Audio recording of Scottish folk music with Campbell Read, a white resident of Chapel Hill, N.C., originally from Glasgow, Scotland. Recorded by Joel Adams, a white University of North Carolina at Chapel Hill student, on 29 April 1966 for a Folklore 104 course. The collection also contains supporting documentation, including a field collection cover sheet prepared by former library staff.

Audio recordings of public auctions created by sociologist, Edward H. Albert. The recordings feature auctions held in Randolph County, N.C., as well as recordings from the Missouri Auction School, which Albert attended as part of his research.

Personal collection of Ray Alden, a white musician, record producer, artist, photographer, educator, and author. Collection consists largely of field recordings, festival and club performances, airchecks, and album master tapes of old-time music and bluegrass music. Recordings document many of the traditional musicians active in the 1970s and 1980s, including Tommy Jarrell, Kyle Creed, Fred Cockerham, Joe Val, J.D. Crowe, Hazel Dickens, Johnson Mountain Boys, and Bill Monroe, as well as recordings of emerging old-time musicians Alden recorded for his Young Fogies recording project and the Clearwater Great Hudson River Revival Festival. Also includes photograph albums of old-time musicians, including The Kimble Family; family photographs; and research files.

The Tony Alderman Collection consists of audio recordings compiled by Tony Alderman, a white old-time fiddler of Galax Va., who was a member of the Hill Billies and Buckle Busters musical groups. The recordings, which were dubbed from materials held at the Smithsonian, primarily contain old-time string band and early country music from Virginia and North Carolina, including live recordings of the Galax Old Fiddler's Convention held in Galax, Va. Other recordings include oral history interviews with old-time musicians, personal field recordings, television appearances, and other live recordings. The collection also contains related documentation, including detailed tape logs with artist names and song titles.

Mary Katherine Aldin is a freelance independent reissue producer and annotator. She wrote a blues column for the L.A. Weekly for more than 20 years; has contributed essays to several books and magazines on American roots music; and has hosted an American roots music radio show in Los Angeles, Calif.

Video interviews, photographs, articles, and book chapters about self-taught/folk artists created by Margaret Day Allen and Robert John Allen, former members of the Folk Art Society of America's National Advisory Board and past presidents of the North Carolina Folk Art Society. Margaret Day Allen authored When the Spirit Speaks: Self-Taught Art of the South. Videos were recorded digitally by the Allens over a 10- to 15-year period. Materials document African American and white artists from Kentucky, Florida, Georgia, North Carolina, Virginia, Louisiana, South Carolina, Mississippi, and Arkansas. Artists featured in the collection include: Ab the Flagman (Roger Lee Ivens), Minnie Adkins, John "Cornbread" Anderson, Michael Brien, Tammy Leigh Brooks, Benny Carter, Neolia "Nell" Cole, J. J. Cromer, John "Johnnie" Culver, Eric Cunningham, Bruce Davenport, Brian Dowdall, Winton and Rosa Eugene, Sam Ezell, Patti Fenick, Theresa Gloster, Edna Hackett, Eddie Hamrick, Eddie Hayes, Chris Hubbard, Clyde Jones, Stacy Lambert, Paul Lancaster, Arbon Lane, Jr., Eric Legge, Juanita Leonard, Tim Lewis, Peter Loose, Denny Maloney, Sam "The Dot Man" McMillan, Kessiah Freeman Meroney, Roy Minshew, Bruce New, Ashley Pierce, Sarah Rakes, Joe Reinhardt, Kathy Richards, Harold Rittenberry, Robert Roberg, O. L. Samuels, Cher Shaffer, Gabriel Shaffer, Rev. Johnnie Simmons, Vollis Simpson, William Thomas Thompson, Della Wells, and LaVon Williams.

Philis Alvic is an artist/weaver and writer who maintains a studio in Lexington, Ky. She weaves wall hangings using complex weave structures. Her textiles have been shown at more than 100 exhibits throughout the United States. The collection consists of documentation of early weaving in the Southern Highlands in Gatlinburg, Tenn., and around Penland, N.C.; the beginnings of the Penland School of Crafts (formerly Penland School of Handicrafts); and the weaving room at Crossnore School, Inc., in Crossnore, N.C. Materials include audio cassettes, documents, and photographic slides, most developed by Alvic with grant support from the North Carolina Arts Council and the North Carolina Humanities Council. Audiocassettes contain oral history interviews with weavers, their friends and relatives, and other people connected with the early years of the Penland School. Documents include pamphlets on the history of weaving in the Southern Highlands and other materials. Photographic slides include images of interior and exterior shots of the Penland School, portraits of weavers, slides of crafts, and slides of historic Penland photographs.

The Jay Anania Collection consists of audio recordings, 1973, featuring music and interviews from blues performers Arthur Jackson (1911-1977) and Henry Johnson. Filmmaker, Jay Anania, made the recordings while he was an undergraduate student at the University of North Carolina at Chapel Hill. They were conducted in collaboration with folklorist and record producer, Bruce Bastin, as part of Anania's personal film project on Jackson. Commonly known as Peg Leg Sam, Jackson was an African American blues harmonica player and medicine show performer, from Jonesville, S.C. In his interview Jackson discusses his experiences in show business, medicine shows, radio broadcasting, and riding freight trains. The collection also contains an interview with Henry Johnson, an African American blues performer from Union, S.C. This recording primarily consists of Johnson playing and singing blues songs on guitar. Both Jackson's and Johnson's musical careers ranged from the mid-1930s to the mid-1970s.

The collection contains 26 transcription discs recorded in the late 1940s by the western swing and country music group Bob Wills and the Texas Playboys. The discs were distributed for radio programs by the Tiffany Music Company of Oakland, Calif. Also included are typed transcriptions of Bob Wills radio programs, printed promotional materials for the music group, sheet music for "Back in Dear Old Oklahoma" by "Cactus Jack" Cliff Johnson and Cliff Sundin, and two copies of a publicity photograph.

The Noah Angell Collection consists of unedited digital media documenting the African American gospel musician, Connie B. Steadman, of the Badgett Sisters, a folk and gospel group from Yanceyville in Caswell County, North Carolina. North Carolina-born artist, Noah Angell, created the born-digital audio and video materials as part of a documentary work on Steadman. Both audio and video files found in the collection feature interviews conducted by Angell with Steadman, as well as documentation of rural North Carolina, including audio field recordings and video landscape scenes.

The Apollo Records Collection consists of master lacquer disc audio recordings, 1943-1958, affiliated with Apollo Records, a record company and label founded in New York City in 1944. Bess Berman, one of the few women executives in the recording industry, ran Apollo Records from 1948 until it closed in 1962. The company and label was known for their rhythm and blues, doo-wop, gospel, jazz, and rock and roll releases. Notable artists featured on the recordings found in the collection include jazz saxophonist and composer, Charlie Barnet; African American comedian and film actor, Stepin Fetchit; African American male vocal group, The Four Vagabonds; African American gospel singer, Georgia Peach; African American male vocal group, The Larks; female vocal group, The Murphy Sisters; country and western singer, Merle Travis; harmonica instrumentalists, The Three Harpers; and African American blues singer and guitarist, Josh White. The collection also includes scattered memos and tape logs found with the lacquer disc recordings.

Mark Arduini was graduated from the University of North Carolina at Chapel Hill in 2003 with a B.A. in American Studies. His honors thesis was I'm Home! This is Where I Belong: Narratives of Conversion in a Roman Catholic Community.

Letters, 1992-1995, written by North Carolina folk artist Wiili Armstrong to Tori Knight Ferguson, the owner of the West Side Gallery in Raleigh, N.C., which represented Armstrong and his work.

Field recordings, 1952-1953, and other materials related to Malvin Newston Artley's Ph.D. dissertation research on traditional fiddlers and fiddle tunes of West Virginia. Artley, a white musician and music educator, recorded and collected these field recordings of old-time tunes played on the fiddle and Appalachian fretted dulcimer while conducting his Ph.D. dissertation research at the Chicago College of Performing Arts, Roosevelt University, Chicago, Ill. Artley's recordings were later duplicated by SFC staff and deposited into the collection in 1995. The majority of the recordings feature tunes by Emory Bailey, white fiddler from Shock, Gilmer County, W.Va.; Arden Wilson, white fiddler from Harrisville, Ritchie County, W.Va.; and unidentified dulcimer players. The collection also includes recordings, 1970, of Burl Hammons, white old-time fiddler from Pocahontas County, W.Va., originally recorded by Malcomb Owen, as well as a 1994 interview with Malvin Newston Artley on his dissertation research conducted by Wayne Martin, a white North Carolina based folklorist, fiddler, and arts administrator. The collection contains related documention, including tape logs, interview transcripts, and photocopies of original open reel boxes and field notes.

The Association for the Preservation of the Eno River Valley (commonly known as the Eno River Association) is a non-profit conservation organization whose mission is to conserve and protect the natural, cultural, and historic resources of North Carolina's Eno River basin. Since its inception in 1965, the Association has worked to protect the environmental resources around the river and its tributaries, promoting education and advocacy through environmental and community programs, including a hike series and the long-running annual Festival for the Eno. The collection consists primarily of audio recordings, including interviews, live performances, radio broadcasts, and audition tapes related to the Association for the Preservation of the Eno River Valley and their annual Festival for the Eno. Conducted by Dave Cook in 2002, the interviews found in the collection are with Association members who recall their experiences growing up near the Eno River and participating in the preservation and enjoyment of the local environment. Interviewees include Pat Bailey, Donald N. Cox, Holger Nygard, Thomas C. Ellis, Hazel Cash, John Blackfeather Jeffries, John A. Scarlett, and Mary Scarlett. The collection contains affiliated transcripts, 2000-2002, for some of these interviews as well as for interviews for which there is no corresponding recording. The majority of the audio recordings found in the collection relate to the annual Festival for the Eno and consist of live festival recordings, 1985-2010, radio broadcasts, 1995-1998, and performers' audition tapes, 1985-2010. Notable performers featured on the live recordings include Etta Baker, Shirley Caesar, Richard Big Boy Henry, Algia Mae Hinton, John Dee Holeman, Bobby McMillon, Tift Merritt, Frank Proffitt, Red Clay Ramblers, Ralph Stanley, Joe Thompson, Doc Watson, and Merle Watson. Also included in the collection is footage of the festival and promotional posters from select years, and ephemera found with the performers' audition tapes.

The recordings on open-reel audio tape are of Appalachian musical artist Lily Mae Ledford in concert at the Augusta Heritage Center, a folklife organization on the campus of Davis & Elkins College in West Virginia. Ledford (1917-1985), a fiddler and clawhammer banjo player from Kentucky, performed at Augusta in July 1983. Acquired as part of the Southern Folklife Collection.

Howard Frank Auman Jr., was a white producer of, director of, and performer in Classic Country Theater and American Jukebox Theater: Back to the 50s & 60s Rock-N-Roll, which played in Pigeon Forge and Gatlinburg, Tenn., from 2000 to 2007. The collection consists of publicity for these live shows and video recordings of some of the performances that aired on the Blue Highways Television Network.

White folklorist Edward Babel began his studies at the University of North Carolina at Chapel Hill in 1972. In 1975, Babel began conducting research for his thesis on the hammered dulcimer tradition, particularly that of Randolph County, N.C. The collection includes correspondence, photographs, audio tapes, and other materials, 1959-1980, relating to Edward Babel's research on the hammered dulcimer. Most of the items relate to dulcimers belonging to individuals, some of them musicians, or to museums. Included are a manuscript, audio recordings, and photographs, 1975-1977, relating to Harvey Jones, a hammered dulcimer player from Ramseur, N.C.; a manuscript and photographs, 1975, relating to Mrs. James P. Johnson's dulcimer, which had belonged to her father, William Butler; a manuscript and photographs, 1975, of a dulcimer belonging to the Old Salem, Inc., collection in Winston-Salem, N.C.; a manuscript and photograph, 1959-1975, relating to the dulcimer belonging to Mrs. Artemus Ward; a manuscript and photographs, undated, relating to the hammered dulcimer from the mid-19th century that was purchased by folklorist Alan Jabbour from a woman in Coleridge, N.C.; a manuscript, photographs, and audio recordings, 1975-1976, relating to Virgil Craven; and a manuscript and photographs, 1975, of a dulcimer on display at the North Carolina Division of Archives and History in Raleigh, N.C. The Virgil Craven audio recordings are of jam sessions held at Craven's home in Randolph County, N.C. They feature Virgil on hammered dulcimer, Lauchlin Shaw on fiddle, Fred Olson on guitar, and Glenn Glass on banjo.

The collection of historian Bruce E. Baker contains sound recordings made in 1961 of musicians performing North Carolina ballads, accompanying descriptive notes about the recordings, and a copy of his 1995 thesis written in fulfillment of a master's degree in folklore at the University of North Carolina at Chapel Hill. Baker's thesis titled Lynching Ballads in North Carolina examines the cultural effects of lynching in North Carolina at the turn of the twentieth century and analyzes specific ballads, including "The Death of Emma Hartsell" and "The Murder of Gladys Kinkaid," which commemorate lynching cases in the state. Acquired as part of the Southern Folklife Collection.

Contains the files of Cary Baker, a white music publicist and a specialist in American roots music based in Los Angeles, Calif. Materials consist primarily of photographs, press kits, and other promotional materials from the 1970s through the 1990s. Baker spent 42 years in the music industry as a public relations specialist, journalist, and reissue record producer, and founded the music publicity company Conqueroo.

The Banjo Newsletter Collection consists of papers, photographs, and audiovisual recordings related to the Banjo Newsletter, a monthly magazine covering all aspects of the 5-string banjo. Papers found in the collection consist of scattered photographs, articles, catalogs, banjo tabs, advertising forms, and other printed materials loosely related to the publication. Photographs depict banjo players and events sponsored or covered by the Banjo Newsletter. Some of the images may have appeared in issues of the Banjo Newsletter. Audio recordings include live recordings, interviews, demos, and dubbed commercial recordings compiled by Donald Nitchie, co-publisher of Banjo Newsletter and son of Hub and Nancy Nitchie, who started the publication in 1973. Notable artists featured on the audiocassette recordings include Eddie Adcock, Bill Keith, Don Reno, Earl Scruggs, and Tony Trischka. Also included is a born digital video featuring "Banjo Bash at Buckeystown," an event that took place at the Maryland Banjo Academy in 1998.

The collection of Greg Barbera, a white music journalist, musician, and band manager for PIPE, from Carrboro, N.C., chiefly consists of published versions of his writings, including an article reflecting on the tenth anniversary of Merge Records; photographs he took for the Raleigh, N.C. weekly The Spectator; and ephemera he collected, all of which document the local music scene of Chapel Hill, N.C., and the Triangle. Also included are notes and receipts for Mise en Scene, his book project about bands, bars, and people of the Chapel Hill music scene, photocopies of comics drawn by Kevin H. Dixon, and audio interviews conducted by Barbera with bands and musicians, including Melvins, Willie Nelson, and Aaron Stauffer.

Frances Barefoot (1927-2019), a white hollerer, was the women's winner, with her chihuahua Peanut, of the 1978 National Hollerin' Contest in Spivey's Corner, N.C. The collection consists of a scrapbook, photographic images, the winner's trophy, and audio and video recordings that document her participation in the contest. Also included are a "Frances and Peanut" visor and a photograph book with reproductions of photographs depicting Barefoot at hollerin' contests in 1978 and 1979, her daughter's wedding in 1980, the inscription on her headstone, and handwritten notes Barefoot wrote about events at which she hollered.

Documentarian Pamela Barefoot's collection is composed of photographs, oral history interviews, and research files for her book published in 1978. Color slides taken by Barefoot depict tobacco farms, farmers, and workers during the late 1970s in the mid-Atlantic and southern United States, chiefly North Carolina, Virginia, and Georgia. Interviews with farmers, tobacco workers, and tobacco company owners comprise more than twenty hours of audio recordings. Most interviews have typed transcripts. Research files, consisting largely of printed items such as booklets and annual reports of tobacco companies, pertain to tobacco farming, the tobacco industry, agricultural science, and folklore related to tobacco. The collection also contains field notes, a scrapbook with newspaper clippings about Barefoot and her book, and a card file with quotations culled from the oral history interviews Barefoot conducted. Other materials in the collection pertain to Barefoot's research on shad fishing and the pork industry in North Carolina, including hog farming and the barbecue business. Acquired as part of the Southern Folklife Collection.

Russell D. Barnard was editor and publisher of Country Music Magazine, from its founding in the early 1970s until he sold the publication in 1999. Country Music Magazine reported on contemporary and classic country music musicians and groups.

Audio recording of an interview with Ermon H. Godwin (1927-2009), a white hollering contest organizer, of Spivey's Corner, N.C., and his wife, Christine Godwin (1928-2017). Peter Bartis (1949-2017), a Greek American folklorist, recorded the Godwins at their home in January 1973, as part of his University of North Carolina at Chapel Hill master thesis project on classifying hollers in the United States. Ermon H. Godwin, who was also a bank official in Dunn, N.C., co-founded the National Hollerin' Contest, which is held annually in Spivey's Corner, N.C., to raise funds for the local Fire Department. The collection also contains a brief note describing the audiocassette recording found in the collection.

Recordings of an oral history interview conducted by Stephanie Bartis with her paternal grandmother, "Yiayia", who immigrated to the United States from Greece in 1909. In the interview Bartis's grandmother discusses "saints' lives", in particular those of St. Paraskevi and St. Rafael. Stephanie Bartis conducted the interview, which is chiefly in English but includes some Greek passages, as part of a spring term paper assignment for her English/Folklore 187 course taught by Daniel Patterson at the University of North Carolina at Chapel Hill. The collection includes the interview on audiocassettes and a brief note by Daniel Patterson on the recording.

Bruce Bastin is a folklorist, author, and managing director of Interstate Music, a record label specializing in blues, jazz, R&B, country, western swing, Latin American, and world music. The collection consists of Interstate Music production masters, reference sound recordings compiled by Bastin, and sound recordings related to Bastin's book on American music publisher Joe Davis. The collection also contains documentation found with select sound recordings. Documentation consists mostly of tape logs, memos, letters, and photocopies of Interstate Music album artwork.

Audio recording, with accompanying transcript, of interviews and tales told by Joe Goins, Max E. Beam, and Ralph Abernathy, all truck drivers and residents of Cherryville, N.C. Charles K. Beam, a white industrial relations student at the University of North Carolina at Chapel Hill, recorded the interviews on 18 March 1989 as part of class project for a folklore course taught by Daniel W. Patterson. The recording relates to Charles K. Beam's term paper titled "Truck Driver Tales: An Oral Tradition of Cherryville, N.C." The collection also contains a copy of the paper and a handwritten note from Beam to Patterson.

The Bear Family Records Collection consists of audiovisual materials compiled by the German based independent record label, Bear Family Records. The collection primarily contains American country music materials, including vinyl test pressings of 78-rpm records, commercially produced 16mm motion picture films, and dubbed U-Matic videotapes. The 78-rpm records feature recordings by the Carter Family, Tex Owens, and Goebel Reeves, while the film and video consist of television shows, short subject films, musicals, and western films.

The collection of law professor James P. Beckwith, Jr., contains three open-reel audiotape recordings of interviews with staff of the Cabin Creek Craft Cooperative. The interviews were recorded in Chapel Hill, N.C., in 1974. Acquired as part of the Southern Folklife Collection.

Becky Johnson has photographed bluegrass musicians, festivals, conferences, and related events since the 1980s.

Howell Begle is a white entertainment and media lawyer and long-time activist on behalf of early rhythm and blues recording artists. In 1982, Begle met Ruth Brown, an African American recording artist with the Atlantic Recording Corporation in the 1940s and 1950s, who had had difficulty securing royalty payments. He agreed to represent her pro bono against the recording company. Over time, his list of pro bono clients grew to more than 30 artists who had recorded for Atlantic. Begle was also a major figure in the Rhythm & Blues Foundation, founded in 1988 in Washington, D.C., with $1.5 million in initial funding from Atlantic in partial fulfillment of a legal settlement with Brown and others represented by Begle. The collection includes detailed royalty statements from the Atlantic Recording Corporation that document payments to Ruth Brown, 1955-1964. There are also copies of contracts and correspondence related to royalty payments owed to other artists who recorded for Atlantic and other labels during the 1950s and 1960s, among them Nellie Lutcher, Jimmy Scott, Joe Turner, Harry Van Walls, the Clovers, the Coasters, and the Drifters. Also included are legal documents, articles of incorporation, correspondence, news articles, and other materials relating to the formation and administration of the Rhythm & Blues Foundation; scattered correspondence between Begle and Atlantic executives, including Ahmet Ertegun, Jerry Wexler, Michael Resnick, and Sheldon Vogle, documenting negotiations leading to the royalty settlement of 1988; correspondence with musicians involved in the Foundation, particularly board member Bonnie Raitt; letters relating to Begle's dissatification with and 1998 resignation from the Rhythm & Blues Foundation; photocopied news and periodical articles relating to Foundation; and calendars and promotional materials for the Foundation, some relating to the Foundation's annual award ceremony. Other items include Billboard chart research documents, 1950s-1960s; a chronology documenting efforts to reform royalty payment accounting at Atlantic Records, 1983-1993; programs from Ruth Brown's memorial service in 2006; correspondence with activists including Jesse Jackson, politicians including Congressmen John Conyers Jr. and Dennis J. Kucinich, and members of the American Federation of Television and Radio Artists (AFTRA); and 45rpm, 78rpm, and LP record albums collected by Begle. The additions consist of publicity materials for rhythm and blues recording artists; a poster advertisement for a Jimmy Brown and Ruth Brown performance; and additional audiovisual materials related to Charles Brown, LaVern Baker, and King Records founder, Syd Nathan.

