research. Access and use of audiovisual materials available in the Archives Center reading room or by requesting copies of audiovisual materials at RightsReproductions@si.edu
Collection Rights:
Copyright restrictions exist. Collection items available for reproduction Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Program in African American Culture Collection, Archives Center, National Museum of American History.
Smithsonian Institution. Program in African American Culture Search this
Container:
Box 61, Reel 13
Type:
Archival materials
Audio
Date:
1978-02
Collection Restrictions:
Collection is open for research. Access and use of audiovisual materials available in the Archives Center reading room or by requesting copies of audiovisual materials at RightsReproductions@si.edu
Collection Rights:
Copyright restrictions exist. Collection items available for reproduction Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Program in African American Culture Collection, Archives Center, National Museum of American History.
Smithsonian Institution. Program in African American Culture Search this
Container:
Box 61, Reel 12
Type:
Archival materials
Audio
Date:
1978-02
Collection Restrictions:
Collection is open for research. Access and use of audiovisual materials available in the Archives Center reading room or by requesting copies of audiovisual materials at RightsReproductions@si.edu
Collection Rights:
Copyright restrictions exist. Collection items available for reproduction Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Program in African American Culture Collection, Archives Center, National Museum of American History.
Smithsonian Institution. Program in African American Culture Search this
Container:
Box 61, Reel 10
Type:
Archival materials
Audio
Date:
1978-02
Collection Restrictions:
Collection is open for research. Access and use of audiovisual materials available in the Archives Center reading room or by requesting copies of audiovisual materials at RightsReproductions@si.edu
Collection Rights:
Copyright restrictions exist. Collection items available for reproduction Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Program in African American Culture Collection, Archives Center, National Museum of American History.
Smithsonian Institution. Program in African American Culture Search this
Container:
Box 114, Cassette 2
Type:
Archival materials
Audio
Date:
1984-03-02
Scope and Contents:
Thursday. January 31. 1980 Session II: "Groups and Ensembles" 3:00 pm -
4:00 pm
Side A
GUY and CANDIE CARAWAN perform "We Shall Overcome" (cont.)
GUY CARAWAN and JAMILA perform "We Are Not Afraid," a version of
"We Shall Overcome"
JOYCELYN McKISSICK (MICAELA) sings:
"We Went Down To Mississippi"
"Take This Hammer" "Get Your Rights Jack" "Certainly Lord"
"Freedom Train A Coming"
"We're Marching On To Zion"
Last 12 minutes blank.
SideB
"Freedom Train A Coming" "We're Marching On To Zion"
SNCC Freedom Singers I: BERNICE JOHNSON REAGON, CHARLES
NEBLETT, RUTHA MAE HARRIS, CORDELL REAGON sing:
"Fighting For My (Our) Rights" "We Shall Not Be Moved"
"Woke Up This Morning With Freedom On My Mind"
"Ain't Gonna Let Nobody Turn Me Round" "Just A Closer Walk With Thee"
"Going Back To Southwest Georgia" or "I'm A Man of Constant Sorrow"
"Sometimes I Feel Like A Motherless Child"
BERNICE JOHNSON REAGON introduces PETE SEEGER who talks about
the history of the protest song from pre-biblical to modern times.
Last 12 minutes blank.
Collection Restrictions:
Collection is open for research. Access and use of audiovisual materials available in the Archives Center reading room or by requesting copies of audiovisual materials at RightsReproductions@si.edu
Collection Rights:
Copyright restrictions exist. Collection items available for reproduction Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Program in African American Culture Collection, Archives Center, National Museum of American History.
Smithsonian Institution. Program in African American Culture Search this
Extent:
1 Videocassettes (U-matic)
Container:
Box 203, Video 3, Item AC0408-OV0014
Type:
Archival materials
Moving Images
Videocassettes (u-matic)
Date:
1980-01-31
Scope and Contents:
Thursday, January 31, 1980, Session II: "Groups and Ensembles"
"Just A Closer Walk With Thee"
"Going Back To Southwest Georgia" or "I'm A Man of Constant Sorrow"
"Sometimes I Feel Like A Motherless Child"
Bernice Johnson Reagon introduces Pete Seeger who talks about
the history of the protest song from pre-biblical to modern times.
Guy Carawan introduces Amanda Bowens Perdew of the Americus Trio.
She speaks about Americus, Georiga and the significance of song in the survival of the participants of the Civil Rights Movement. Sings "This May Be the Last Time."
Jimmy Collier sings "This May Be the Last Time."
Jimmy Collier and James Orange sing:
"(The Reason I Sing This Song) I Don't Wanna Be Lost In the Slums"
"The Death On the Walls"
"Burn Baby Burn"
"Freedom Bells"
"Woke Up This Morning With My Mind Staid On Freedom"
Collection Restrictions:
Collection is open for research. Access and use of audiovisual materials available in the Archives Center reading room or by requesting copies of audiovisual materials at RightsReproductions@si.edu
Collection Rights:
Copyright restrictions exist. Collection items available for reproduction Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Program in African American Culture Collection, Archives Center, National Museum of American History.