Audio recording of an interview conducted in Gullah with Jim Milligan, Christiana Milligan, and Nettie Whaley, all African American residents of Edisto Island, S.C., about life on Edisto Island. Topics discussed include the local environment, effects of the Civil War, houses, food, fishing, and schools. Also included are Brer Rabbit and Brer Cooter stories, proverbs, and animal tales. Recorded by Herman Bell, a white University of North Carolina at Chapel Hill faculty member in the Department of Linguistics, during the summer of 1967, probably at Milligan's home on Edisto Island, S.C. The collection also contains supporting documentation prepared by former Southern Folklife Collection staff. Documentation consists of tape logs, which include information about the collector and informants and descriptions of content.

Posters and photographs comprise the collection of artist, freelance photographer, and small business owner Michael Benson of Chapel Hill, N.C. Many of the graphic art posters designed and signed by Benson promote music performances at The Station at Southern Rail in Carrboro, N.C., which Benson owned from the 1990s until 2015. A few photographs depict musical performers including members of the British band The Cure and American soul singer James Brown. Other images depict scenes in Washington, D.C., Thailand, and Geneva, Switzerland. Acquired as part of the Southern Folklife Collection.

The 1984 field recording on audio cassette tape contains childhood anecdotes narrated by Shirley Bentley of Hillsborough, N.C., and recorded by her stepdaughter, Melanie Bentley-Maughan, a student at the University of North Carolina at Chapel Hill in the mid-1980s. Acquired as part of the Southern Folklife Collection.

Audio recording of interviews and performances of songs by B. Best, I. Daughtey, K. Williams, F. Parker, L. Warren, M. Tart, and B. Jones, all of Sampson County, N.C., about corn shucking in Sampson County, N.C. Recorded around 1973 by Celia M. Benton, a University of North Carolina at Chapel Hill student and Clinton native who grew up in Sampson County's Goshen community. The audiocassette recording relates to Benton's term paper on corn shucking in Sampson County that Benton wrote under the direction of white folklorist and UNC-Chapel Hill professor, Daniel W. Patterson.

The Berea College Collection of John Lair and Lester McFarland Recordings consists of reference copies of old-time and country recordings found in the Berea College Special Collections and Archives. The audio recordings consist mostly of country music radio programs associated with John Lair, a white Kentucky born broadcaster, folklorist, and music collector, including recordings of the Pinex Merrymakers and the Renfro Valley Barn Dance radio programs. The collection also includes an interview with white musician, Lester McFarland, of the country music duo Mac & Bob.

Jack Bernhardt (1944- ), music critic, archaeologist, and cultural anthropologist of Hillsborough, N.C., recorded, interviewed, and performed with country, old-time, bluegrass, gospel, and other musicians, including many well-known country music stars, old-time musicians, and scholars.

The Robert D. Bethke Collection consists of audiovisual materials and subject files related to folk music and traditional life of the Middle Atlantic and Southern regions of the United States, including Delaware, Kentucky, Maryland, Mississippi, Virginia, and West Virginia. Folklorist and University of Delaware Associate Professor, Robert D. Bethke, compiled the materials, along with undergraduate students enrolled in his folklore courses at the University of Delaware in Newark, Del. Audiovisual materials in the collection consist mostly of interviews and live performances by folk, bluegrass, and blues performers, including folk singer, songwriter, and banjo player, Ola Belle Reed, of Ashe County, N.C.; traditional bluegrass guitarist and banjo player, Ted Lundy, of Galax, Va.; artist and blues musician, James "Son Ford" Thomas, of Washington County, Miss.; blues guitarist and banjo player, Franklin "Frank" Hovington, of Frederica, Del.; and folk singer, Mary Jane "Janie" Miller, of Cecil County, Md., among others. The collection also contains audiovisual materials documenting traditional life, as well as subject files that include clippings, student papers, song sheets and lyrics, transcripts of interviews, and photographic materials documenting folk performers chiefly from Delaware, but also from Maryland, Virginia, Kentucky, and Mississippi.

Writer, collector, and performer Becky Blackley is an autoharp expert and enthusiast. From 1980 to 1993, she served as editor of The Autoharpoholic, an international journal that was dedicated to the autoharp. In 1981, she published Harp! the Herald Angels Sing!, a book of Christmas songs arranged for the autoharp, and in 1983, The Autoharp Book, a comprehensive history of the instrument. She has recorded and produced her own music, conducted autoharp workshops across the United States, and served as a consultant to instrument makers Oscar Schmidt-International. She currently works as a Russian-to-English translator.

The Tia Blake Collection consists of audio recordings, photographs, papers, and publications created and compiled by the white writer and singer, Tia Blake Wallman. Under the name of Tia Blake, Wallman recorded an LP of American and Irish folk songs at the age of eighteen with a small record label in Paris. The LP, titled Folk Songs and Ballads: Tia Blake and Her Folk-group, was released by SFPP (Societe Francaise de Productions Phonographiques) in February of 1971. The collection consists of materials related to this release, including a misprint copy of the LP, photographs, flyers, posters, correspondence, and a copy of the recording contract; an audio recording, 1973, of rehearsals and demos by Wallman and a guitarist; an audio recording, 1976, of original songs created by Wallman; audio recordings, 1956-1957, of Max Dunbar collected by Wallman and her mother, Joan Blake; a recording contract between Wallman and the National Film Board of Canada; writings by Tia Blake and Joan Blake; and photographs.

Phil Blank is an artist, musician, and librarian. His work has been featured in art galleries local to the Chapel Hill, N.C., area, and in the Carrboro Citizen newspaper. Blank also plays accordion, tenor banjo, and tsimbl in the klezmer music group Gmish.

The Anderson Blanton Collection consists of 11 transcription discs, 1955-1956, of Oral Roberts' Broadcast, a Christian radio program produced by the evangelist, Oral Roberts, whose televised faith-healing ministry attracted millions of followers worldwide.

Clark Blomquist (also spelled Clarque or Clarq) of Carrboro, N.C., is a poster artist and musician in the bands the Kingsbury Manx and Waumiss.

The 1983 field recording on audio cassette tape contains a discussion about children's songs and rhymes with finger-play. Emily Mason Bloom, then a student at University of North Carolina at Chapel Hill, recorded the discussion with kindergartners and their teacher Debbie Glosson in a Chatham County, N.C., classroom. Acquired as part of the Southern Folklife Collection.

The recordings on audio cassette tape contain live radio shows and folk and traditional music concerts recorded between 1946 and 1977. Collected by an anonymous donor to the Southern Folklife Collection, the recordings feature bluegrass musicians and music groups including Buzz Busby, Flatt and Scruggs, Foggy Mountain Boys, Wilma Lee, Bill Monroe, Reno and Smiley, and the Stanley Brothers. Publications about bluegrass music from the donor were added to the Southern Folklife Collection's general holdings. Acquired as part of the Southern Folklife Collection.

Gene Bluestein was a white English professor, musician, folklorist, and social activist. Influenced by the folk music revival, he taught himself to play banjo, performed as a musician, and provided educational programs on folklore and folk music in his classroom, on the stage, and on television. For most of his career, he taught English at California State University, Fresno, where he started and facilitated the Folk Artist in Residence Program. In 1974, while on sabbatical in France, he formed a folk music band with his four children called the Bluestein Family, which performed for over 20 years. The collection consists primarily of materials relating to the folklore and performing career of Gene Bluestein. Included are writings, a small amount of subject files, and field recordings made by Bluestein, Bluestein's educational programs on folk music, recordings of performances by Bluestein and the Bluestein Family, and recordings of other performers. The field recordings are mostly from Bluestein's doctoral research on Appalachian folk music and narrative and feature Cal Owens, Billy Edd Wheeler, Anna Barnett, Buell Kazee, and Fiddlin' Bill Jones, as well as Moses Asch, the founder of Folkways Records. The educational programs on American folk music include lectures, performances, interviews, and television programs. Recordings of the Bluestein Family include solo recordings by family members and in other groups. There are also recordings of a number of other folk musicians in performance, including Mike Seeger's Traveling Folk Festival, featuring Tommy Jarrell, Blanton Owen, Mike Seeger, Dennis McGee, Sady Courville, and Marc Savoy, and participants in the Folk Artist in Residence Program that Bluestein started at California State University, Fresno, including the Balfa Brothers, Bessie Jones, Kenny Hall, Richard Hagopian, Lydia Mendoza, and Jean Ritchie. Other items include recordings of Pete Seeger in concert, 1956 and 1957, and a 1969 benefit concert for playwright and social activist Marvin X (also known as Marvin Jackmon and El Muhajir) by the Fresno Folksong and Poetry Quartet (Gene Bluestein, Philip Levine, Robert Mezey, and Peter Everwine).

Personal collection of white folklorist, healer, and herbalist Marina Bokelman, primarily consisting of fieldwork she and David Evans conducted from 1966 to 1968, when they were graduate students in the Folklore and Mythology Program at the University of California, Los Angeles. Materials include 35mm photographic negatives, annotated contact sheets and photographs, a cross-stitch sampler shown on the cover of the album The Blues in Memphis 1927-1939 (All the Uptown and Downhome Music of the Gateway to the Delta), Bokelman's 1968 dissertation, 'The Coon Can Gang': A Blues Ballad Tradition, and an unfinished manuscript of Going Up the Country: Adventures in Blues Fieldwork. People documented in the collection include the musicians Rev. Rubin ("Rube") Lacy, Bubba Brown, Robert Pete Williams, Mississippi Fred McDowell, and Alan Wilson.

The Bill Bolick Collection contains audio recordings, hymnals, and song books compiled by the North Carolina-based country musician, Bill Bolick. Audio recordings consist mostly of recordings by the Blue Sky Boys, an influential American country music brother duo that was made up of Bill Bolick on mandolin and tenor vocals and Earl Bolick on guitar and lead vocals. Blue Sky Boys recordings found in the collection include radio programs, demos, home recordings, live recordings, test pressings, and other recordings. The collection also contains collected audio recordings of other folk and country music artists, as well as hymnals and radio program song books compiled by Bill Bolick and his family.

Born in Knoxville, Tenn., on 15 July 1937, photographer Robert Bolton discovered photography in his early teens. Bolton attended the University of Tennessee, Knoxville where he received a Bachelor of Arts degree in English with a minor in art. Shortly after graduating from college, he became art director of Hogan, Rose & Co. Inc., an advertising agency in Knoxville, Tenn. Although he remained in this professional position for the rest of his life, Bolton continued to be an avid photographer until his death in 1988.

Open reel audio recording of white folk and blues singer and guitarist, Roy Book Binder, and African American blues singer and guitarist, Larry Johnson. Made in April of 1971, the recording features versions of blues songs performed by Roy Book Binder and Larry Johnson, including "Every Day of the Week", "Delia", "Shake It and Break It", and "Hesitation Blues", among others.

Contains materials relating to musician and entertainer Elvis Presley collected by Stephane Booth and David Booth, white faculty emeriti at Kent State University University and alumni of the University of North Carolina at Chapel Hill. The collection includes photographs, sheet music, concert programs, concert and movie posters, movie lobby cards, and ephemera, including fan club pins, post cards, trading cards, and autographs. Also contains several items owned by Presley, including his music score for the song Jailhouse Rock from the televised '68 Comeback Special, and film prints of the 1957 feature film Jailhouse Rock.

The Bowling Green State University Music Library and Sound Recordings Archives Collection of Publicity Materials consists of photographs and promotional material created or collected by commercial record companies to promote their Americana, country, rock and roll, pop, and blues artists. Acquired as part of the Southern Folklife Collection.

Audio recordings, 1980, made by white folklorist and educator Paddy Bowman that contain an interview with playwright, professor, and humanitarian, Paul Eliot Green (1894-1981), as well as audio from an auction in Siler City, N.C. In the interview, Green discusses the civil rights movement and race relations in North Carolina and the author Zora Neale Hurston who audited one of Green's classes at the University of North Carolina in the late 1930s before UNC was desegregated. Green convened the class at his home in Chapel Hill, N.C., so that Hurston, who was then a professor at the North Carolina College for Negroes in Durham, N.C., (today North Carolina Central University), could attend. The collection also includes a letter from Paddy Bowman to folklorist and UNC professor, Daniel W. Patterson, that contains details about the contents of the recordings found in the collection.

Audio recordings of Demus Green (1913-1976), an African American storyteller living in Charleston, S.C., telling tales, anecdotes, stories about animals, and legends in the Gullah language. Demus Green was part of the Black community in the southern Lowcountry region of South Carolina, where he was known for his storytelling as well as for being an assistant leader at his local church. Demus Green was born in 1913 at the Combahee Plantation, Whitehall, S.C., a large plantation located on the Combahee River that was owned at the time by the white DuPont family. When Demus Green was around thirty years old, he moved to Charleston, S.C. to work for Hugh Lane (1914-2005), a third generation white banker. Alice D. Boyle, a white University of North Carolina at Chapel Hill student, recorded Demus Green in Charleston, S.C., from 1971 to 1975. Boyle, who is from Isle of Palms, S.C., met Demus Green through her childhood friend, Kathy Lane, the daughter of Hugh Lane. The collection contains dubs of Alice D. Boyle's original recordings of Demus Green telling tales and stories, as well as a copy of Boyle's UNC term paper, titled "Uh Yeddy Um, but Uh Ent Shum...When They Gone, They Gone: The Stories of Demus Green", on Demus Green and his storytelling.

The collection of television and film producer Steve Boyle (1955-) contains digital video recordings related to Boyle's documentary film "Return to Comboland" about North Carolina rock groups in the 1980s. Videos include footage of live rock music shows in North Carolina during the 1980s and interviews with musicians and additional performances recorded between 2007 and 2014. Live performances feature The dB's, Fabulous Knobs, The Spongetones, X-Teens, The Accelerators, Arrogance, and other power pop and jangle rock acts from that era. Acquired as part of the Southern Folklife Collection.

Peter Braasch grew up in Durham, N.C. In 1994, he conducted fieldwork for his senior thesis at Yale University about the history of the commercial shrimping industry in coastal North Carolina. The collection includes audio tapes and research materials for Peter Braasch's senior thesis on the commercial shrimping industry on the North Carolina coast, Bug Hunting the Way to the New South: the History of Commercial Shrimping in North Carolina. The bulk of the collection is audio interviews conducted by Braasch with seventeen fishermen from Carteret County, N.C., and Brunswick County, N.C. Manuscript material includes logs of those interviews, a copy of Braasch's senior thesis, his research notes, unpublished reports of a sociological study of shrimp fishers sponsored by East Carolina University, and other support materials.

The 1966 field recordings on three open-reel audiotapes contain American Indian songs. The recordings were made by Jim Bramlett, then a student at the University of North Carolina at Chapel Hill. Field notes accompanying the recordings list the songs, including "Bush Dance Song," "Kingfisher Song," "Medicine Man Song," and "Morning Song of Wuakah." No other information, such as the locations where Bramlett recorded, the names of the performers, and the American Indian nations and tribes represented, is available. Acquired as part of the Southern Folklife Collection.

Audio recording of an interview and performance of ballads by Thelma Eckard and Lucy Belk, white ballad singers from Stony Point, Alexander County, N.C. Recordings include ballads by both women with particular attention paid to the ballads and events surrounding the 1916 flood in western North Carolina. Recorded by Charles W. Brandon, a white University of North Carolina at Chapel Hill student, in one of the informants' homes in March 1972. While a student at UNC, Brandon took Daniel W. Patterson's "British and American Folksong" course and wrote a term paper on the ballad about the 1916 flood. The collection also contains supporting documentation, consisting of a collection cover sheet prepared by former library staff.

Audio recording of interviews with some singing by Sarah Grant and Ostella Hamilton, both African American residents of Daufuskie Island, S.C., about life on Daufuskie Island, S.C. Sarah Grant (1888-1977) was a Gullah midwife and community leader on the island. At this time, little is known about Ostella Hamilton, whose name may be Estella Hamilton. Jack Brantley and Joe Evans, white University of North Carolina at Chapel Hill students, recorded Sarah Grant and Ostella Hamilton at one of their homes on 11 March 1974. The collection also contains supporting documentation consisting of a collection cover sheet prepared by former library staff. According to the cover sheet, Jack Brantley and Joe Evans were students in Daniel W. Patterson's English 147 Folksong course who went to Daufuskie Island, S.C. for spring holiday and did some collecting as an experiment while there. Without having contacts or ties to the region, Jack Brantley and Joe Evans' fieldwork was more of an "experiment in collecting rather than a focused interview." The collection cover sheet states, "the informants [Sarah Grant and Ostella Hamilton], as I recall, were simply approached and cooperated to some degree, with questioning."

The collection of author J. Lawrence Brasher (1947-) contains 39 field recordings on open-reel audiotape. Most of the recordings are untitled, some are labeled with the first names of individuals, and three are labeled "J.L.B. stories" and dated circa 1950, 1965, and 1967. "J.L.B." likely refers to Methodist minister and Brasher's ancestor, John Lakin Brasher (1868-1961), who is the subject of J. Lawrence Brasher's 1994 book The Sanctified South: John Lakin Brasher and the Holiness Movement, published in 1994. Acquired as part of the Southern Folklife Collection.

Agnes (Sis) Cunningham, musician and magazine publisher of New York, N.Y., founded Broadside, a magazine devoted to topical songs, with her husband, Gordon Friesen, in the early 1960s. They recorded and published many of the leading folksingers of the folk revival. The collection contains materials from the Broadside offices. Sound recordings include open reel tapes and audio cassettes, many of which were used to transcribe topical folk songs for publication in Broadside. Additional recordings include demo tapes, live concert performances, and interviews, which were sent to the Broadside offices by friends, folk singers, and subscribers. The work of numerous performers is included (many of the most significant are listed in the online catalog terms below). Documentation materials include a log of the Broadside tapes, correspondence, and tape notes. The Broadside tape log is a list of the tapes in their original order. Correspondence and tape notes consist of materials included in the original tape boxes. Correspondence includes personal letters to Cunningham and Friesen from friends and contributors. Tape notes contain track listings of songs, dates of performances, and names of performers.

Collection consists of audio recordings, including interviews, live concert recordings, radio broadcasts, studio master tapes; photographs; newspaper clippings; correspondence; and promotional materials relating to African American rhythm and blues musician Charles Brown (1922-1999). Audio recordings include audiocassettes of live concerts and radio interviews, 2" studio multi-track tapes of the Charles Brown Trio recorded at Russian Hill in San Francisco, Calif., and DAT tapes of live gigs. Some of the interviews were conducted by Danny Caron, a white man who was Brown's guitarist and musical director from 1987 to 1999. Video recordings include digital video tapes and VHS tapes of concerts, including the Belgium Rhythm 'n' Blues Festival.

The collection of Donald E. Brown of Boonsboro, Md., contains research files, artist name files, newspaper clippings, magazine and journal articles, printed and published materials, correspondence, photographs, discographies, and other materials related to Brown's interests in country music artists, particularly Hank Williams, Sr., (1923-1953) and Elton Britt (1913-1972). Acquired as part of the Southern Folklife Collection.

The Frank Clyde Brown Collection consists of dubbed field recordings of ballads, banjo music, fiddle tunes, dance music, singing games, songs, and stories, recorded in various locations in North Carolina by folklorist, Duke University professor, and founding member of the North Carolina Folklore Society, Frank Clyde Brown. The audio recordings, 1936-1940 and undated, primarily feature Anglo American folk and old-time music from western North Carolina, including the counties of Avery, Buncombe, Caldwell, Cleveland, Iredell, Watauga, and Wilkes. The collection also contains corresponding documentation, including select tape logs created by SFC staff and a tape index created by Duke University graduate student, Charles Bond, in 1971.

A musician on banjo, piano, guitar, and fiddle since childhood, Paul Brown spent years collecting and documenting traditional music in southwestern Virginia and northwest North Carolina. He worked in journalism and radio, especially for National Public Radio where, from 2001 to 2003, he was executive producer for weekend programming. He also served in several capacities as producer of NPR's Talk of the Nation and Morning Edition.

Live audio recording of Elbert Freeman (ca. 1910- ), African American fiddler from Georgia, and Nathaniel Ford (ca. 1910- ), African American guitarist from Georgia, performing blues and old-time music on fiddle and guitar. Recorded by John Buinson on 8 April 1967 in Monticello, Ga. The collection also contains supporting documentation prepared by former UNC library staff that includes a tracklisting and recording notes. Little is known about John Buinson and their connection to the open reel audio recording found in the collection. A note on the supporting documentation reads "obtained from John Buinson, North Georgia College."

The Brian Burch Collection consists of silent Super 8mm motion picture films of the 1973 Ole Time Fiddler’s & Bluegrass Festival in Union Grove, N.C. Shot by roots music fan, Brian Burch, the Super 8mm home movie footage primarily depicts festival attendees, leisure activities, and performances by old-time and bluegrass musicians. The collection also includes an edited digital version of the films made by Brian and Gillen Burch.

The Peter Burgis Collection consists of an audio recording of a presentation given by sound recording collector and former chief Sound Archivist for the National Library of Australia, Peter Burgis. Burgis presented the paper, titled "John Edwards, A Salute to a Great Australian," at the Australasian Sound Recordings Association Conference, which was held at the National Film and Sound Archive of Australia in April 1991. On the recording Burgis discusses John Edwards (1932-1960) of Sydney, Australia, who was one of the first collectors of early American country music and a pioneering discographer of this music. An audiocassette recording of Burgis' presentation was sent to folklorist and former chair of the Curriculum in Folklore at the University of North Carolina at Chapel Hill, Daniel W. Patterson, at the request of Irene Edwards by Australian sound recording collector, David L. Crisp. Also included in the collection is a letter from David L. Crisp that was mailed with the audiocassette when it was sent to Patterson by Crisp in 1992.

Casey Burns was born in 1975 in Hendersonville, N.C. He studied at the University of North Carolina at Chapel Hill from 1993 to 1998, receiving a degree in journalism. During these years, he began to be involved in the independent rock music scene in Chapel Hill as a poster artist and musician. In 2006, Burns relocated to Portland, Ore., where he continued to create poster art.

The collection contains 12 audio recordings made on open reel tapes in the late 1950s and early 1960s of old time, bluegrass, and gospel music. Performers include banjo builder Charles Burton (b. 1894) of Kentucky and "Roy - Jack and the Sandy River Boys." Several recordings are labeled "Singing School." Acquired as part of the Southern Folklife Collection.

The Andy Cahan Collection consists of 43 recordings, 1986-1989, created and compiled by Andy Cahan, a musician, music historian and former graduate student of folklore at the University of North Carolina at Chapel Hill. The recordings are primarily interviews and performances of musicians from the Galax, Va., and North Carolina region, and feature Walter Raleigh Babson, Mabel Crockett, Onie Green, Carlie Roosevelt Marion, and Nell Smith. Also included in the collection are recordings, 1986, made by Cahan to accompany his term paper while studying folklore as a graduate student at the University of North Carolina at Chapel Hill.

Audio recordings of fiddle contests and fiddling conventions recorded by John N. Callahan, a white fiddle contest organizer of Birmingham, Ala. The open reel audio recordings mostly feature folk and bluegrass music on fiddle, banjo, guitar, and mandolin performed at fiddle contests and fiddling conventions across the southern United States, including the states of Alabama, Georgia, Kentucky, Louisiana, North Carolina, Oklahoma, Tennessee, and Texas. The collection also contains field recordings made by John N. Callahan at musicians' homes, as well as supporting documentation consisting of tape logs prepared by former library staff and scattered flyers and promotional materials compiled by John N. Callahan.

The collection contains audio cassette tapes that are likely copies of recordings made in the 1980s of Piedmont blues musicians from North Carolina and Virginia performing in their homes, in the studio, and at music venues including the Festival for the Eno in Durham, N.C. Piedmont blues is noted for fast finger picking on guitar with alternating bass lines and a ragtime feel. Musicians featured on the recordings include Big Boy Henry, John Tinsley, Thomas Burt, Chris Turner, and Lightnin' Wells. Also included are field notes about the recordings and a printout from a database with a listing of 45 rpm records produced in North Carolina. Information about the collector David Camp was not available with the collection materials. Acquired as part of the Southern Folklife Collection.

Photographic images created by white photographer David B. Capps, depicting scenes from the Ann Arbor Blues Festival (Ann Arbor, Mich.), Ann Arbor Folk Festival (Ann Arbor, Mich.), Benefits for The Ark (Ann Arbor, Mich.) and the Union Grove Fiddlers Convention (Union Grove, N.C.). Materials include photographic negatives, contact sheets, and selected photographic prints made from negatives. Many prominent African American blues and jazz musicians of the late 1960s and early 1970s are represented in the photographs. Also included are some festival programs and other printed materials related to exhibitions of Capps's photographs.

Candie Anderson and Guy Carawan, a white couple married since 1960, met as a result of their mutual involvement in the civil rights movement. The Carawans have been involved in the work of the Highlander Research and Education Center (formerly the Highlander Folk School) in Tennessee, an institution that supports and provides educational resources for progressive social and political causes in the South. The original deposit of materials is chiefly audio tapes and corresponding field notes that reflect the Carawans' efforts to document the cultures of various groups of people in the South and elsewhere, beginning in the early 1960s. Included are historically significant speeches, sermons, and musical performances recorded during major civil rights demonstrations and conferences in Nashville, Birmingham, Atlanta, and other southern cities; field recordings of worship meetings, songs, stories, and recollections from Johns Island, S.C., that document the African American heritage of the rural South Carolina Low Country; recordings of interviews with residents of south-central Appalachia concerning problems associated with coal mining and rural poverty; recordings of performances by Appalachian musicians, among them Hazel Dickens; recordings of remarks and musical performances by ethnomusicologist Alan Lomax; a discussion between Guy Carawan and Studs Terkel; recordings of performances by Mayne Smith and Martin Mull; and recordings of Latin-American, Celtic, Australian, and Hungarian vernacular music. Corresponding field notes include song lists, transcripts, box lists, memos, and photocopies of original audio housing. The Addition of 2006 contains audio recordings of musical performances and interviews collected by Guy and Candie Carawan, many of which feature members of the Johns Island, S.C., community. The Additions of 2010 primarily contains materials relating to the Carawan's professional and personal projects in the areas of civil rights, folk music and culture, and social justice, as they relate to Appalachia, the Highlander Research and Education Center (HREC), and the Sea Islands of South Carolina and Georgia. Materials relating to civil rights were collected by Candie Carawan in 1960, when she was an exchange student at Fisk University in Nashville, Tenn., where she was arrested for participating in a sit-in to protest racial segregation of lunch counters. The Addition of 2017 documents the Carawans continuing work on civil rights, Appalachia, the Sea Islands, folk music and culture, and social justice projects in partnership with HREC and others. Also included is a memoir project intended to serve as a field guide for cultural service workers and policy makers who have an impact on the quality of community cultural life.

Bob Carlin (1953-), a white musician, music producer, author, and collector, was born in New York City, N.Y. He has authored several books on southern music traditions, African American music, string bands, shape note singing, Primitive Baptist music, banjo music, and other topics, many having to do with the western Piedmont of North Carolina. He has also produced many recordings, including African American Note Choirs of Alexander County, North Carolina (2002).

The Richard Carlin Collection on Eubie Blake consists of a 1970 radio interview with African American ragtime composer and pianist, Eubie Blake. Music editor, Richard Carlin, acquired a dub of the interview as part of his research on Eubie Blake. The collection also contains scattered paper materials found with the audio recordings, including a clipping on Eubie Blake and a radio program tape label.

The undated recording on audio cassette tape contains old time music performed by the Carolina Twins, who were Gwen Foster (1903?-1954) a textile worker from Gaston County, N.C., and David O. Fletcher (1900-1958). The Carolina Twins were on Victor Records in the late 1920s. Acquired as part of the Southern Folklife Collection.

The Tom Carter Collection consists of field recordings, 1970-1973, created and compiled by folklorist, historian, and musician, Tom Carter. The audio recordings feature old-time musicians from the central Piedmont area of North Carolina and the North Carolina and Virginia border region, performing old-time tunes and songs. Some of the artists featured include, Tommy Jarrell (1901-1984), Anglo-American old-time fiddle and banjo player, of Mt. Airy, N.C.; Gaither Carlton (1901-1973), Anglo-American old-time fiddle and banjo player, of Deep Gap, N.C.; Fred Cockerham (1905-1980), Anglo-American old-time fiddle and banjo player, of Low Gap, N.C.; Emit Valentine, Anglo-American button accordion player, of Franklin Co., N.C.; Archie and Lenwood Thompson, Anglo-American fiddlers, of Franklin Co., N.C. The collection also includes an interview Carter conducted with Virgil Craven, hammered dulcimer and fiddle player; two other pieces of writing by Carter; and extensive field notes created by SFC staff. Field notes include technical information about the tapes, as well as description of contents, including musician names, song titles, banjo tunings, and background information on the musicians recorded.

The Tom Carter and Blanton Owen Collection primarily consists of audio recordings, 1948-1975, created and compiled by folklorists, Tom Carter and Blanton Owen. The majority of the collection consists of field tapes, 1973-1974, created by Carter and Owen as part of their joint fieldwork project funded by the National Endowment for the Humanities (NEH). Titled, Traditional Instrumental Music From Southwest Virginia: A Field Collection and Oral History, the fieldwork project comprised of documenting the traditional music found in one region of the Southern Appalachians through recorded music, interviews, and photographs. The collection contains dubbed copies of the original field recordings that Carter and Owen created as part of the grant-funded project, as well as a copy of the original grant proposal with handwritten notations. The recordings primarily feature traditional instrumental music, mainly fiddle and banjo played in the old-time style, from southwestern Virginia and northwestern North Carolina, including Carroll, Patrick, Grayson, and Floyd counties, Va., and Alleghany and Surry counties, N.C. Included are performances of ballads, early country music, gospel songs, bluegrass music, dance calls, and tin pan alley, as well as interviews, telling of legends, and other spoken material. The music is performed on fiddle, banjo, piano, hammered dulcimer, Appalachian dulcimer, accordion, guitar, harmonica, jew's-harp, autoharp, steel guitar, and Hawaiian guitar. Performers include Huston Caudill, Luther Franklin Davis, Armstead Roscoe Parrish, Dan Tate, Fred Cockerham (1901- ), Estil Cortez Ball, Albert Hash, Kyle Creed, Taylor Kimble (1892- ), Tommy Jarrell (1901-1985), and Virgil Craven (1902-1980). The collection also includes additional dubbed audio recordings, circa 1948-1949, featuring the Shelor Family, Dad Blackard's Moonshiners, Ernest Stanley Band, Dudley Spangler, and J.W. (John Watts) Spangler (1882-1970), as well as field notes created by Tom Carter, Blanton Owen, and staff of the Southern Folklife Collection. The field notes correspond to the audio recordings found in the collection and may include notes on performers' names, technical information about the field tape, a brief description of contents, song titles, and tunings.

The Tom Carter and Chuck Rupert Oysler Collection consists of field recordings, 1973, of Willie Trice (1910-1976), an American blues guitarist, singer, songwriter, and record producer from North Carolina. The two recordings, which were made by Tom Carter and Chuck Rupert Oysler in Orange County, N.C., feature Willie Trice on guitar and vocals, as well as in conversation. The collection also contains corresponding documentation, or tape logs, created by former SFC staff members.

Interviews and field recordings created by white archivist and traditional musician, Mike Casey, while he was a graduate student in folklore at the University of North Carolina at Chapel Hill. The majority of the recordings feature traditional musicians from North Carolina and West Virginia, including Lauchlin Shaw, white old-time fiddler from Spring Lake, Cumberland County, N.C.; Clarence Williams (1928- ), African American gospel singer and farmer from Fayetteville, N.C.; and Melvin Wine, a white old-time fiddler, of Braxton County, W.Va. The collection also contains a series of recordings made in Duplin County N.C., including interviews with residents and field recordings of a Baptist church revival, as well as documentation related to the interview and field recordings of Lauchlin Shaw found in the collection.

Yadkin County native Jerry Casstevens was a regionally well-known bluegrass banjo player who performed mostly in Yadkin, Surry, Wilkes, and neighboring counties of North Carolina and Virginia. Casstevens mastered many styles of music on the banjo, but preferred to play bluegrass. During his 40-year musical career, Casstevens won or placed in many contests, including Union Grove and Galax fiddlers' conventions. He led many different groups, but the Bluegrass Masters, with his son Mike Casstevens, was perhaps the best known.

Collection of white jazz instrumentalist, composer, and avant-garde guitarist Eugene Chadbourne, including self-produced recordable compact discs, vinyl records, and a flyer for the music festival ChadFest 2020. Chadbourne created the artwork for each album. Recordings include performances and compositions by many people, including some Black musicians. Artists include: Chris Eubank, Carrie Shull, Joe Westerlund, David Licht, Karl Straub, Don Helms, Susan Alcorn, Jimmy Carl Black, Dave Fox, Jeb Bishop, John Zorn, Kramer, Michael Hurley, and others. Also included is Chadbourne's 2013 book Dreamory, a collection of his tour and dream diaries and teenage and draft dodging memoirs.

The Classic Sounds of the South Collection includes audio and video recordings of concert performances by country music artists Tift Merritt and the Carbines, Johnny Irion, and Sarah Lee Guthrie, as well as a concert poster by graphic artist Ron Liberti resulting from a concert series sponsored by the University of North Carolina at Chapel Hill's Curriculum in Folklore, 7-8 December 2001.

The collection of Calin Coburn documents the performance career of his grandfather, the western singer-songwriter and film actor Bob Nolan, who was leader of the musical group Sons of the Pioneers and author of western song classics including "Tumblin' Tumbleweeds" and "Cool Water." Collection materials include promotional photographs, family photographs, posters for western movies, Sons of the Pioneer song catalog with lyrics sheets, sheet music, volumes of Bob Nolan materials compiled by Coburn and Elizabeth Drake McDonald, periodicals and newsletters, copyright documents, and slight, scattered correspondence. The collection also contains audiovisual materials consisting of live performances, demos, studio recordings, test pressings, movie clips and soundtracks, and award ceremony tributes and appearances.

The collection of Norm Cohen (1936-), folklorist, author, and former executive secretary of the John Edwards Memorial Foundation, contains an extensive library of books and serials about country, folk, bluegrass, and blues music; commercial recordings on compact disc and 78 rpm and 45 rpm discs; and research files and project files for his work on early country and folk music, especially the railroad in American song and "ethnic music." Research files contain field notes, discographies and bibliographies, newspaper clippings, reprints of articles, tape logs of interviews with old time musicians, record catalogs, programs for folklore conferences and music festivals, noncommercial audio recordings, photographs, and correspondence with publishers and with folklorists including Willie Smyth and Archie Green. Other materials include drafts of Cohen's writings and documents related to the John Edwards Memorial Foundation, particularly the organization's record reissues and its journal, JEMF Quarterly. Acquired as part of the Southern Folklife Collection.

Ronald D. Cohen, a white professor of history at Indiana University Northwest-Gary, 1970-2005, wrote and edited numerous books and articles, many about American folk music, and co-produced compilations of folk and topical songs. He edited Red Dust and Broadsides: A Joint Autobiography, written by Agnes Cunningham (Sis) and her husband Gordon Friesen. Sis Cunningham was a songwriter and musician who performed with the Almanac Singers, a 1940s group of folk musicians, and the Red Dust Players, a 1939 radical agitprop group that performed plays in aid of the Southern Tenant Farmers Union. Gordon Friesen was a newspaper journalist and artist. Cunningham and Friesen fled anti-Communist harassment in Oklahoma and moved to New York City where they founded and published Broadside, a magazine that documented topical and folk songs, beginning in the early 1960s. Photo-Sound Associates was organized by Aaron Rennert, Ray Sullivan, and Joel Katz in Greenwich Village in connection with Lee Hoffman and Caravan magazine to document the folk revival movement in New York City. Rennert and Sullivan did the photography, while Katz recorded the concerts. The collection consists of papers, photographs, and audiovisual materials relating to Ronald Cohen, Sis Cunningham, Gordon Friesen, Broadside, Photo-Sound Associates, and many others, chiefly from the folk music scene. Broadside papers, 1957-1999, include original artwork; operations correspondence; transcriptions of songs; articles; press releases; and concert flyers. Cohen papers, 1932-2009, include correspondence; materials related to recording and book projects, including interview transcripts; and research files documenting his studies of American topical songs and protest songs, the folk revival movement, and McCarthy-era Communism. Sis Cunningham papers, 1914-1998, include correspondence, family memorabilia, and original songs, plays, and writings. Some materials relate to the Red Dust Players. Gordon Friesen papers, late 1930s-1983, include correspondence, drawings, and writings, many documenting his career as a newspaper journalist and novelist. Photographs include images of Sis Cunningham, Gordon Friesen, and their family; a few unidentified old downtown storefronts and cars; and the folk revival movement in and around New York City as captured by Photo-Sound Associates. Audiovisual materials include Cohen's collection of audio recordings of folk music radio programs, interviews, conference recordings, and commercial recordings, as well as Cunningham and Friesen's family films and videotapes documenting the 1991 Richard Reuss Memorial Folk Music Convention.

The Dale Coker Collection of Banjo Tunes and Ballads contains field recordings and related documentation created by white University of North Carolina at Chapel Hill student, Dale Coker. Field recordings feature old-time banjo tunes and singing ballads and other songs by Lloyd Ballard, white banjo player and singer, of Mt. Olivet, Henderson County, N.C., as well as old-time songs on fiddle and banjo by Jenes Cottrell (ca. 1901-1980), white singer, banjo player, banjo maker, and craftsman, of Ivydale, Clay County, W.Va., with his sister, Phoeba Parsons, and brother, Noah Cottrell. Coker recorded the musicians in their homes from 1974-1975 as part of his interdisciplinary folklore coursework at UNC. The collection also contains supporting documentation, including tape logs prepared by former SFC staff and term papers by Coker that correspond to the recordings found in the collection.

Posters for music festivals and blues concerts held in Greenville, Miss., and Vicksburg, Miss., from 1996 to 2008 featuring artists such as Marvin Sease, Bobby Rush, Sheba Potts Wright, Willie Clayton, and others. Posters were collected Howard D. Cole of Cary, Miss.

The collection contains filk music songbooks, lyrics, sheet music, and zines from the 1980s through the early 2000s. Included are the “Filk Bible,” “The First Ozark Trilogy Filksong Collection,” and issues of the zine, The PHILK-FEE-NOM-EE-NON, irregularly published by the Philk Press in conjunction with meetings of the Southern California Filkers Anonymous group. Much of the filk music represented in the collection has popular science fiction and fantasy fiction themes including homages to Star Trek, Star Wars, Dr. Who, Lord of the Rings, and Harry Potter and the Sorcerer's Stone.

The collection is composed of Phillip G. Collins' research files on his father Ruey "Curley" Collins (1915-1986), a white banjo, guitar, and fiddle player and a country music performer chiefly on radio programs from the 1930s through the mid-1950s. Research files contain photocopies of publicity photographs, newspaper clippings, articles, biographical information including a transcript of an interview with the elder Collins, chronologies of his music career, and lists of radio shows, television shows, movies, recordings, and honors. Also included is an audio cassette tape with a selection of Curley Collins' vocal and instrumental performances in the early 1980s and a 1983 interview with him. Acquired as part of the Southern Folklife Collection.

The 1958 session recording on open-reel audiotape was made by Colonial Records of Chapel Hill, N.C. It contains two songs, "I'm Hilda" and "Under Age & Over-Age," which were recorded with an audience. The artist is not identified. Acquired as part of the Southern Folklife Collection.

Live audio recordings of the Sounds of the South Conference, held 6-8 April 1989 at the University of North Carolina at Chapel Hill. The conference gathered more than 300 participants, including record collectors, folklorists, musicians, record producers, librarians, archivists, and traditional music lovers, to celebrate traditional southern music and the official opening of the Southern Folklife Collection with the John Edwards Memorial collection at UNC's library. The conference included panel discussions, papers, and addresses on topics related to history and issues in field collecting and recording traditional music, including old-time, bluegrass, gospel, country, conjunto, Cajun, and American Indian music, and the history of the John Edwards Memorial Foundation collection. Presenters and panelists featured on the recordings include Guy Carawan, Tom Carter, Norm Cohen, Cece Conway, Ray Funk, Alice Gerrard, Archie Green, Bess Lomax Hawes, Alan Jabbour, Alan Lomax, Bill C. Malone, Paul Oliver, Dan Patterson, Anne Romaine, Anthony Seeger, Mike Seeger, and David Whisnant, among others. Also included in the collection are field notes associated with select recordings. Field notes contain recording credits, session titles, speaker names, and topics discussed.