Sound recordings are mainly comprised of interviews of the Christos, their family, and their associates conducted by Burt Chernow between 1984 and 1996, in the course of his research for Christo and Jeanne-Claude: A Biography. Chernow wrote the biography chronologically, collecting research for each period of the Christos' lives in sequence, so the early interviews deal mainly with their early years, and later interviews with more recent years. In some cases, the subject content of the interview -- often a place or project name -- is indicated on the tape label, in which case it is noted in the container list. Interviews with associates include other artists, curators, people who worked on the Christos large-scale projects, critics, and others who knew them personally. Among the many significant interview subjects are Arman, Mary Bauermeister, Leo Castelli, Lynn Hershman, Ray Johnson, Allan Kaprow, Ivan Karp, Albert and David Maysles, Claes Oldenburg, Pierre Restany, Niki de Saint Phalle, Peter Selz, Harry Shunk, Holly Solomon, Saul Steinberg, and Sam Weiner.
In addition to the more formal interviews, a series of impromptu interviews were conducted by Ann and Burt Chernow during the three Christo projects that were executed while Chernow was working on the biography: the Wrapped Pont-Neuf, Umbrellas, and the Wrapped Reichstag. These project-related interviews and recordings were typically made on site with spectators and producers of the projects while they were on view. Also found are lectures, press conferences, broadcast programs, recorded notes, and music, including a 1981 lecture on Christo by Jan Van Der Marck.
Interviews of Christo by others, and lectures given by Christo which pre-date the period of Chernow's research, are filed at the end of the series. Some were recorded off the air, and others were recorded by Chernow or other attendees to the appearances. Some appear to have been copied from original recordings, and the sound quality is poor. Two musical recordings associated with Christo projects are also found in the series, including a protest song about "Surrounded Islands," and music composed for the Japanese installation of "Umbrellas."
Chernow's research was conducted chronologically, that is, Chernow collected information about each period of their lives and then wrote his first draft of that portion of the biography before moving on to the next period. The interviews reflect this process, with earlier interviews covering earlier periods of the artists' lives, and later interviews covering later periods as each section was researched and written.
Most of the interviews have partial transcripts in series 1.3, which were created by Burt Chernow. The transcripts typically contain summarized portions, with only the portions Chernow found most salient to his research transcribed. The recordings in this series, then, are a unique record of the complete interviews that took place. Recorded conversations with Jeanne-Claude regarding corrections to Chernow's drafts of the biography, created in 1995-1997, do not have typically have transcripts. See series 1.3 for more details.
Arrangement:
Interviews with Christo and Jeanne-Claude are filed chronologically at the beginning of the series, and interviews with others about the Christos follow, filed alphabetically by name. Occasionally interviews from both of these categories are found on the same tape, and cross-references are provided in the inventory. For recordings made during the Pont-Neuf project (Sept 1985), the Umbrellas project (October 1991), or the Reichstag project (June 1995), cassettes are filed by project, with cross-references to subjects of the project-specific interviews found in the alphabetical inventory list. The collected interviews and lectures (1977-1984) are filed chronologically. Although the tape inventory created by Ann Chernow that came with the collection does not seem to follow any logical sequence, inventory numbers written on the tapes are included in the container list to facilitate access to the physical tapes in the collection.
Additional sound recordings include spoken translations of Christo letters to family in series 1.1, Biographical Materials, a spoken history of the biography project by Ann Chernow, found in series 1.6, Business Records, and an interview with Arman for an article about the artist from 1993, found in series 2, Other Writings.
Collection Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Burt Chernow papers, 1930-2002. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Andrew W. Mellon Foundation, administered through the Council on Library and Information Resources' Hidden Collections grant program.
Record labels, label copy, liner notes (final), contract copy
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:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Recorded in: Washington (D.C.), United States, June 25, 1992.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
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 Sacred/Secular Music / J.B. Dreadfulwater, Mike McDonald, Lawrence Houle.
102 Protest Songs / Murray Porter. Piano.
Local Numbers:
FP-1992-CT-0056
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, June 26, 1992.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
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.
102 Classical Music / Brent Michael Davids. Crystal flute.
Local Numbers:
FP-1992-CT-0057
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, June 27, 1992.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
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.
102 Iroquoian Traditions / Brad Bonaparte, Kent R. Lyons, Mike McDonald.
Local Numbers:
FP-1992-CT-0063
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, June 28, 1992.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
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.
103 Marketing / Rex Lyons, Dennis Lopez, Knifewing Segura.
104 Sacred/Secular Music / Lawrence Houle, Brad Bonaparte, J.B. Dreadfulwater.
Local Numbers:
FP-1992-CT-0067-7
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, June 29, 1992.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
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.
Recorded in: Washington (D.C.), United States, July 2, 1992.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
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 Protest Songs / White Boy & the Wagon Burners (Musical group), Dugan Henhawk, Knifewing Segura. Guitar.
102 Fiddle Workshop / Bill Stevens, Brian Johnson, Todd Martell. Fiddle.
Local Numbers:
FP-1992-CT-0078
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 3, 1992.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
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
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: 2017 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
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: 2014 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
101 Instrument Construction / Brent Michael Davids. Crystal flute,Water-drum.
102 Sacred/Secular Music / J.B. Dreadfulwater.
103 Marketing: The Recording Industry / Knifewing Segura, Roger F. Carlos.
104 Protest Songs / Knifewing Segura, White Boy & the Wagon Burners (Musical group), Dugan Henhawk. Guitar.
Local Numbers:
FP-1992-CT-0077
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 3, 1992.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
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.