The Bruce M. Conforth Collection on Lawrence Gellert consists of papers and original field recordings related to the independent white music collector, Lawrence Gellert, who recorded African American vernacular music in the American South from roughly 1920-1940. Folklorist, Bruce M. Conforth, compiled the materials as part of his ongoing research on Lawrence Gellert, which culminated with Conforth's 2013 publication, African American folksong and American cultural politics: the Lawrence Gellert story. Papers consist primarily of research files on Lawrence Gellert compiled by Bruce M. Conforth, as well as lyric transcriptions, musical scores, notebooks, writings, and other materials by Lawrence Gellert. Original field recordings consist of African American work songs, chants, spirituals, and blues songs recorded by Lawrence Gellert in North Carolina, South Carolina, and Georgia.

The Loren Connors Collection consists mostly of reference copies of commercial audio recordings created and compiled by composer, Loren MazzaCane Connors. The recordings, which primarily feature avant-garde and experimental guitar music by Connors, include commercial releases, promotional copies, annotated personal copies, and self-released material by Connors, as well as compilations and collaborations by Connors with other artists, including Kath Bloom, Keiji Haino, Jandek, Suzanne Langille, and Alan Licht, among others. The collection also contains photographs and printed materials related to Connors, including a copy of his chapter book, Autumn's Sun (1999).

A 1990 oral history interview conducted by Molly Conrecode, a white folklorist, with Bland Simpson, a white author, playwright, songwriter, and musician, who was a member of the North Carolina string band, the Red Clay Ramblers. In the audiocassette recording Bland Simpson discusses Diamond Studs, a musical about Jesse James that he wrote with Jim Wann, and how that musical led to his playing piano with the Red Clay Ramblers beginning in the 1970s. Other topics addressed by Simpson include regionalism and pluralism in the music of the Red Clay Ramblers, the introduction of brass instruments to the band's music, and Chapel Hill, N.C., during the 1970s. The collection also includes a note from Molly Conrecode to the Southern Folklife Collection regarding the donation of the oral history interview to the SFC.

A video recording of Piedmont blues guitarist, Etta Baker (1913-2006), created by white folklorists, Cecelia Conway and Elva Bishop. Etta Baker, born Etta Lucille Reid, claimed European, African American, and Native American ancestry. She grew up in Caldwell County, N.C., where she learned to play Piedmont blues, ragtime, and fiddle tunes from her father, Boone Reid. After working in a textile mill for over 25 years, Baker retired at the age of 60 to pursue a career as a musician. Cecelia Conway and Elva Bishop created the video recording, One Dime Blues: Ms. Etta Baker at Home (1986), with grant funding from the North Carolina Arts Council and the National Endowment of the Arts. It documents Etta Baker at age 73 playing banjo and finger-style guitar at her home in Morganton, N.C., by herself and alongside her sister, Cora Phillips, who also plays the guitar. Songs featured on the videotape include "One Dime Blues", "On The Other Hand Baby", and "Goin' Down The Road Feelin' Bad", among others. Between songs, Baker talks about her songs, family, and hobbies.

The collection contains open reel audiotape recordings of old-time fiddler and banjo player Tommy Jarrell (1901-1984) from Mount Airy, N.C., his sister Julie Jarrell Lyons, a ballad singer of Round Peak, N.C., and other members of the Jarrell family, who were of Scottish heritage. In May 1976 at the Jarrell family home in Surry County, N.C., white folklorist Cecelia "Cece" Conway and white musician Alice Gerrard recorded extensive interviews with Jarrell and his family, as well as live performances of Jarrell playing old-time tunes on fiddle and banjo and Lyons singing ballads and hymns. In the interviews, Jarrell and others discuss their musical heritage and family history. The collection also contains related documentation, including scattered tape logs and photocopies of titles and notes found on original open reel audiotape boxes.

The Cecelia Conway and Tommy Thompson Collection consists of field recordings of African-American old-time musicans from North Carolina. Created by Cecelia Conway and Tommy Thompson in 1974, the live recordings feature John Snipes, African-American old-time two-finger and clawhammer fretless banjo player of Haw River, Alamance County, N.C.; Dink Roberts, African-American old-time banjo player of Haw River, Alamance County, N.C.; and Joe and Odell Thompson, African-American fiddle and banjo player from Mebane, Orange County, N.C. The recordings include old-time tunes and song from both African-American and Anglo-American fiddle and banjo traditions of the Carolina Piedmont. Also included in the collection are corresponding tape logs created by SFC staff. Tape logs include song titles, playback speed, and track configuration.

Bill Cook was the producer of The Glenn Reeves show, a country music television program based in Jacksonville, Fla., and broadcast on WFGA-TV in the early to mid-1960s. It was networked over 15 stations in the southeastern United States. The show starred singer and songwriter Glenn Reeves (1932-1999), best known for recording the original demo of Heartbreak Hotel, and featured a number of prominent country music artists as guests.

Audio recordings of performances of Scottish fiddling from Canada by Douglas Stewart, a white fiddler from Belle River, Prince Edward Island, Canada, and Clarence MacLean, a white fiddler from Belfast, Prince Edward Island, Canada. Recorded by Ivan H. Mann, a white University of North Carolina at Chapel Hill student, and Fred Coon, a white old-time musician and banjo player, in August 1976 at the musicians' homes. The collection contains dubs of Ivan H. Mann and Fred Coon's original recordings, as well as supporting documentation consisting of a cover sheet prepared by former library staff.

Photographs and audio recordings of musicians created by white North Carolina photographer, Daniel Coston. Photographs consist mostly of digital images, 1996-2007, of performances by country, folk, and rock musicians, including Big Star, J. J. Cale, Carter Family, Johnny Cash, Cat Power, Bob Dylan, Steve Earle, Andy Griffith, Tift Merritt, Ralph Stanley, and Wilco, among others. Digital photographs also include documentation of music festivals, such as MerleFest, as well as documentation of a memorial for Robert Moog, inventor of the first commercial synthesizer. Audio recordings found in the collection consist of digital copies of live recordings, 1975-2003, by Johnny Cash, June Carter Cash, Sarah Carter, and Maybelle Carter.

Audio recording of African American folk songs from North Carolina submitted by Portia Crawford with her 1965 master's thesis, "A Study of Negro Folk Songs from Greensboro, N.C. and Surrounding Towns." Portia Crawford, a Black instructor, music researcher, and musician of Greensboro, N.C., originally made the recordings from 1960 to 1963 on audiodisc. The collection contains copies of these recordings on open reel audio, as well as supporting documentation. Audio recordings contain mostly unaccompanied singing by African American vocalists, including Joe Goodman of Reidsville, N.C., Harvey Reaves of Greensboro, N.C., Leon Becton, Margaret Becton, Beverly Green, Diane Holman, and Johnny Workman, among others, all from Greensboro, N.C. and surrounding towns. The vocalists range from age 10 to 106, including a formerly enslaved person, Dory Boyd. Types of songs performed include spirituals and children's songs. The collection also contains supporting documentation, including a Southern Folklife Collection (SFC) field collection cover sheet and tape logs prepared by former SFC staff.

In the 1983 interview conducted by University of North Carolina at Chapel Hill student Esther J. Cruikshank, Ruth West discusses foodways and restaurant work. The sound recording is on audio cassette tape. Acquired as part of the Southern Folklife Collection.

The Curriculum, Music, and Community Collection consists of video documentation of summer workshops hosted by the Curriculum, Music, and Community (CMC), a collaborative educational program designed by the School of Education and the Curriculum in Folklore at the University of North Carolina at Chapel Hill to support North Carolina teachers in their efforts to incorporate the music and musical traditions of their communities into their regular classroom instruction. Attendees of the CMC workshops included teachers, as well as traditional musicians and dancers from Ashe, Surry, Haywood, and Caldwell counties. The recordings include discussions on lesson plans and connecting teachers with artists, as well as, performances by gospel musicians, clog dancers, square dancers, and old-time string bands.

Filmmaker Kenny Dalsheimer (1960-) of Durham, N.C., has made several documentaries, including Go Fast, Turn Left: Voices from Orange County Speedway (1997) and Shine On: Richard Trice and the Bull City Blues (1999). The collection consists of transcripts and videotapes from Shine On: Richard Trice and the Bull City Blues (1999) and video masters from Go Fast, Turn Left: Voices from Orange County Speedway (1997). Shine On: Richard Trice and the Bull City Blues traces the career Durham, N.C., blues musician Richard Trice. Videotapes feature interviews with Trice; trips to where he lived, worked, and performed; and footage of a 1998 blues workshop at the Hayti Heritage Center in Durham with Trice and blues musician John Dee Holeman. Go Fast, Turn Left: Voices from Orange County Speedway takes a look at the grassroots of stock car racing with interviews of drivers, family members, and track officials involved in minor league competition.

The Barbara Dane Collection consists of sound recordings of American folk songs sung by Barbara Dane (formerly Barbara Cahn) and Rolf Cahn. Recordings are on instantaneous disc. The collection also includes a hand-decorated album that originally housed the sound recordings.

Erik Darling (1933-2008) was a white American songwriter and folk music artist, born in Baltimore, Md., and raised in Canandaigua, N.Y. In the 1950s, he formed with Bob Carey and Alan Arkin what became the Tarriers. In 1956, the Tarriers' Banana Boat Song sparked a craze for calypso music. In 1958, Pete Seeger left the Weavers singing group, and Darling was asked to take his place; he stayed with that group until 1962. Darling then formed the Rooftop Singers, which popularized the 12-string guitar in its recording of Walk Right In. Darling subsequently released several solo albums, wrote many instrument instruction books, and compiled his 2008 autobiography. The collection contains correspondence, scores, sheet music, song lyrics, photographs, moving image materials, audio recordings, and other items related to Erik Darling and his musical career. Correspondence discusses song writing and other activities. Correspondents include Fred Hellerman, Don McLean, Al Perrin, Pete Seeger, and other folk artists and friends. Also included are handwritten and photocopied scores with annotations by Darling; song lyrics by Darling and various collaborators; and printed and photocopied versions of sheet music. There are also clippings relating to the 2004 reunion performance of the Weavers; photographs of both the Tarriers and the Weavers; negatives from the 1954 Musical Americana Tour; several DVDs and videotapes that relate to various groups; recordings of phone interviews conducted by Darling with friends and associates, including Billy Faier, Guy Carawan, and Pete Seeger, while in the process of writing his autobiography I'd Give My Life: A Journey by Folk Music (2008) and compact discs containing notes for and chapters from the autobiography; and recordings of music by Darling and others, including commercially released audiodiscs, demos, dubs, mixes, and masters of commercial and non-commercial recordings. The Additions consist of artwork by Erik Darling.

Tom Davenport is a white independent filmmaker and film distributor living in Delaplane, Va. He began work in film with documentary filmmakers Richard Leacock and Don Pennebacker in New York and made his first independent film in 1969. In 1970, he returned to rural Virginia and started an independent film company with his wife Mimi Davenport as co-producer and designer. The collection includes materials documenting the making of Tom Davenport's films It Ain't City Music, about country music; Born for Hard Luck, about Arthur Jackson (also known as Peg Leg Sam), a harmonica player, singer, and comedian who performed in medicine shows; The Shakers, about the Sabbathday Lake Shaker community, New Gloucester, Me., and the Canterbury Shaker community, Canterbury, N.H.; Being a Joines: A Life in the Brushy Mountains, about the Joines family of North Carolina; A Singing Stream: A Black Family Chronicle, which documents the Landis Family of Creedmore, N.C., and other local gospel singing groups; the series From the Brothers Grimm, retellings of classic Brothers Grimm fairy tales set in Delaplane, Va.; The Ballad of Frankie Silver, which tells the story of Frances Silver, who was hanged for the murder of her husband Charles Silver; Remembering the High Lonesome, about John Cohen, a filmmaker and photographer, and his work in rural Kentucky in the 1950s; When My Work Is Over, which tells the story of African American storyteller Louise Anderson; Remembering Emmanuel Church, which tells the oral history of the Emmanuel Episcopal Church in Fauquier County, Virginia; and a recording of a concert performed by the New Lost City Ramblers string band in February of 2000. Included are grant applications, transcripts, field notes, correspondence, financial material, study guides, production related notes, and publicity related to each of these films. There are also release prints of select films; recordings that contain interviews and other sound used for these films; moving image materials used in the creating of these films; materials relating to other film projects directed by Tom Davenport; printed materials relating to Davenport; posters advertising Davenport's films; and other items. Other materials include photographic documentation of Texas farmworker marchers, white and African-American communities in the Ozarks and the Delta of Arkansas; Henry Atkins, the first African American to run for Congress in Arkansas; Bobby K. Hayes campaigning for a U.S. Senate; and portraits of people in line outside Robert Kennedy's funeral at St. Patrick's Cathedral.

Folklorist and musician Amy Davis grew up in Millerton, N.Y., and spent several years in the Northeast, playing and recording with the Little River String Band and two Cajun bands, the Swamproots and Dirty Rice. She moved to North Carolina in 1992 and, in 1998, received her masters degree in folklore from the University of North Carolina at Chapel Hill. In 1997, she conducted the Harkers Island Sacred Music Project, which documented musical traditions among the churches of the Carteret County, N.C., island. She worked in the Soutern Folklife Collection, 1999-2001.

Audio recordings of Donald Davis, a white storyteller, author, and Methodist minister, of Haywood County, N.C., telling Jack tales, stories from his uncle Frank, tales from his other aunts and uncles and his grandmother, and other tales of his own, which were inspired by his family.

Published sound recordings and books relating to jazz music collected by Raleigh, N.C., collector Theodore Earl Davis, Jr. Acquired as part of the Southern Folklife Collection.

Recordings of the Rising Stars of Louisa Anniversary Program featuring the Rising Stars, a modern African American gospel quartet, performing at the St. Steven's Baptist Church in Stevensburg, Va. Included are congregational singing, solo gospel, and spirituals, religious testimonials, sung prayer with response, and shouts. Douglas Turner Day, a white folklorist who received his masters in folklore at the University of North Carolina at Chapel Hill, made the recordings, presumably as part of his masters thesis research on an African American gospel program in central Virginia. Also included are dubs from the Clive Harris Collection, comprised of assorted band music and excerpts from interviews with Clive Harris, as well as related documentation prepared by former SFC staff.

Audio recordings of oral history interviews compiled by white folklorist and arts administrator, Douglas DeNatale. The recordings feature interviews with white storyteller, Malcolm Shaw, and Lauchlin Shaw, white farmer and old-time musician, from Spring Lake, N.C., about their family, persons of Scottish heritage in North Carolina, and Lauchlin Shaw's music. The collection also includes dubs of oral history interviews that DeNatale conducted with residents and former textile workers of New Bern, N.C., dubs of local ballads and songs from the Blue Ridge Institute Archives at Ferrum College, and documentation related to the recordings found in the collection.

The David Deese Collection consists of audio recordings of bluegrass and country music and related documentation compiled by banjo player, David Deese. Audio recordings, 1961-1980, are made up of personal recordings, festival recordings, radio programs, and dubs of commercial recordings. Of particular note is a tape of commercial recordings sent to David Deese when he served in the Vietnam War. Related documentation consists of tape logs of recordings found in the collection and elsewhere.

Kevin Delaney was born in 1946 in Washington, D.C. Between 1970 and 1974 he traveled through Ireland, Scotland, and the American Midwest and Southeast, recording country, blues, gospel, bluegrass, and old-time musicians and performers who otherwise might not have been heard.

The Hazel Dickens Collection, 1930s-2011, documents the singing and songwriting career of the pioneering bluegrass and folk musician, as well as her support for working class concerns, labor unions, and the coal-mining community. Materials include personal and business correspondence, song lyrics, photographs, posters, tour and event promotional materials, newspaper clippings and magazine articles, interview transcripts, drafts of Working Girl Blues: The Life and Music of Hazel Dickens and related materials, family genealogy, and address books. The collection also contains audiovisual materials of award ceremonies, radio programs, and demos featuring Hazel Dickens and others.

J. Taylor Doggett is a businessman and writer who has extensively researched, among various other interests, the 1950s R&B group the 5 Royales, swing bandleaders, and musicians associated with the University of North Carolina. He lives in Greensboro, N.C.

Field recordings on open-reel audio tape compiled by anthropologists H. Max Drake and Ann M. Drake contain traditional music performed chiefly by North Carolina musicians between 1952 and 1980 and interviews with civil rights workers in Chapel Hill, N.C., conducted during the early 1960s. Musical artists on the recordings include Bill Hicks, Tommy Jarrell, Bascom Lamar Lunsford, Obray Ramsey, Byard Ray, and John Snipes. In the interviews, civil rights workers, including Mark Chaisson, Patrick Cusick, LaVert Taylor, Hope Van Riper, and Peter Van Riper, discuss protests in Chapel Hill against racial segregation in public accommodations. Acquired as part of the Southern Folklife Collection.

The Duck Kee Studio Collection consists of multi-track and mixdown studio master tapes of indie rock musicians recorded at Duck Kee Studio in North Carolina. White musician and recording engineer, Jerry Kee, founded and manages the studio, which has been located in Mebane, N.C. since 1995. Notable artists featured on the audio recordings include Tift Merritt and the Carbines, Dish, Jennyanykind, Picasso Trigger, Portastatic, Queen Sarah Saturday, Regina Hexaphone, and Superchunk. The collection also contains related documentation found with select recordings, including track sheets, memos, lyric sheets, and other materials.

Timothy Duffy, a white folklorist and musician, produced field recordings of the American roots tradition as an undergraduate at Warren Wilson College and while working on a folklore master's degree at the University of North Carolina at Chapel Hill. A few years after graduating in 1991, he co-founded the Music Maker Relief Foundation (MMRF), a non-profit organization near Hillsborough, N.C., that helps southern roots tradition musicians meet their financial needs and gain recognition for their work. The collection chiefly relates to MMRF and includes artist files, CD liner proofs, correspondence, photographs, posters, audiovisual materials, and other papers, including Duffy's student papers and projects. Audiovisual materials include sound recordings related to Duffy's folklore thesis fieldwork in the Black Mountains of North Carolina, as well as sound recordings and moving images of blues, gospel, and R& B artists, such as Walt Davis, Ray Greene, Jeeter Riddle, James Guitar Slim Stephens, Etta Baker, Willa Mae Buckner, Guitar Gabriel, Cool John Ferguson, Cootie Stark, Cora Mae Bryant, Sammy Mayfield, Neal Pattman, Beverly Guitar Watkins, Jerry McCain, Essie Mae Brooks, Precious Bryant, Preston Fulp, Macavine Hayes, Algia Mae Hinton, John Dee Holeman, Captain Luke Mayer Luther, Taj Mahal, and the Greene Acres Picking Party.

Audio interviews, field recordings, and supporting documentation on the congregation and music of the True Light Church located in Rocky River, Cabarrus County, N.C. Miriam Dunham, a University of North Carolina at Chapel Hill student, created the recordings in February and March of 1972 as part of a term paper for an English 187 course taught by Daniel W. Patterson. Audio recordings include an interview with H. Flake Braswell, of Rocky River, N.C., a white preacher and former leader of the True Light Church, and Russell McLeod, of Rocky River, N.C., a white preacher of the True Light Church, about the True Light Church, its doctrines, and the process of hymn selection. Also includes a field recording of a True Light Church service devoted to addressing conflicts within the congregation, as well as an audio interview with Jeanette Long Scherich, a white resident of Rocky River, N.C., who was raised in the church but is no longer a member. The collection also contains supporting documentation, or tape logs, prepared by former Southern Folklife Collection staff. Little is known about Miriam Dunham and their relation to the subjects in the recordings. Dunham's English 187 term paper, "The True Light Church and its music", can be found in the North Carolina Collection at Wilson Library.

The collection of white author, editor, musical artist representative, and social justice activist, Josh Dunson, contains papers, photographs, and audiovisual materials related to folk music and protest songs of the civil rights movement. Papers consist of music industry publications, printed items, writings, and correspondence, most of which relate to Dunson's role as a musical artist representative. The collection also contains photographs depicting folk musicians, as well as audio and video recordings compiled by Dunson. Audio recordings consist of audio interviews conducted with folk musicians, folklorists, and social justice activists, including interviews conducted for Dunson's 1965 book Freedom In The Air: Song Movements Of The Sixties, while video recordings consist of live performances, lectures, and documentaries. Notable subjects featured on the audio and video recordings include Guy Carawan, Sis Cunningham, Si Kahn, Peggy Seeger, and Rosalie Sorrels.

Dynamic Legacies: Charlie Poole and the Evolution and Transmission of the Southern String Band Tradition was a symposium held on 8 April 2005 at the University of North Carolina at Chapel Hill.

Eugene Earle was born in Cleveland Heights, Ohio, in 1926. In addition to amassing a large collection of country and western, blues, and jazz sound recordings, he also became a discographer and a founder and president of the John Edwards Memorial Foundation (JEMF). Earle is also responsible for rediscovering and recording a number of country musicians, including Doc Watson, Jimmie Tarlton, and the Carolina Tarheels.

John Frank Edwards (1921-1976), better known as "Johnny" and "Junior," was a white musician known for his expertise as a jazz drummer in New Orleans, La., playing with bands that included the original Dukes of Dixieland. The collection documents his musical career and Edwards family history and consists of audiovisual materials, scrapbooks, letters, original and copy print photographs, legal and financial records, ephemera, and other papers. Included are letters written from Jefferson County, Miss., Meridian, Miss., and Delta, La.; letters written during the Great Depression; letters from Edwards to family in New Orleans, La., while he served as a musician with the band of the 67th Armored Regiment of the 2nd Armored Division in the U.S. Army during World War II; an 1896 sharecropper agreement with Littleton Henry; account statements from Cohn Bros. in Lorman, Miss.; clippings about Harold Cooper, who played jazz clarinet with the Dukes of Dixieland; family history materials; detailed notes from family members that provide collection context; annotated LP covers; family and publicity photographs; and a scrapbook, 1930s-1940s, of photographs and letters of Libby Edwards. The collection also contains audiovisual materials, including audio recordings of music by Johnny "Junior" Edwards, Harold Cooper, and others, as well as video recordings documenting a reunion of descendants of the Jersey Settlers of Adams County, Miss.

John Edwards (1932-1960) of Sydney, Australia, was one of the first collectors of early American country music and a pioneering discographer of this music. Edwards's collection of about 2,500 rare records and tapes is now housed in the Southern Folklife Collection, Manuscripts Department, Academic Affairs Library, University of North Carolina at Chapel Hill.

The collection of James P. Egerton of Mills Springs, N.C., is an undated recording (circa 1965) on open-reel audiotape of the 75th Christian Harmony Singing at the Morning Star Methodist Church in Canton, N.C. is a shape note hymn book originally published in the mid-nineteenth century. Singers in the congregation of the Morning Star Methodist Church sing from the hymnal every year on Old Folks Day, the second Sunday in September. Acquired as part of the Southern Folklife Collection.

The collection contains seven field recordings on open-reel audio tape of old time music performed by Tommy Jarrell of Surry County, N.C., and Albert Hash of Whitetop, Va. According to field notes written by folklorist Dan Patterson, Marilyn Engle and Lex Varela made the recordings in 1974. Engle was a student in Patterson’s folklore class at the University of North Carolina at Chapel Hill. Acquired as part of the Southern Folklife Collection.

Richard D. Eno and Janet Van Fleet are authors who worked with Edward Riley "Eddie" Boyd to write his autobiography, "A Natural Man." Boyd is a noted African American blues pianist. The collection consists mostly of audiocassette interviews conducted with Eddie Boyd in creating his autobiography, transcriptions of these interviews, and correspondence with Boyd and others in regard to the publication of the autobiography. The collection also includes lyrics and discography prepared by Eddie Boyd, audiocassette recordings of Boyd performing songs, and photocopies of the unpublished autobiography, "A Natural Man," including a 1975 copy edited by Richard D. Eno and Janet Van Fleet and a re-edited copy by Leila Hirvonen, wife of Eddie Boyd.

Author David A. Ensminger's collection contains writings, punk rock and alternative culture zines, scattered correspondence, newspaper and magazine clippings, and posters, handbills, and flyers for punk rock, oi, and hardcore music shows in the late twentieth and early twenty-first centuries. The collection also contains audio recordings of interviews that Ensminger conducted with folk and independent rock musicians.

Ralph Deward Epperson,a white radio engineer, founded radio station WPAQ (740 AM) in Mount Airy, N.C. The station began broadcasting in February 1948 and was the first radio station in Surry County, N.C. On the station, Epperson promoted local musicians and the region's traditional bluegrass, old-time, and gospel music. He has been widely credited with contributing to the preservation of the music of the Blue Ridge Mountains in North Carolina and Virginia.

The Wayne Erbsen Collection consists of audiovisual materials and related documentation compiled by white North Carolina based folk musician, Wayne Erbsen. Audiovisual materials consist of audio and video recordings by Erbsen, as well as audio recordings of old-time and bluegrass music collected by Erbsen. The Wayne Erbsen recordings include his album projects, practice tapes, live performances, and air checks of his Country Roots radio show, while Erbsen's collected recordings consist mostly of published or self-published releases by various old-time and bluegrass artists.

Audio recordings created and compiled by Steven William Esthimer, a white teacher and musician, when he was a student at the University of North Carolina at Chapel. Materials consist of an audio recording, 1972, of children performing children's rhymes and songs that they used regularly at their school, Estes Hills Elementary School in Chapel Hill, N.C.; an audio recording, 1972, of songs composed and performed by Rev. Will Davis Campbell (1924-2013), a white Baptist minister and civil rights activist from Mississippi, at the Carolina Symposium at University of North Carolina at Chapel Hill; and a recording, undated, of Steven William Esthimer's grandfather performing tunes and ballads from Virginia. The collection also contains supporting documentation, including collection cover sheets prepared by former library staff and a handwritten note about the collector and songs.

Audio interviews conducted by Geneviève Fabre with French-speaking individuals living in North America. The interviews were conducted in French by Fabre, who made the recordings in Louisiana and the Maritime Provinces from 1980-1983.

Billy Faier of Woodstock, N.Y., taught himself to play the five-string banjo and was later involved in the folk music revival as a performer, songwriter, observer, writer, and radio disc jockey. Faier was a prominent member of New York City's Washington Square folk scene in the late 1940s and of the folk music scene on both coasts during the 1950s and 1960s. The collection documents the personal and professional activities of Billy Faier. There are also more general materials collected and generated by Faier about the folk music revival, the counter-culture movement, and other interests. Included are correspondence, writings, artwork, and other materials relating to Faier's work with Pete Seeger; song writing and theatrical performances; music; Woodstock, N.Y.; juggling; games; bicycling; hitchhiking; and alternative lifestyles in general. Audio recordings include live and studio performances of Faier and other musicians; interviews with Aunt Molly Jackson and Frank and Ann Warner; recordings of Faier's radio shows; documentation of social and political events; and dubs from old records.

The collection contains four audio cassettes with interviews of six women over the age of sixty living in or near Fayetteville, N.C. Carolyn Caine Faulk, an educator and University of North Carolina at Chapel Hill alumna from Fayetteville, conducted these interviews in the spring of 1976 for a folklore class at UNC. Interviewees are Alda Belle Melvin, Lucy Rice, Lila Sessions, Erma Caine, Mrs. B.A. Miller, and Ethel Dunn. Acquired as part of the Southern Folklife Collection.

In 1928, George H. Fehr organized the 49ers, an old-time, cowboy, and western music group, in Salt Lake City, Utah. Other groups with which Fehr was associated included the Old Country Store, the 79ers, and the Utah Buckaroos, all of which achieved success on radio throughout the west and with live audiences across the state of Utah. Fehr sang and played a number of instruments, including the mandolin, guitar, banjo, harmonica, and Jew's harp.

Folklorist and performer Joan Fenton earned a Masters degree in folklore at the University of North Carolina at Chapel Hill in 1981. She is the owner of several stores in Charlottesville, Va., that feature traditional and contemporary handicrafts. The collection consists of sound recordings and related documentation. Sound recordings include interviews, songs, and tall tales by artists in the southern roots traditions from North Carolina, South Carolina, West Virginia, and Louisiana. Fenton's folklore thesis fieldwork about Howard Cotten, an African American tall tale teller in North Carolina, is represented by his songs, anecdotes, and tales about fishing and hunting that were recorded between 1976 and 1978. Also included are recordings from the 1978 John Henry Folk Festival where Hazel Dickens, Viola Clark, the Badgett Sisters, Walter Phelps, Ethel Phelps, Sparky Rucker, Pigmeat Jarrett, and Sweet Honey in the Rock performed. Interviews and sound recordings relating to Jamie Alston, Wilber Atwater, Willie Brooks, Dona Gum, Maggie Hammons, Sherman Hammons, Guy B. Johnson, Everett Lilly, Mitchell Bea Lilly, Varise Conner, Phillippe Bruneau, Carl Rutherford, and the Balfa Brothers are included. Also included are interviews with and songs of Charles Williams, a washboard player from White Sulphur Springs, W.Va., and Nat Reese, a guitarist and blues singer from Princeton, W.Va. Fenton is the primary interviewer on these recordings, some of which were made in performers' homes where she accompanied them on guitar, but there are also a few field tapes done by others, including some with the Reverend Gary Davis in Jamaica, N.Y., 1971-1972 and others done by John Cohen in New York in the 1950s. Documentation of field recordings includes transcription notes from interviews conducted by Fenton and notes compiled from the audio material.

The collection of white folklorist, author, professor, and filmmaker William R. Ferris (1942- ) of Vicksburg, Miss., contains professional and personal papers, photographs, sound recordings, film, video recordings, artifacts, and other items documenting his life and work from the early 1940s through the 2010s. Professional papers include materials related to his university teaching career and his administrative career, especially in university centers for study and the National Endowment for the Humanities. Personal papers largely pertain to his student years and family. Photographs, films, papers, printed items, sound and video recordings, digital files, and other materials reflect his scholarly research interests and documentary production. Topics include Mississippi and the Mississippi Delta; African American life and culture; black churches; folk, blues, gospel, fife and drum corps, and other genres of music; blues musicians; southern writers; folk and music festivals; folk arts, culture, and humor; auctioneers and mule trading; the Ku Klux Klan; and prisons, especially Parchman Farm, the Mississippi State Penitentiary.

This collection contains materials created and collected by Nellie Ferry and Colleen Chapman, two white women from Oregon, who ran country and western music fan clubs in the early 1950s. Materials consist of photographic prints and negatives, unpublished acetate audio discs, and printed materials related to country and western musicians, principally the Sons of the Pioneers but also Ernest Tubb, Chet Atkins, Bob Wills, Hank Williams, Merle Travis, Maddox Brothers and Rose, and others.

FestivaLink, based in Boulder, Colo., captured and made available festival recordings from 2006 to 2015. Festival binders include licensing agreements, festival programs and schedules, and correspondence with agents of artists for Merlefest and other music festivals across the United States.

Contains original unedited footage and edited production masters for Fiddler Magazine’s series on Appalachian and Cape Breton fiddle traditions. The Appalachian tapes include footage of fiddlers Ralph Blizard, Bruce Greene, Brad Leftwich, Charlie Acuff, John Hartford, Dan Gellert, Red Wilson, and Kirk Sutphin, along with their accompanists. The Cape Breton tapes include fiddlers Buddy MacMaster, Jerry Holland, and several others. The footage captures many of the foremost musicians playing in these traditions in the mid-1990s. The musicians documented in the footage are primarily white men from small rural communities in Appalachia and Cape Breton Island in Nova Scotia. Founded in 1994, Fiddler Magazine is a resource for fiddlers, accompanists, and listeners.

Fiddler's Grove, an old-time-music and family-oriented campground, which hosts traditional music and dance events throughout the year is owned and operated by Harper and Wanona Van Hoy in Union Grove, N.C. The Ole Time Fiddler's & Bluegrass Festival, a fiddling competition, has been held annually in the spring since Fiddler's Grove's founding in 1970, and the Square-Up, a clogging competition was held in the fall until 1982. The fiddling festival, however, traces its history in Union Grove to 1924 when Harper Van Hoy's father, H. P. Van Hoy, founded the Old Time Fiddlers Convention as a school fundraiser. The collection provides an overview of the history and operation of Fiddler's Grove, and its main entertainment events, the Ole Time Fiddler's & Bluegrass Festival and the Square-Up. The work of Harper Van Hoy and Wanona Van Hoy in building the reputation of Fiddler's Grove as a gathering place for old-time music and family entertainment is documented throughout the collection. Also documented is the split between Harper Van Hoy and his brother, J. Pierce Van Hoy, which resulted in two competing Van Hoy-operated spring fiddling events in Union Grove, 1970-1979. General correspondence, newspaper clippings, promotional material, and other items go back to the founding of the Old Time Fiddlers Convention. Festival materials include participation registration information, lists of winners, judges' notes, and correspondence, and other items. Also included are open-reel tapes, an eight-track tape, compact discs, and a videotape, all of which relate to the Ole Time Fiddler's & Bluegrass Festival.

Leon Fink was a white professor of history at the University of North Carolina at Chapel Hill from 1985 to 2000. The Leon Fink Collection consists of papers written by students enrolled in his Occupational Folklore courses, 1993-1996.

The collection contains two sound recordings of the Durham Rangers Old Time String Band. Banjo player Michael Fishback is the founding member and leader of the musical group from Durham and Chapel Hill, N.C. The recordings of traditional Appalachian and Cajun music are titled Twenty Years: Durham Rangers Old Time String Band and Public Domain: Durham Rangers Old Time String Band. Acquired as part of the Southern Folklife Collection.

The 1976 interviews recorded on audio cassette tape are with Wade Hadley of Siler City, N.C., and Herbert Dowd, Jr., and Mrs. Herbert Dowd of Bear Creek, N.C. Stephen Karl Flad, a German student then studying abroad at the University of North Carolina at Chapel Hill, conducted the interviews for a folklore course. The interviewees discuss the "Devil's Tramping Ground," a circular and barren area in the pine woods of Chatham County, N.C., that is according to local legend haunted by the devil. No additional information about Flad or the interviewees was provided with the recordings. Acquired as part of the Southern Folklife Collection.

Dom Flemons is a folk musician from Phoenix, Ariz., and a founding member, with Rhiannon Giddens and Justin Robinson, of the Carolina Chocolate Drops. The Carolina Chocolate Drops recreate and reinterpret the sound of African American string bands from the Piedmont region of the Carolinas in the 1920s and 1930s. They released their first record through Music Maker Relief Foundation in 2006. In 2010, the Carolina Chocolate Drops album Genuine Negro Jig won a Grammy Award for Best Traditional Folk Album.

Archival records and original film footage of Florentine Films and Ken Burns, documentary filmmaker, director, producer, and cinematographer. On some projects, Burns worked with Amy Stechler Burns, Stephen Ives, and others. Projects documented include: Brooklyn Bridge (1981), The Shakers (1984), Huey Long (1985), The Statue of Liberty (1985), Thomas Hart Benton (1988), The Congress (1988), The Civil War (1990), Empire of the Air (1991), Baseball (1994), Thomas Jefferson (1996), The West (1996), and Lewis & Clark (1997).

Mike "Nighthawk" Floyd (1946-), a white blues journalist and photographer for Nighthawk Productions: All the "BLUES" All the Time, has lived in various places, including Garden Grove, Calif., San Diego, Calif., and Roxboro, N.C. The Mike Floyd Collection consists of photographs of blues performers, blues festival posters, small blues publications and printed ephemera, and correspondence. There is also a 1959 yearbook for Izaak Walton Junior High School in Garden Grove, Calif.

Folk Alliance International is a nonprofit membership organization that supports folk music and folk arts communities through advocacy, education, professional development, and consumer and audience development. The collection contains audiovisual materials compiled by the organization and files maintained by white writer and concert promoter Art Menius, who served as the first president of the board of directors of what was then the North American Folk Music Association and was manager of the Alliance from 1991 to 1996. Files represent a broad swath of folk organizations, festivals, musicians, bands, artists, record companies and distributors, music venues and presenters, agents, and print and broadcast media outlets, especially radio stations. Materials include organizational newsletters, publications, and annual reports; correspondence; promotional packets for artists and bands; publicity photographs; tour schedules; catalogs and directories; brochures and programs; press releases; flyers; and applications for the Folk Alliance Showcase. Files pertain chiefly to bluegrass, folk, old time, and country music. Other arts represented include jazz, storytelling, and clogging. Audiovisual materials consist of audio and video recordings related to the organization's meetings, conferences, and lifetime achievement award ceremonies.

The undated audio recording on open-reel tape contains folk songs performed by a fiddler and singer. Neither is identified in the accompanying song list. Included on the recording are "Sweet Cider," "Black Eyed Susie," "There's No Place Like Home," "Turkey in the Straw," and "You Are My Sunshine." This material was originally called the "Wright Collection," but no information about Wright was available when this summary was written. Acquired as part of the Southern Folklife Collection.

FolkScene is a syndicated music program established in 1970 featuring recorded music and in studio live performances and interviews from notable folk musicians. Based in Los Angeles, Calif., the radio program is broadcast by public radio station KPFK-FM and hosted by Roz Larman, who also hosted the show with her husband, Howard Larman, until his death in 2007. The FolkScene Collection consists primarily of audio recordings, 1970-1997, of the FolkScene radio program. Notable guests featured on the recordings include Eric Andersen, Joan Baez, David Bromberg, Guy Carawan, Rose Maddox, Don McLean, Randy Newman, Odetta, Jean Ritchie, John Sebastian, Merle Travis, Tom Waits, Lucinda Williams, and Peter Yarrow, among others. Other FolkScene materials found in the collection include recorded music used on the program, select outtakes and excerpts of the program, and related documentation created by FolkScene staff. The collection also contains other audio recordings, 1960-1986, not directly affiliated with the FolkScene radio program. These materials include live performances, dubs of other radio programs, and related documentation presumably created by FolkScene staff.

Folklore Productions is an artist management and publishing company that was founded in 1957 by Manuel "Manny" Greenhill in Boston, Mass. The company, which is now known as FLi Artists, has represented folk, traditional, and roots musicians for over 60 years. The company now operates out of California and New York, where it is managed by Manuel Greenhill's son, Mitch Greenhill.

The Folkstreams.net Collection consists of materials affiliated with Folkstreams.net, an online resource designed to disseminate documentary films about American folk culture. Produced by independent filmmakers, these films give voice to the arts and experience of diverse American groups. They are streamed on the website together with background materials that highlight the history and importance of the traditions and the films. Folkstreams.net was started in 2000 by independent filmmaker and distributor Tom Davenport in collaboration with his wife Miriam Davenport; folklorist Daniel Patterson; and a committee of filmmakers, scholars, and computer specialists. The collection consists primarily of moving image materials created and transferred for preservation purposes and for streaming on Folkstreams.net. The collection also includes scattered papers and born-digital materials related to Folkstreams.net and the moving image materials found in the collection.

The collection of 103 audio discs was assembled by Amos and Ruth Fowler of Chapel Hill, N.C., who were collectors of antique music players such as gramophones. The Berliner and shellac 78 rpm discs represent some of the earliest formats of sound recordings that were mass produced for commercial distribution. Acquired as part of the Southern Folklife Collection.

Collection contains images made by Black photographer, author, and documentarian Roland L. Freeman (1936-2023) during his career from the early 1960s to the early 2000s. Freeman was based in Washington, D.C. for most of that time and contents of the collection consist chiefly of assignment and project documentary work. Freeman started his career documenting the civil rights movement and related events in Washington, D.C., including photographing the August 28, 1963, March on Washington for Jobs and Freedom. He then spent over four decades documenting Black communities, folk traditions, and rituals throughout the South. Collection contains photographic prints, film, correspondence, documentation, and some audiovisual materials related to his work. In addition to Freeman's working files, orginal negatives, and transparencies, the collection also includes selections of exhibit prints curated by Freeman, as well as digital files describing and cataloging his materials.

Classical banjo sheet music of James Leslie French, a musician who began playing in the Michigan Banjo, Mandolin, and Guitar Club in 1899. Acquired as part of the Southern Folklife Collection.

The Full Gospel Business Men's Fellowship International (FGBMFI) is a faith-based organization created by Demos Shakarian in 1951 in an effort to merge faith in God with business practices. It is a fellowship of business people that operates in over 100 countries; there are many regional chapters throughout the United States. Materials include original audiocassette tape recordings, the majority of which were made at FGBMFI chapter meetings, conventions, and outreach efforts in North Carolina. These tapes contain sermons, music sessions, and testimonies from different people associated with the FGBMFI. Recordings of two speakers are featured. The first set is of Solomon Ono, a native of Honolulu, Hawaii, containing audiocassette tapes from his sermons and testimonies, October 1974-October 1977. The second set is of the Reverend Dr. C. Paul Willis of the Cathedral of His Glory in Greensboro, N.C., containing audiocassette tapes from his sermons and testimonies, February 1979-January 1992, with the bulk of the tapes recorded before 1984. There are also a small number of commercial recordings, including recorded radio programs and a series of tapes of evangelist Pat Robertson. Also included is a list of speakers, 1969-1996; showing who spoke or testified at various North Carolina FGBMFI chapter meetings, chiefly at the Durham-Chapel Hill chapter; and video recordings, 1997-2006, of monthly FGBMFI speakers, the majority of whom are from North Carolina.

An instantaneous disc recording of the Zion Trio, an all women gospel trio of Rockingham, N.C., singing "Gonna Make My Heaven My Home" and "I'm Just A Stranger Here." Ray Funk, a white music collector and scholar of African American gospel music and the music of Trinidad and Tobago, donated the recording to the Southern Folklife Collection. Little is known about the Zion Trio at this time.

This collection contains seven photographic prints of performances and portraits of musicians taken by white New York City-based photographer David Gahr and one photographic print taken by his daughter Carla Gahr. Photographs include: Eastern Kentucky singer and songwriter Sarah Ogan Gunning performing at the 1964 Newport Folk Festival; Eastern Kentucky miner, singer, songwriter, and folk song collector Jim Garland (Sarah Ogan Gunning's brother) performing at the 1963 Newport Folk Festival; Creole musicians Canray Fontenot and Alphonse "Bois Sec" Ardoin performing at the 1966 Newport Folk Festival; folk song collector, singer and musician Frank Warner performing at the 1960 Newport Folk Festival; portrait of banjo player Billy Faier, 1964; portrait of musician and music director of the Highlander Research and Education Center Guy Carawan, New York City, 1960; portrait of Izzy Young, owner of the Folklore Center, New York City, 1962; group photograph of performers on stage at a 1987 memorial event for Folkways Records founder Moses Asch (the group includes Pete Seeger, Alan Lomax, Malvina Reynolds, Izzy Young, and Hazel Dickens); and a photographic print of folksinger David Massengill (circa 1980s) by Carla Adrian Gahr.

The undated recordings of folk singer and woodcarver Marshall Garris of Rocky Mount, N.C., were mastered for preservation by the Southern Folklife Collection in the late 1990s. The original instantaneous discs, likely recorded in the late 1940s and 1950s, were returned to the family member who loaned them. In the late 1940s, Garris performed on the radio program "Young Tar Heel Artists" broadcast on WPTF radio from Raleigh, N.C. Also included in the collection is a 1997 interview with Garris's daughter Ross Raphael conducted by folklorist and former head of the Southern Folklife Collection, Michael Taft. Acquired as part of the Southern Folklife Collection.

Audio recording of the 4th Annual Georgia State Sacred Harp Convention, 27 March 1965, in Georgia (exact location unknown). Recorded by John F. Garst, a white American folk songs and ballads researcher and professor at the University of Georgia, in 1965. The collection also contains supporting documentation, including a track listing and a collection cover sheet prepared by former library staff.

Audio interviews with historians, folklorists, and storytellers on historical feuds of southern Appalachia and the Middle East. Robin L. Geller, a folklore student at the University of North Carolina at Chapel Hill, conducted the interviews as part of her master's thesis, titled "Feuding in Southern Appalachia and the Middle East: A Comparative Analysis." The collection also includes supporting documentation, such as tape logs, memos, and select interview transcripts, created by former Southern Folklife Collection staff and presumably Robin L. Geller. Audio recordings of particular note include an interview with, and performances of stories by John E. ("Frail") Joines, a white storyteller of Wilkes County, N.C., who recounts stories and legends of his family's involvement in Wilkes County feuds, as well as an interview with Dr. Cratis D. Williams, a white folklorist, ballad collector, and professor at Appalachian State University, Boone, N.C., who discusses feuding in Morehead, Rowan County, Ky., and the various circumstances which have contributed to the propensity of feuding in Kentucky.

The field recording was made by anthropologist Kenneth M. George for his 1989 doctoral dissertation titled . The recording contains Pitu Ulunna Salu music from the Sulawesi Selatan province of Indonesia. Acquired as part of the Southern Folklife Collection.

The Ken George and Jay Orr Collection consists of audio recordings, 1977, of Fred Cockerham performing old-time string band music in concert with Mike Fishback and Nowell Creadick. Cockerham, an old-time fiddle and banjo player from Low Gap, Surry County, N.C., primarily plays fiddle, while Fishback primarily plays banjo and Creadick is on guitar. The live performance was recorded by anthropologist, Ken George, and country music historian, Jay Orr, at the Ranch House restaurant in Chapel Hill, N.C. The recordings include musicians talking between songs and audience responses and applause.

The Jeff Titon and Ken George Collection consists of audio recordings, 1971-1990, of Baptist testimonies, sermons, and hymns recorded by ethnomusicologist, Jeff Titon, and anthropologist, Ken George. The majority of the recordings, 1971-1978, relate to Titon and George's scholarship on Reverend John Claymon Sherfey of Falls Church, Va. and his "folk preaching." Sherfey, who was born in Boone, N.C., began his ministry as an evangelist, preaching in revivals and on a half-hour radio program on WKIN (Kingsport, Tenn.). Sherfey later became pastor of the Fellowship Independent Baptist Church in Stanley, Va. and host of the half-hour radio ministry on WRAA (Luray, Va.). In the late 1970s both Titon and George spent time with Sherfey and his congregations, recording services, radio broadcasts, and interviews. The collection includes these recordings of worship services, prayer meetings, and Reverend Sherfey's radio broadcasts on WRAA, in Luray, Va., with hymn singing, gospel quartets, duets, songs, testimonials, sermon chanting, and Sherfey singing duets with his wife, Pauline. There are also extensive interviews with Sherfey and seventeen church members, including Reverend Belvin Hurt and an earlier recording of Reverend G. A. Cave, and recordings of several revival services led by Sherfey in Sparta, N.C. The collection also includes an audio recording, 1990, by Titon that features Baptist worship services held in the Kentucky counties of Letcher and Knott.

The collection of folklorist and traditional music performer Alice Gerrard contains more than 700 audio recordings and supporting documentation of live music performances and interviews with traditional and country music artists, spanning the late 1950s through the 1990s. Of particular interest are the live concert recordings of notable musicians and songwriters performing at large and small venues, including conventions, festivals, and musicians' homes. Additional recordings, both audio and video, include fiddle lessons, raw tracks and master tapes for several Gerrard albums, documentaries featuring Gerrard, and a 1989 meeting of the Old Time Music Group, a nonprofit organization and publisher of Old-Time Herald. Photographs depict music festivals and other gatherings, musicians, musical instruments, and the Gerrard family. Also included are correspondence with family and friends, posters, contracts, artists files, and other materials relating to MerleFest in Wilkesboro, N.C.; the Old Time Music Group; the Southern Folk Cultural Revival Project; and the Newport Folk Foundation.

David R. Gessner was the assistant manager at Club 47, a folk music club in Cambridge, Mass. He runs a small independent record label, ESCA records, and lives in Sommerville, Mass.

The collection is composed of a recording on audio cassette tape, a digital photographic print, and a typescript titled "Daughters in Search of Their Father" about Shirley Lewey-Payne Gibbs's research on her father Fred Jackson Lewey (1884-1935), the lyricist of the popular American railroad ballad "Wreck of the Old 97." The cassette, a dub of cylinders held by the Library of Congress, has four tracks of Lewey singing "Wreck" and three other songs. The digital print is an image of Lewey in circa 1930. Acquired as part of the Southern Folklife Collection.

The Carl Gilfillan Collection consists of field recordings, 1971, created and compiled by filmmaker and University of North Carolina at Chapel Hill alum, Carl Gilfillan. The recordings in the collection were used as part of the soundtrack for Gilfillan's 1971 documentary film, The Struggle, which was the result of a five-year study of Cedar Branch, a socially and geographically isolated village in South Carolina's swampland. All of the field recordings in the collection feature African American congregational spirituals recorded at St. Joseph Mission Baptist Church in North Myrtle Beach, S.C. The spirituals are sung in the traditional call-and-response style. Heard between songs are testimonials from the congregation and ecstatic religious experiences.

The 1989 field recordings made at the Qualla Boundary in western North Carolina contain Cherokee music. The Qualla Boundary is land held in trust for the Eastern Band of Cherokee Indians. Also included in the collection is a letter from the collection donor John D. Gillespie to Dan Patterson, English and Folklore professor at the University of North Carolina at Chapel Hill. Acquired as part of the Southern Folklife Collection.

The interview with ethnomusicologist Alan Lomax on audio cassette was conducted by radio producer Lex Gillespie over the telephone for New York National Public Radio in 1994. Acquired as part of the Southern Folklife Collection.

The collection of Lawrence Stanley Gilliam (1946-) of Kannapolis, N.C., contains five recordings on open-reel audiotape and the accompanying field notes with song lists and some narrative description. Recordings include dubs Gilliam made of 78 rpm records with religious and secular songs, especially hillbilly music and blues. The 1979 recording features Gilliam singing folk songs taught to him by his grandmother Cora Mae Reynolds Collins Roseman (1888-), a textile worker originally from Georgia. Song titles include "Cleveland's elected," "Miss McKinley sent for the doctor," and "I got my Sunday shoes on, I got my hair slicked down." Acquired as part of the Southern Folklife Collection.

The posters are hand-pulled prints made, numbered, and signed by Skillet Gilmore, an artist, musician, and owner of Crawlspace Press in Raleigh, N.C. Most posters are advertisements for music shows at clubs in Raleigh and Durham, N.C., including Kings, Pour House, and Motorco. Musicians and music groups featured in the posters include Kenny Roby, Caitlin Cary, Thad Cockrell, Chip Robinson, and Hank Sinatra. Other posters advertise the Hopscotch and Troika music festivals. Acquired as part of the Southern Folklife Collection.

Documentary audio recordings of the first and fourth annual National Hollerin' Contest held in Spivey's Corner, N.C., including supper calls, yodelling hollers, distress calls, hollers of tunes, and other types of hollers and calls. Ermon H. Godwin, a white deacon and bank official who co-founded the National Hollerin' Contest, compiled the recordings in June 1969 and June 1972. The collection also contains supporting documentation, or detailed tape logs, prepared by former UNC library staff that include participant names and a description of their hollers. As noted on the tape logs, the three open reel recordings found in the collection have been left largely unedited in order "to capture the total context of the event."

The Goldband Recording Corporation of Lake Charles, La., has played a key role in documenting and shaping musical traditions, tastes, and trends, both regionally and on an international level since 1944, when white owner Eddie Shuler made his first recording to promote his band, the Reveliers. The music of the Reveliers and other early Goldband recordings reflect Shuler's preference for the country and western music of the 1930s and 1940s. In the mid-1940s, accordion player Iry LeJune, a Cajun man of Lacassine, La., made his first recording on the Goldband label, and Cajun and zydeco styles became a permanent part of Goldband's catalog. Many other musical styles were recorded at the Goldband studios, including blues, rhythm and blues, gospel, and sacred music. The early recordings were intended for a regional market, but later Goldband recordings were released nationally and internationally. Materials document the operations of the Goldband Recording Company of Lake Charles, La., and other activities of Goldband's owner and manager, Eddie Shuler, such as TEK Publishing and other business ventures. Included are business records, correspondence, publicity materials for Goldband and for individual recording artists, studio recordings and released recordings in a variety of formats, sheet music and song lyrics, photographs, scattered video recordings, and other items. Photographs include candid snapshots and publicity photographs of Eddie Shuler, musicians, and others, including many snapshots inside the Goldband Recording Studio. Business materials include Goldband and TEK manufacturing and accounting records. Correspondence documents all phases of the companies' operations; major correspondents include Don Pierce and Mike Leadbitter. Of special interest are letters and accounting items that document the popularity of Cajun music in Europe and other parts of the world. Publicity and promotional materials include photographs of Goldband recording artists, promotional copy, mailings to radio stations, lists of customers, catalogs of Goldband recordings, and reviews of Goldband releases. There are also many newspaper and magazine articles relating to Goldband, to Shuler, to recording artists who worked for Goldband, and to other Louisiana musicians. Sound recordings include acetates, 78s, studio recordings, and released recordings in a variety of formats. Song lyrics and music include song folios from the 1940s.

Audiovisual materials and papers compiled by journalist and musician, Thomas Goldsmith. Audiovisual materials consist mostly of audio interviews conducted by Goldsmith with prominent bluegrass, folk, and country musicians, including Chet Atkins, Alan Jackson, Alison Krauss, Bill Monroe, Tammy Wynette, and Trisha Yearwood. Papers consist of artist and subject files, clippings, ephemera, printed materials featuring articles by Goldsmith and others, and working files for The Bluegrass Reader, for which Goldsmith served as editor.

Field recordings, 1984, made by University of North Carolina at Chapel Hill student, Toni Goodyear, that relate to Goodyear's folklore class term paper, "The Lumbee Preacher and His Song." The audio recordings consist of an interview with Rev. Grady Cummings and a "performance of lining out hymns in a Lumbee church" led by Cummings at the Zion Hill Baptist Church in Robeson County, N.C. Lining out is a type of hymn singing in which a leader provides each line to be sung often by chanting. Toni Goodyear, then an undergraduate student at UNC, conducted the interview and recorded the performance for a Folklore 147 class taught by Daniel W. Patterson.

Audio recording of blues and gospel music recorded by David A. Gordon in April 1963 in Lowndes County, Miss. The recording features an unidentified Black man performing blues, followed by an unaccompanied Black gospel quartet and additional unidentified gospel groups, made up of both men and women, singing spirituals and gospel songs. The collection also contains supporting documentation prepared by former Southern Folklife Collection staff. Documentation consists of tape logs, which include scattered information on the collector and performers, as well as a brief description of contents. Little is known about David A. Gordon or the performers featured on the recording. Supporting documentation found in the collection lists the unidentified Black blues musician as "Jabo" and also mentions that David A. Gordon was affiliated with the Mississippi State College for Women in Columbus, Miss., but no other information is available.

Audio recordings, 1985-1986, of country music performed by white singer and guitar player, Loy Gordon, in Graham, N.C. and at his home in Burlington, N.C. Gordon was recorded on Atlantic Records in the late 1940s with two groups he then fronted, Loy Gordon and His Pleasant Valley Boys and Loy Gordon and His Buckeye Buddies. Acquired as part of the Southern Folklife Collection.

The 1953 recording made by Robert Gould on open-reel audiotape contains live performances of Wilkes County, N.C., residents, B.L. Lunsford and Paul Joynes, singing old-time folk songs and ballads. Field notes accompanying the recording list the songs, including "John Henry," "Old Jimmy Sutton," and "One-eyed Sam." Acquired as part of the Southern Folklife Collection.

Archie Green (1917-2009), a white folklorist, labor historian, and public sector advocate, graduated from the University of California at Berkeley in 1939 and then worked in San Francisco shipyards, served in the United States Navy in World War II, and was active in several labor organizations. He earned an M.L.S. degree from the University of Illinois and a Ph.D. in folklore from the University of Pennsylvania. Green joined the Institute of Labor and Industrial Relations at the University of Illinois at Urbana-Champaign in 1960, where he was librarian and later served also as an instructor in the English Department until 1972. In 1973, Green took on a creative role at the Labor Studies Center in Washington, D.C., in part assisting with the Smithsonian Institution's Festival of American Folklife and labor participation in the Bicentennial celebrations. At the same time, he produced sound recordings, conducted fieldwork, and wrote extensively. He was active in the John Edwards Memorial Foundation and in the movement to establish the Center for American Folklife (1976). Green retired from the University of Texas at Austin in the early 1980s to San Francisco, Calif., where he continued to work collaboratively with many individuals and institutions dedicated to the study of folklore and the preservation of folklife. Archie Green died in March 2009. The collection includes correspondence, subject files, research materials, writings, photographs, audio recordings, moving images, and other materials pertaining chiefly to Green's professional activities, circa 1955-2008. Materials reflect Green's interests in the study of folklore; occupational folklore, with special emphasis on songs relating to textile workers, railroad workers, coal miners, and cowboys; labor history, especially the 1919 riot in Centralia, Wash.; early country (hillbilly) music; sound recording archives; folk musicians; and production and collection of sound recordings. There are also materials relating to Green's research and teaching activities and participation in professional associations, music and folklore festivals, and the faculty labor union at the University of Illinois at Urbana-Champaign. The additions to the papers of Archie Green build on and expand the topical content of the original deposit. Beyond the subjects already described, notable topics represented in these additions include Green's lobbying efforts on behalf of the Citizens' Committee for an American Folklife Foundation (CCAFF) to establish the American Folklife Center; songs relating to oil field, longshore, and cannery workers, and to the Homestead Strike; songs and history of wobblies and the Industrial Workers of the World (I.W.W.); the 1913 Wheatland, Calif., riot; folk art, labor art, and artists, and artists; unions and working culture of shipwrights, pile drivers, millwrights and carpenters, loggers, and maritime, steel, sheetmetal, and timber workers; labor landmarks throughout the United States, but especially in the San Francisco Bay area; the history of federal government support for folk life; the role of public sector/applied folklore in the preservation of folklore and cultural conservation; the Tennessee-Tombigbee Waterway Project; and graphic art representations of folklore and labor themes, including depictions of folk hero John Henry. In these projects, he worked with many folklorists, musicologists, and others. Green collected a wide variety of materials on folk and labor themes, including art and music; newsletters; pamphlets, bibliographies; work songs; work tales; and posters, clippings, and other ephemera. His papers also include the extensive collections of labor lyrics and musical scores and pamphlets on socialism and labor topics from John Neuhaus. Other materials in the additions document Green's teaching career at the University of Texas; his participation in organizations dedicated to the study of labor history and culture, such as the Fund for Labor Culture & History and the San Francisco State University Labor Archives and Research Center; collaboration with John Neuhaus on the Big Red Songbook and Peter Tamony on etymology of labor slang terms; and a long relationship with the University of North Carolina, where he gave lectures, organized conferences, and led fundraising for the John Edwards Memorial Foundation Fund and an occupational folklore fellowship. There is some documentation of Green's personal finances, especially his budget for books, records, and journals, and some biographical materials. Audio, video, and film recordings from the original deposit and the additions are filed together in Series 10. Audio recordings include field recordings, lectures, live performances, interviews and commercial recordings relating to Archie Green's research on hillbilly music and labor songs, while the video recordings consist of published and unpublished documentary materials relating to laborlore and American vernacular music as well as video from memorial events for Archie Green in 2009. Some of the individuals, organizations, and events represented in this collection appear as access points in the online catalog terms section of this finding aid but researchers are advised to keyword search throughout the finding aid for additional name, place and subject terms.

The collection of archivist Stephen B. Green contains old-time music song books from the 1920s and 1930s, photomechanical reproductions with images of hillbilly and country music artists, and newsletters, flyers, handbills, event calendars, brochures, ticket stubs from concerts and festivals, and other ephemeral items related to folk and country music. The ephemeral items related to folk music are chiefly from the 1960s and 1970s and include issues of "The Folk Letter" published by the Folksong Society of Greater Boston (Mass.) and event calendars for the Chelsea House Folklore Center in Brattleboro, Vt., and Club 47 Inc., in Cambridge, Mass. Acquired as part of the Southern Folklife Collection.

The Bruce Greene and Hilary Dirlam Collection consists of audio recordings, documentation, and photographs of Anglo-American old-time musicians from western North Carolina. The materials were created and compiled by musicians, Bruce Greene and Hilary Dirlam, as part of a 1992 North Carolina Arts Council folklife documentary grant. The audio recordings primarily consist of field recordings and interviews by musicians from Avery County, Buncombe County, Mitchell County, and Yancey County, including Steve Ledford, Luke Smathers String Band, and Red Wilson.

Ken Griffis, best known for his work on documenting the Sons of the Pioneers, an early country music group, also researched and documented an earlier group known as the Beverly Hillbillies, a music group created by Glen Rice and the first hillbilly music group to achieve widespread acclaim, beginning in 1930 on radio station KMPC Los Angeles. In its most popular configuration, the group consisted of Jimmy Baker (Elton Britt), Marjorie Bauersfield (Mirandy), Harry Blaeholder (Hank Skillet), Ashley Dees (Jad Scroggins), Aleth Hansen (Lem Giles), Leo Mannes (Zeke Manners, Zeke Craddock), Cyprian Paulette (Ezra Longnecker), and Charles Quirk (Charlie Slater, Charlie Skillet).

The Wayne Griffith Collection consists of audio recordings of live performances at McCabe's Guitar Shop, a musical instrument store and live folk music venue located in Santa Monica, Calif. Wayne Griffith, a white sound engineer, made the recordings when he worked for McCabe's recording live performances. Notable artists featured on the recordings include T-Bone Burnett, Dick Gregory, John Hammond, Tish Hinojosa, Bill Monroe, Utah Phillips, Linda Ronstadt, Ralph Stanley, Richard Thompson, Dave Van Ronk, Townes Van Zandt, Doc Watson, and Gillian Welch, among others.

Collection of David Grisman, a white mandolinist and founder of Acoustic Disc Records. The collection contains studio master recordings by Grisman and others for Acoustic Disc Records; Grisman’s personal tape collection; and a 35mm film documentary relating to French jazz violinist Stéphane Grappelli. The collection includes several projects by Grisman and Andy Statman of sacred and secular Jewish music, as well as original compositions in bluegrass, newgrass, and jazz.

Audiovisual materials and supporting documentation created and compiled by Stefan Grossman, a white acoustic fingerstyle guitarist, music producer, educator, and co-founder of the American independent record label, Kicking Mule Records. Grossman produced and hosted the instructional video series, Guitar Workshop, and founded Vestapol Productions, which released and reissued videos of concert footage of prominent blues and folk musicians. Stefan Grossman was also a student of African American blues and gospel musician, Reverend Gary Davis, and collected extensive documentation of Davis' life and career. Collection materials consist mostly of video and audio recordings, including video masters, production elements, and research materials for Guitar Workshop and Vestapol Productions; audio masters, outtakes, and other materials related to Kicking Mule Records releases, a record label Grossman co-founded with Eugene "ED" Denson in the early 1970s; and audio recordings of guitar lessons and instructions by Stefan Grossman. Notable blues, bluegrass, folk, and old-time guitarists featured on the video and audio recordings include Big Bill Broonzy, Elizabeth Cotten, Reverend Gary Davis, John Fahey, Son House, Skip James, Dave Van Ronk, Sonny Terry & Brownie McGhee, Doc Watson, Bukka White, and Howlin' Wolf, among others. The collection also contains supporting documentation, including Grossman's files on Guitar Workshop; manuscript materials, sheet music, and guitar transcriptions related to Mel Bay, a musician and publisher of Encyclopedia of Guitar Chords; concert reviews of Kicking Mule artists and Stefan Grossman; materials related to English guitarist and songwriter, John Renbourn; Kicking Mule Records files, such as artist contracts and production materials; Vestapol files, including production logs of video and DVD releases; and photographic materials compiled by Stefan Grossman.

Interviews conducted by author and historian, Pamela Grundy, for her research project on the Crazy Water Crystals Company, who from 1933 to 1937 sponsored radio programs featuring many North Carolina and South Carolina musicians. The sponsored radio programs primarily featured hillbilly and country music and were broadcast on stations throughout the region, including WBT-Charlotte, WWNC-Asheville, and WSB-Atlanta. Interviewees featured on the audio recordings include Zeke Morris, a musician who played for the J.E. Mainer's Crazy Mountaineers and later Wade Mainer's Sons of the Mountaineers, and his brother Wiley Morris, who performed with Zeke on the radio for many years. Also included is an interview with Homer Pappy Sherril, who was born in Hickory, N.C. and is best known for his long collaboration with banjoist Snuffy Jenkins on WIS in Columbia, S.C. The collection also contains corresponding transcripts for the 3 interviews.

The Philip F. Gura Collection consists of audio recordings, pictures, and printed materials compiled by white musician and cultural historian, Philip F. Gura. The audio recordings, 1975-2005, consist primarily of live recordings of old-time music festivals and conventions in West Virginia, Virginia, and North Carolina. Other recordings include live recordings of workshops, dubbed field recordings, private releases, and interviews conducted by Philip F. Gura, including interviews with members of the New Lost City Ramblers and an interview with musician and folklorist, Alan Jabbour. The collection also includes facsimiles of pictures and illustrations used by Philip F. Gura for his publications on musical instruments, as well as printed materials compiled by Gura, including songbooks, music catalogues, and music instruction and study books related to old-time, sacred music, jazz, and classical music.

The Peter Guralnick Collection contains materials related to the writings of Peter Guralnick (1943-), a white author of fiction, screenplays, music criticism, biographies, and nonfiction anthologies about American roots and popular music, particularly music of the American South, including country, blues, gospel, soul, and rock 'n roll, from the 1950s and 1960s. Materials include published and unpublished drafts and production, promotion, and research materials, as well as audiovisual materials, including audio interviews and other documentary recordings created or compiled by Guralnick as part of his research on Elvis Presley, Sam Cooke, Sam Phillips, and others. Also includes materials relating to the history of Camp Alton (1937-1992), a summer camp for boys located on Lake Winnipesaukee in Wolfeboro, N.H.

Clippings, programs, posters, and ephemera, 1973-1975, related to productions of "Diamond Studs: the life of Jesse James," directed by John L. Haber. Acquired as part of the Southern Folklife Collection.

The Joe Halby Collection on Thomas Burt consists of photographs and live recordings of African American blues musician, Thomas Burt (1900-1987), performing at Halby's Delicatessen in Durham, N.C. from 1986 to 1987. Joe Halby, a white independent business owner who helped run his family's restaurant, compiled the materials, which include color photographic prints, audiocassette recordings, and documentation related to the recordings.

The Cheyney Hales Collection consists of 16mm film production elements for the documentary film, Dink: A Pre-Blues Musician (1975) by University of North Carolina at Chapel Hill students Cheyney Hales, Cecelia Conway, and Tommy Thompson. The film documents the life and music of James "Dink" Roberts (1894–1989), an African American old-time banjo player of Haw River, Alamance County, N.C., who made his living growing tobacco as a tenant farmer. Dink Roberts grew up in the Little Texas community of Alamance County, N.C., where he was raised by his uncle George Roberts. Early in his life he learned the clawhammer banjo style from George Roberts' older children and from other Black banjo players in the community. He gained local popularity playing the banjo for dances of both Blacks and whites in their communities and continued to enjoy playing and singing banjo songs all his life. Dink Roberts also learned to play the guitar, but his repertory remained rooted in the banjo music of the Black banjo tradition, a style of playing that predated the blues. The film shows Dink Roberts in his family setting in Alamance County performing old-time banjo, early country blues performed on guitar, and singing dance songs. Dink Roberts was filmed for this documentary in 1974-1975 by three UNC students, Cheyney Hales, a white filmmaker who shot, edited, and co-produced the film; Cecelia Conway, a white folklorist who was a co-filmmaker and producer on the film; and Tommy Thompson, a white philosophy graduate student who worked as music consultant and narrator on the film. The collection includes both 16mm picture and sound elements, including A & B rolls, optical soundtrack, and magnetic soundtrack, all of which were used to create a final 16mm composite print of the film, as well as cue sheets and other notes found with the A & B rolls. A digitized access copy and transcription of the complete 16mm motion picture film, Dink: A Pre-Blues Musician, is available on Folkstreams.net.

The 1962 recording on open-reel tape of live music is titled "Blues Accompaniments." Related field notes indicate that music student Mike Hall made the tape for a class at the University of North Carolina at Chapel Hill. Acquired as part of the Southern Folklife Collection.

Sound recordings, moving images, and related paper materials compiled by the country western and gospel singer-songwriter and radio-movie personality, Stuart Hamblen. The collection contains sound recordings of Cowboy Church of the Air, a nationally syndicated Christian radio program produced and hosted by Stuart Hamblen; sound recordings and moving image materials related to Stuart Hamblen's television program, Birth of a Song; and additional sound recordings featuring Stuart Hamblen and others, including Rex Allen, Pat Boone, Red Foley, Andy Griffith, Helen Landsverk, Jim Reeves, Darol Rice, Roy Rogers, Sons of the Pioneers, Wesley Tuttle, Dell Wood, and Stuart Hamblen's wife, Suzy Hamblen. The collection also contains additional moving image materials, including home movies of Hamblen's family, as well as paper materials found with the recordings, such as tape logs, sound reports, notes, and letters.

The collection contains audio and video recordings, film, press materials, posters, clippings, and photographs pertaining to the life and career of white country music recording artist George Hamilton IV (1937-2014) of Winston-Salem, N.C. Other country music performers are also featured.

The Nancy Hamilton Collection on Mollie Sequoyah contains an audio interview conducted by Nancy Hamilton with Mollie Sequoyah, a craftsperson, cook, and healer of the Eastern Band of Cherokee Indians. Subjects discussed in the oral history interview include family history and daily activities, as well as Cherokee language, songs, recipes, and her experiences with herbal medicine, particularly where to find the herbs and how to use them for specific ailments. Treatments for many ills, including colds, colic, rheumatism, and whooping cough are discussed. The collection also contains supporting documentation consisting of tape logs created by former SFC staff. Little is known about Nancy Hamilton and her connection to the recordings found in the collection.

The radio show dubbed on audio cassette tape and titled "Music of Industrial Workers" was part of the Working Lives Oral History Project funded by the National Endowment for the Humanities in 1984. Peggy Hamrick, an oral historian, and Greg Bass of Birmingham, Ala., co-produced the radio show. No additional information about the program, its broadcast, or Hamrick and Bass was provided with the recording. Acquired as part of the Southern Folklife Collection.

The Charlotte Folk Music Society Collection consists of audio recordings, 1982-1986, created and compiled by historian and radio host, Tom Hanchett, at Charlotte's WFAE public radio station. The collection includes programs from three radio series: The Blues Show, An American Almanac, and An American Almanac: Live in the Studio. The Blues Show was a thematic one-hour program that introduced viewers to blues music through such subjects and figures as Piedmont blues, jump blues, Blind Boy Fuller, and Rev. Gary Davis, among others. An American Almanac was a thematic program featuring artists who recorded in Charlotte, N.C. between the years 1927-1945. Subjects of the show included the Blue Sky Boys, the Delmore Brothers, Fiddlin' Arthur Smith, the Mainer family, the Carter Family, the Morris Brothers, and Jimmie Davis. An American Almanac featured recordings from reissues available on LP, recordings of covers by modern performers, and new recordings by featured artists, with commentary by Hanchett. An American Almanac: Live in the Studio consisted of edited performances and interviews with folk musicians, including nationally-known artists, Charlotte natives, and living room pickers. Artists featured in this program included David Holt, Si Kahn, Cathy Fink, Rory Block, Claude Caset, Don White, Whitey and Hogan, Nappy Brown, Dot and Chester Lorenz, The Down Home Folks, and the Slop Jar Serenaders.

Hand-made, graphic posters, numbered and signed by the artist, comprise the collection of Matt Hart, a poster artist, home brewer, and cheese monger residing in Chapel Hill, N.C. The majority of posters are for music shows at clubs and other venues in Chapel Hill and Durham, N.C., and Los Angeles and San Francisco, Calif. Acquired as part of the Southern Folklife Collection.

The Peter Hartman Collection consists of audio recordings, 1963-1974, collected by folklorist, banjo player and businessman, Peter (Pete) Hartman, while he was an undergraduate student at the University of North Carolina at Chapel Hill. The recordings primarily feature performances of Anglo-American Primitive Baptist hymns, interviews, and field recordings from the Blue Ridge Mountains region of Virginia. Topics discussed in these recordings include stories about the origins and functions of particular hymns, as well as anecdotes on Primitive Baptist preachers and singing schools. The collection also contains field recordings, 1974, of both Anglo-American and African American Primitive Baptist worship services that feature lined-out hymns, preaching, and prayers. Interviewees and subjects from the recordings include Guy Phillips and Oscar Harris, Anglo-American Primitive Baptists; the Anglo-American congregation of the Old Republican Primitive Baptist Church; A. C. Holloway (male) and Ollie Shively (female), Anglo-American Primitive Baptists from Sparta, N.C.; Elder William Holland, Anglo-American Primitive Baptist from Rocky Mount, Va., and the African American congregation of the Rockfield Primitive Baptist Church in Franklin County, Va. The collection also includes dubbed field recordings, 1963-1973, made at Primitive Baptist meeting houses in North Carolina, Virginia, Texas, Maryland, and Louisiana. These dubbed recordings were originally collected by Frank Simpkins of Roanoke, Va.

The undated audio recording contains informal performances and jamming by Steve Harvell, a white blues harmonica player of Raleigh, N.C. Songs performed include "Boogie Woogie Harmonica", "Appalachian Coal Train", and "Had the Blues So Long". Acquired as part of the Southern Folklife Collection.

Field recordings of Sacred Harp shape-note singing from the "Original Sacred Harp" by unidentified white residents of Buies Creek, N.C., and Cullman, Ala. One tape documents two small group sessions set up by Dr. Julietta Haynes, a white historian and collector, at her home in Buies Creek, Harnett County, N.C., in 1969 and 1970, and includes 54 selections. The other tapes record a singing at Cullman Courthouse in Alabama in July 1971 featuring many more singers and more than 100 selections. The collection also includes supporting documentation created by former Southern Folklife Collection staff. Documentation contains technical information on the recordings, as well as additional information on the content of the recordings, such as selection titles and the number of singers present per selection.

Live audio recordings of Joe Heaney, an Irish singer and storyteller, performing on the campus of the University of North Carolina at Chapel Hill in October 1981. The recordings feature Joe Heaney performing songs from the sean-nós tradition and telling Irish stories and legends in Irish and English, both in a concert and classroom setting. Recorded by the University of North Carolina at Chapel Hill Curriculum in Folklore and Department of English, who sponsored Heaney's appearances to UNC. The collection also contains supporting documentation, consisting of a tape log prepared by former Southern Folklife Collection staff. Tape logs include contextual information on the recordings as well as titles of songs performed by Heaney when known.

The Cherrill P. Heaton Collection consists mostly of personal copies of bluegrass music compiled by banjo player and retired University of North Florida professor, Cherrill P. Heaton. The audio recordings, circa 1950-1977, feature radio shows and live performances by bluegrass musicians, including live recordings made at the New River Ranch in Rising Sun, Md. and Sunset Park in West Grove, Pa. Notable artists featured on these recordings include Red Allen, Foggy Mountain Boys, Bill Monroe, Reno & Smiley, and the Stanley Brothers, among others. The collection also contains digital media relating to Earl Scruggs funeral service and tributes held in 2012, including audio recordings of the service and tribute performances and digital scans of photographs and programs.

The 1966 recording on open-reel audio tape contains murder and lynching ballads dubbed from 78 rpms and performed live for John Douglass Helms, then a student at the University of North Carolina at Chapel Hill, for a folklore class. Accompanying field notes provide information about the songs, including discography for the dubbed recordings, and about the performers and locations of the field recordings. Musical artists recorded in the field are Kate Helms Huggins of Marshville, N.C., Lois Helms Huggins of Charlotte, N.C., Mildred Curlee Carpenter of Oakboro, N.C., Henry Griffin, and Mrs. Millard Carpenter of Peachland, N.C. Song titles performed include "In the Baggage Coach Ahead," "Alec Whitley," "Song About J. V. Johnson," and "Two Little Orphans." Acquired as part of the Southern Folklife Collection.

While working on her M.A. in Folklore from the University of North Carolina at Chapel Hill, Jill Hemming received a Documentation Project Grant from the Folklife Section of the North Carolina Arts Council to document and photograph quilts crafted by women of the Waccamaw Siouan Tribe of North Carolina. Hemming conducted the survey of Waccamaw Siouan quilts in Columbus and Bladen counties, N.C., 1994-1995. Each quilt is documented on a form with corresponding visual representation on color slides. As far as possible, each quilt is identified by quilt owner; the quilt maker; the quilt maker's spouse, children, and parents; the quilter (if different than the quilt maker); and the materials, dimensions, and pattern of the quilt. The quilts of Elizabeth Graham Jacobs (Lee) are particularly well represented. The oldest quilt documented was made circa 1919. The rest range from the 1940s to the 1990s.

Field recordings of Irish singers performing traditional Irish songs and prayers in Irish and English, with interviews about community life and the song tradition. Songs include children's songs, love songs, migration songs, and ballads. Julie Henigan, a white musician and folklorist from Springfield, Mo., made the recordings in Ireland as part of a Youthgrant project funded by the National Endowment for the Humanities. The recordings were later used as source material for Henigan's documentary on Irish song called As I Rode Out, which was first broadcast on NPR in 1981. The collection also contains related documentation and additional audio recordings made by Julie Henigan in the mid 1980s, including field recordings and interviews with Irish folk singers living in the United States, as well as a cassette copy of Julie Henigan's release, American Stranger. Documentation found in the collection consists of tape logs prepared by former staff of the SFC and interview transcripts presumably created by Julie Henigan.

The collection contains field and studio recordings of gospel music in the shout band tradition of the United House of Prayer For All People. Lew Herman, a white music writer and librarian, made the recordings between 1989 and 1991 in Charlotte, N.C. Hymns and worship songs performed in the studio by members of the musical group The Tigers include "Get in Ma Jesus" and "Since Jesus Came Into My Life." Field recordings feature the Revival Band performing "Lord Fix Me," "Lead Me Jesus," and other songs. The collection also contains supporting documentation created by former library staff. Documentation lists the tracks and performers and providea contextual background informationon the music and musicians. Acquired as part of the Southern Folklife Collection.

Live audio recordings of Joe Carden, (ca. 1896-1984), a white fiddler and carpenter of Hillsborough, Orange County, N.C., playing old-time tunes, waltzes, polkas, and a few modern songs on the fiddle, accompanied by one of the collectors on guitar. Also included is a brief interview with Carden about learning to play. Recorded by Michael and Sarah Higgins in Hillsborough, N.C., in April 1974. Little is known about Michael and Sarah Higgins and their connection to the recordings. The collection also contains supporting documentation, including a collection cover sheet and track listings prepared by former library staff.

Audiovisual materials created and compiled by the Highlander Research and Education Center, formerly known as the Highlander Folk School, a social justice leadership training school and cultural center located outside of Knoxville, Tenn. Highlander was founded in 1932 by white activists and educators, Myles Horton, Don West, Jim Dombrowski, and others as an adult education center based on the principle of empowerment. In the 1930s, Myles Horton and other Highlander members worked towards mobilizing labor unions across the southern United States, and later in the 1950s worked closely with civil rights leaders to host workshops and training sessions, laying the groundwork for many of the movement's initiatives, including the Montgomery bus boycott, the Citizenship Schools, and the founding of the Student Nonviolent Coordinating Committee (SNCC). The collection contains archival audio recordings, motion picture films, and video recordings created by Highlander members and staff, as well as their library's audiovisual reference collection of materials created by outside sources. Both series of audiovisual materials mirror the educational work and mission of Highlander, whose members and staff were interested in using media and teaching media production to document and support social justice initiatives across communities. Materials found in the collection document Highlander's Citizenship Schools during the civil rights movement, their work with labor struggles in the 1970s, and later their work with immigration, globalization, and environmental causes from the 1980s to 2000s. The collection also contains materials documenting Highlander's work with international communities in Latin America and India in the 1980s and 1990s, including video recordings related to the Bhopal Union Carbide Plant Disaster of 1984. The majority of the materials were produced or compiled by Highlander educational and library staff after the center relocated to its current location in New Market, Tenn. in 1972, but the collection also includes audio recordings and motion picture films related to the early years of the Highlander Folk School. Recordings of folk music, protest songs, labor songs, and African American religious songs were a large part of the civil rights movement and appear within the collection. Of particular note are audio recordings on acetate disc and transcription disc of radio programs, recorded songs, and voices of leaders from the civil rights movement, including Esau Jenkins, Septima Clark, Rosa Parks, Zilphia Horton, and Highlander co-founder, Myles Horton. Other notable materials found in the collection include video recordings created by Highlander Research and Education Center staff, which consist of interviews with educators and activists; footage of rallies, protests, and hearings related to Highlander initiatives; footage of Highlander events, such as meetings, anniversary events, conferences, concerts, and workshops; and video elements and copies of documentary productions produced by Highlander, including video productions on immigration, coal miners, traditional music and ballad collecting, occupational health and safety, and participant observation, among other topics. Additionally, the collection contains scattered supporting documentation found with select audiovisual materials, including transcripts, tape logs, clippings, correspondence, photographic materials, and other printed materials. The Addition of December 2020 consists of audiovisual materials donated by John Gaventa, who from 1976 until 1993 worked as the director and co-director of the Highlander Research and Education Center. These materials primarily document a strike involving the Tennessee Nuclear Services workers, as well as Highlander's international work in Nicaragua and India.

Hillbilly Sources and Symbols: Country Music, Cultural Brokerage, and O Brother, Where Art Thou? was a conference held on 4-5 April 2003 at the University of North Carolina at Chapel Hill. The conference, sponsored by the Southern Folklife Collection, the Center for the Study of the American South (CSAS), and Music in Context, was a response to the surge in popularity of traditional music inspired by the film O Brother, Where Art Thou? and a celebration of the publication of Country Music Sources: A Biblio-Discography of Commercially Recorded Traditional Country Music by Guthrie T. Meade Jr. with Douglas S. Meade and Richard K. Spottswood (Southern Folklife Collection, 2002).

Glenn Hinson, a white professor of anthropology at the University of North Carolina at Chapel Hill, has focused his research on the music, language, and belief systems of African American communities. The collection contains posters advertising gospel music performances in the Triangle area of North Carolina (Raleigh, Durham, Chapel Hill); field recordings and audio interviews by Glenn Hinson with North Carolina based African American musicians and performers; as well as papers and audiovisual materials related to projects or fieldwork by students of Glenn Hinson at UNC. Students mostly conducted their fieldwork in the state of North Carolina, with the majority of projects relating to southern folklife topics and subjects, including documentation of traditional creative practices, music and dance performances, church services, and community spaces and events, more broadly.

The Fred Hoeptner Collection consists of an audio recording compiled by Fred Hoeptner, an environmental engineer, ragtime composer, and founding member of the John Edwards Memorial Foundation. The recording includes an interview that Hoeptner conducted with Mrs. Hila E. Weathers, sister of American folk singer, Goebel Reeves (1899-1959). Known as "the Texas Drifter," Reeves was an Anglo-American performer of cowboy, hobo, and western songs. In the recording Weathers discusses her brother's musical career as well as their upbringing in Sherman, Tex., among other topics. The recording also includes an interview with Anglo-American steel guitarist, Leon McAuliffe, being interviewed by his manager, G. Don Thompson. In the interview McAuliffe and Thompson discuss McAuliffe's career and influences, the history of the steel guitar, and other steel guitarists, including James Robert "Bob" Wills (1905-1975), an Anglo-American western swing musician, songwriter, and bandleader from Texas.

Audio recording of gospel songs performed by the Silvermine Quartet, a white country gospel group, of Bryson City, N.C. N. Charlene Hogue, a white University of North Carolina at Chapel Hill student, recorded the quartet as part of a 1989 term paper for an English 187 course taught by Daniel Patterson. The collection also contains supporting documentation consisting of a letter from N. Charlene Hogue to Daniel Patterson, as well as a copy of Hogue's term paper, titled "The Silvermine Quartet: A descriptive Paper of a Western North Carolina Gospel Group."

The 1972 field recording on open-reel audiotape contains an interview with horse trader identified as "Mr. Brown" from the Piedmont area of North Carolina. Page Day Holmes, then a graduate student at the University of North Carolina at Chapel Hill, conducted the interview. Mr. Brown discusses his background and shares memories and narratives about horse trading. Field notes accompanying the recording list the stories such as "Two well behaved saddle horses sire a mean colt, which is finally broken" and "Women catching horses that men can't lay a hand on." Acquired as part of the Southern Folklife Collection.

White multi-instrumentalist and Grammy Award winner David Holt was born in Gatesville, Tex., in 1946. After graduating from the University of California at Santa Barbara, Holt began collecting Appalachian music and stories in the southeastern mountains. A historian of Appalachian music and culture, Holt began performing his collected music and stories in the early 1970s. In the mid-1970s, Holt founded the Appalachian Music Program at Warren Wilson College in Swannanoa, N.C. In the early 1980s, Holt resigned from Warren Wilson and began touring fulltime, performing his music and stories at festivals around the world and on various TNN, the Nashville Network, and North Carolina PBS television shows. In the late 1990s, Holt and Doc Watson began working together to create Legacy, an album that features them in conversation and in song. The collection contains materials relating to the career of musician and storyteller David Holt. Included is correspondence, printed materials, clippings, and photographs that Holt referred to as Career Memorabilia and organized by decade. Correspondence chiefly consists of letters from children and thank you notes. Printed materials are chiefly advertisement for musical and storytelling events and festivals. Clippings are chiefly reviews of Holt's performances and albums. Photographs include both publicity and performance photographs. There is also material relating to the television and radio shows Holt hosted, including Fire on the Mountain, Celebration Station, Folkways, and Riverwalk, and to Holt's work with Doc Watson and their album Legacy. Also included are publicity materials, information about Holt's work with the Warren Wilson College Appalachian Music Program, his international tours, and his Grammy Awards. There are also audiovisual materials of performances and recordings by Holt, both alone and with other artists such as Doc and Merle Watson. The collection contains video recordings of television programs, including Riverwalk, Fire on the Mountain, and Folkways, as well as instructional videos on how to play various instruments, among other recordings. The audio recordings found in the collection include materials affiliated with various commercial releases by Holt, recordings of other artists (primarily the Jim Cullum Jazz Band), interviews, and other recordings.

The Jefferson Holt Collection consists of materials compiled by Jefferson Holt, a white band manager and founder of Dog Gone Records label. Holt is the former band manager for R.E.M. and Pylon. The collection documents these bands and the alternative rock music scenes in Chapel Hill, N.C. and Athens, Ga. There are audiovisual recordings; publicity materials, including press clippings, flyers, posters, and photographs; Pylon fan mail; t-shirts; and concert ephemera. Other bands documented in the collection are the Flat Duo Jets, The Squalls, Snatches of Pink, Die Monster Die, Vibrating Egg, Calling Sounds, The Dangtrippers, The Remanz, The Kamikazees, Chris Stamey, and Yo La Tengo. Audio and video recordings found in the collection consist of demos, pre-releases, test pressings, interviews, live performances, and music videos of R.E.M., Pylon, and others.

The collection contains film elements compiled during the making of Gandy Dancers, a 1994 documentary directed and produced by Maggie Holtzberg and Barry Dornfeld. "Gandy dancer" is a slang term for a railroad section worker who lays and repairs track. Holtzeberg and Dornfeld's film features eight retired African American rail workers or gandy dancers. The retirees share stories of working in the mid-twentieth-century, segregated South, discuss organized labor and the safety standards and hazards of rail work, and demonstrate their occupation's musical and folklore traditions, especially rail calls (cadence chants) and work songs. These rail calls and work songs often had sexually explicit lyrics, while others had religious faith and social protest as themes. Acquired as part of the Southern Folklife Collection.

The collection consists of posters, recordings, and a schedule related to the 2003 James E. Johnston Center Thursdays on the Terrace Series of musical performances. Artists featured on the audio and video recordings include Pura Fé, Willie French Lowry, Kwabena Osei Appiagyei, David Evans, Branchettes, Bobby Rush, and Cool John Ferguson.

The William Franklin Horn Documentary Video Collection contains two mini digital video tapes and a digital video disc (DVR) together comprising the footage for and final cut of the 2004 student documentary titled 161 E. Franklin St.: Our Experiences at Strong’s Coffee Shop. The two producers and directors William Franklin Horn and Aislinn Pentecost-Farren were anthropology students at the University of North Carolina at Chapel Hill (UNC) when they made the documentary, which is an ethnographic case study of the Chapel Hill coffee shop and its patrons. Horn and Pentecost-Farren collected B-roll footage and approximately 30 hours of interviews with baristas and customers, many of whom were UNC students, faculty, and staff, to study Strong’s as a community space for work and leisure. Acquired as part of the Southern Folklife Collection.

The Mike Hortig and Heinz Kratochwill Collection consists of field recordings and photographs of American blues musicians from 1981. Austrian boogie-woogie and blues pianist, Mike Hortig, compiled the materials with his friend, Heinz Kratochwill, during a four-week-long trip to the American South. The audio recordings and photographs capture blues pianists and guitarists, including Trenton Cooper, James "Son" Thomas, Boogie Bill Webb, Mott Willis, Sam Chatmon, and others. Also included in the collection is a handwritten track listing found with one of the field recordings.

Field recordings made by Laurel Horton, a white folklorist, circa 1975 that contain an oral history interview and a radio music program called "Tar Heel Voices," likely broadcast from the University of North Carolina at Chapel Hill's student-run radio station WCAR. The interview is with an unnamed elderly white woman who discusses midwifery and folk remedies and sings the ballad "Lady Margaret." No other information, such as the name of the interviewee or location of the interview, is available. Acquired as part of the Southern Folklife Collection.

Field Recording of Sarah White, an African American musician of the Shiloh Community in Asheville, N.C., singing and performing African American spirituals in her home. On the recording, Sarah White also provides commentary on the composition, style of performance, and context of the songs, and performs a rendition of one of the songs, "Pass Me Not Oh Gentle Savior", on the organ. Laurel Horton, a white folklorist, and Diane Sasson, a white author, recorded Sarah White on 9 June 1976, presumably as part of their course work while they were graduate students at the University of North Carolina at Chapel Hill. The recording ends with a separate interview with Alice Weatherman and her mother, identified as Mrs. Brooks, both white, harmonizing in a rendition of "The Stone Song" and discussing the song's kinetic accompaniment. In addition to the recording, the collection contains supporting documentation consisting of tape logs prepared by former Southern Folklife Collection staff. These tape logs include a brief description of the recording, as well as a contents listing of songs performed by Sarah White.

The undated field recordings (circa 1980s) on open-reel audio tape contain West Virginina folk songs performed by musician D.R. Petry. Phyllis Young Howren, a faculty member at the University of North Carolina at Chapel Hill, recorded Petry's performances in Braxton County, W.V. Acquired as part of the Southern Folklife Collection.

John T. Huddle was a lawyer, a clawhammer banjo player, and old-time music aficionado of Lancaster, Ohio.

Ed Huey is a retired music educator who was twice honored by the Tennessee Governor's School for the Arts as an Outstanding Music Educator. A Lyndhurst Foundation Grant Recipient, Huey gathered field recordings of Mississippi Bluesmen, Jack Owens, Bud Spires, Jimmy Duck Holmes, Jacob Stuckey, and A. B. Granderson. Huey performs and teaches American Roots Music, specializing in early Blues guitar and harmonica styles. His highly interactive sets include Work Songs, Field Hollers, Hambone, Piedmont Blues, Delta Blues, Texas Blues, Jug Band, Hokum, and railroad songs. Huey plays guitar, slide guitar, harmonica, mandolin, washboard, spoons, and jug. Huey also teaches harmonica at the Folk School of Chattanooga.

Audio recording of Mr. Goforth, song leader of the Baptist church in Harmony, N.C., shape-note singing. Recorded 30 May 1976 by Donald Hughston, a white graduate student at the University of North Carolina at Chapel Hill. The collection also contains supporting documentation consisting of a field collection cover sheet prepared by former library staff.

Allison Hussey is a white journalist who has written about music and culture since 2010. The Allison Hussey Collection consists mostly of materials related to the local independent rock and traditional music scene, including concert posters; collected magazines, newspapers and other publications; a personal planner (2013-2014); promotional ephemera; notebooks with concert set lists; and video recordings created by Hussey. Events covered in the collection include Merlefest and the opening of Earl Scruggs Center, as well as many more cultural events in Raleigh, Durham, Chapel Hill, and Asheville, including IBMA World of Bluegrass, the North Carolina State Fair, Chatham County Fair, Hopscotch, and Moogfest. Of particular note are the promotional and concert posters made by local artists Dan Barbour, Matt Hart, Ron Liberti, Steve Oliva, and Chris Williams found in the collection. The posters feature touring musicians and bands from the region, such as Mount Moriah, Bombadil, Chatham County Line, Alice Gerrard, Hiss Golden Messenger, Mandolin Orange, and Mac McCaughan, as well as touring bands from across the United States and Canada, including Arcade Fire, Future Islands, Neutral Milk Hotel, Spoon, Sharon Van Etten, and Gillian Welch, among others.

The Ken Irwin Collection consists of audio recordings, 1974-1975, of interviews with folk, country, and bluegrass musicians. Ken Irwin, a white co-founder of the record label, Rounder Records, compiled the recordings, which feature such notable artists as Hazel Dickens, Buzz Busby, and Whitey and Hogan, among others. There are also audio interviews, 1995-1996, with Ken Irwin. Other materials document the Rounder Record business and the artists signed to the label and the International Bluegrass Music Association (IBMA) and Folk Alliance governing boards. Materials include correspondence, photographs, business records, catalogs, newspaper clippings, t-shirts, promotional posters and press packs, and other ephemera, as well as additional audiovisual materials related to Rounder Record artists.

Field recordings of ballads, children's games, hymns, spirituals, recollections, and other spoken and sung material collected by McKellar Israel, a white music instructor of Southern Pines, N.C., and his students at Sandhills Community College in Pinehurst, N.C. The collection contains dubs of field recordings created by McKellar Israel as part of his 1972 fieldwork project on "The Folk Songs of Dawes B. Graybeal and Marinda Dunnigan McPherson", as well as dubs of field recordings and oral histories created by McKellar Israel's students in eastern and central North Carolina, including the counties of Ashe County; Chatham County; Harnett County; Hoke County; Iredell County; Lee County; Moore County; and Sampson County. Of particular note is McKellar Israel's recordings of Marinda Dunnigan McPherson, an African American educator and singer from Hillsborough, Orange County, N.C., and her husband David McPherson, of Chatham County, N.C. In these recordings, Marinda Dunnigan McPherson, who taught in Orange County for more than forty years, recollects and sings children's games, play party songs, spirituals, and other traditional songs that she learned from family members. The collection also contains supporting documentation, such as tape logs, transcriptions, and scattered correspondence, that relate to the field recordings found in the collection.

Contains papers of Jerma A. Jackson, a Black associate professor in the Department of History at the University of North Carolina at Chapel Hill. Materials include research files and transcripts, 35mm slides, photographic prints, and audiocassettes used for Jackson's book, Singing in My Soul: Black Gospel Music in a Secular Age (UNC Press, 2004). Interviews are with African American gospel singers as well as others involved in the church and music business. The materials also include paper transcripts of the interviews and materials related to the Church of God in Christ, the Pentecostal Christian denomination in the United States headquartered in Memphis, Tenn., that include biographical information on women singers.

James Jordan's wife was a member of the Weatherman family, and her ancestors appear to have been plantation owners in North Carolina (location unknown). The collection includes six audiocassettes, ca. 1970s, of James Jordan and his wife singing ballads, folk songs, children's songs, and spirituals, individually and in duet. Some of the songs were passed down through their families; others the two learned as children. According to Jordan, the spirituals were originally learned from slaves on the Weatherman family plantation in North Carolina. After each song, the family of origin is identified.

The Phil Jamison Collection consists of video recordings, audio recordings, and printed materials created by Phil Jamison for the North Carolina Arts Council Folklife Program-funded documentary project Western North Carolina: Buckdancers, Flatfoot Dancers and Charleston Dancers. The project documented the lives and dancing of buckdancers, flatfoot dancers, and Charleston dancers from several counties in western North Carolina, including Buncombe County, Henderson County, Swain County, Yancey County, Clay County, Jackson County, Burke County, Haywood County, Watauga County, and Madison County. Jamison collected the materials during 1992 and 1993; the project was completed in 1993. The video recordings are on Hi8 and VHS and consist of shots of dancers demonstrating dances to live music, descriptions of steps, and interviews with the dancers. Dances documented include the Hambone, the Turkey Trot, the Two-Step, the Charleston, and the Chicken. The video log documents the dancer's name, the dance style, the accompanying music, and the date of the performance recorded. The audio recordings are on audiocassette and consist of oral history interviews with twelve dancers. Of particular interest are the performances of L. C. King and John Reeves, who were featured in Mike Seeger's 1987 documentary film Talking Feet.

Michael Jarrett is professor of English at Penn State University, York. He is the author of Drifting on a Read: Jazz as a Model for Writing, Sound Tracks: A Musical ABC, and Producing Country: The Inside Story of the Great Recordings.

Live audio recording of Aleta Garrison Jessup, a white singer of Little Rock, Ark., performing songs handed down to her by her parents. The 1958 recording was presumably made by Jessup, who notes that these songs were popular during her parents' childhood in the southern United States during the Civil War, originating primarily in Tennessee, Alabama, and Georgia. Song types on the recording include lullabies, play party songs, and church songs, as well as a cowboy song that Jessup learned from a cowboy in West Texas, where Jessup spent her childhood. The collection also contains supporting documentation prepared by former Southern Folklife Collection staff. Documentation consists of tape logs, which include a track listing and information about the history of the songs, including that Jessup's parents learned the church songs from a granddaughter of a formerly enslaved person.

The John Edwards Memorial Foundation, which operated 1962-1983, was located at the University of Calif. at Los Angeles. The foundation's goal was to promote the study of twentieth-century American folk music. In 1983, the Foundation was dissolved, and a successor organization, the John Edwards Memorial Forum, was established.

Kenneth M. Johnson (1928-) of Randolph County, N.C., along with his father Jesse (Pa), mother Lydia (Ma), sister Betty, and twin brothers Bob and Jim, formed the gospel and popular music singing group the Johnson Family Singers. The collection includes radio scripts, sound recordings, and video recordings documenting the musical careers of the Johnson Family Singers and Betty Johnson. Radio scripts include 158 scripts from WBT radio shows in Charlotte, N.C., 1943-1965, in which the Johnson Family Singers performed. Sound recordings include non-commercial recordings on acetate and transcription discs, as well as commercial 45s, 78s, LPs, and compact discs. Transcription discs record the Johnsons' appearances on WBT and Larry Walker's performances on the Margaret Ann Show. 45 rpm records, 78 rpm records, and LP records contain original commercial releases by the Johnson Family Singers, Betty Johnson, and the Stumphole Trio. Compact discs include a release of radio performances by the Johnsons that accompanied Kenneth Johnson's The Johnson Family Singers: We Sang For Our Supper (1997). Video recordings document several of Betty Johnson's appearances on Eddy Arnold Time and the Johnson Family Singers' Ed Sullivan Show performances.

Betty Johnson was born on 16 March 1929 in Guilford County, N.C. As a child, Johnson traveled throughout the South as a member of the Johnson Family Singers, a gospel and popular music group. Betty Johnson's solo career as a pop-standard and cabaret singer took off in 1954 when she joined the Csida-Grean management company. Throughout the 1950s, Johnson recorded songs, appeared on Don McNeill's Breakfast Club radio show, and performed on various television shows. From 1957 to 1962 she was a cast member of Jack Parr's Tonight Show in New York, N.Y. Betty Johnson stopped performing in 1964 when she married New York City investment banker Arthur Gray Jr. and moved to New Hampshire. In 1993, Johnson re-entered show business with a cabaret act at The Oak Room at The Algonquin Hotel in New York. In the mid-1990s, she launched her own record label, Bliss Tavern Records, based in Haverhill, N.H., which distributes new and re-released records by Betty Johnson, her daughters Lydia and Elizabeth Gray, and the Johnson Family Singers.

The collection of white folklorist Geraldine Niva Johnson contains photographic materials and research files related to her field work conducted chiefly in Maryland during the 1970s and early 1980s for her dissertation and book, Weaving Rag Rugs: A Women’s Craft in Western Maryland.

Audio recording of Dick Tillett, a white singer of Wanchese, Dare County, N.C., singing five ballads and songs. Linc Johnson recorded Dick Tillett on 15 February 1981. Little is known about Linc Johnson and their connection to the recording. The collection also contains a North Carolina Folk Music Archives cover sheet prepared by former library staff, which includes minimal information on the recording, such as collector and informant names, song titles, and technical data on the recording.

Live audio recordings of Hugh Buckner Johnston, a white professor, historian, genealogist, and singer from Wilson, N.C., performing songs and telling stories he learned as a boy from his father and grandfather who both lived in Edgecombe County, N.C. Included are hunting songs and legends about the supernatural, including "Beetsy Long-Tooth", "The Three Jolly Huntsman", "The Miller's Wife", and "Josiah and Kerchuga". Recorded in January, February, and March 1971. The collection also contains supporting documentation, including a field collection cover sheet prepared by former library staff, as well as lyrics sheets prepared by Hugh Buckner Johnston.

The Joines Family Collection consists of live audio recordings featuring John E. Frail Joines (1914- ), an Anglo-American traditional storyteller from Moravian Falls, Wilkes County, N.C. Joines' son, Jerry Dale Joines, and daughter, Joyce Joines Newman, compiled these oral history recordings, 1971-1979, which feature their father sharing tall tales, stories from World War II, hunting tales, religious narratives, local anecdotes, ballads, and songs. Jim Jennings (1928- ), an Anglo-American storyteller who has learned from Joines, is included in a few of the recordings performing tales he learned from Joines. John E. Joines was featured in the 1981 documentary film, Being A Joines: A Life in the Brushy Mountains, by Tom Davenport, Allen Tullos, Joyce Joines Newman, and Daniel Patterson.

Field recordings and documentation related to a National Endowment for the Arts and North Carolina Arts Council-funded project on traditional arts and maritime trades of North Carolina's coastal region. Alison Joanne Kahn, a white independent writer, editor, and folklorist, conducted the fieldwork in Beaufort and Hyde counties in the summer of 1990. The majority of the field recordings consist of live recordings of church choirs in Beaufort and Hyde counties, including recordings made at African Methodist Episcopal, Mennonite, and Baptist churches. Other recordings include interviews with self-taught artists, storytellers, composers, and performers of folk, old-time, and blues music. Documentation consists mostly of grant project materials created and compiled by Kahn, including tape logs, time logs, reports, and release forms, as well as clippings, maps, flyers, programs, and ephemera related to North Carolina's coastal region and the grant project's interview subjects.

Ed Kahn (1938-2004), a Jewish scholar and folklorist, spent much of his life devoted to the study of American folk songs and early country music, conducting extensive field research and writing at length about both Merle Travis and the Carter Family. Kahn was was involved in the creation of the John Edwards Memorial Foundation (JEMF), along with Archie Green, D. K. Wilgus, Fred Hoeptner, and Eugene Earle. He was initially appointed Executive Secretary of the JEMF and was instrumental in starting the JEMF Quarterly newsletter.

Si Kahn (1944- ) is a white folk singer and songwriter, community and labor organizer, civil rights and social justice activist, and the founder and retired executive director of Grassroots Leadership. The collection contains songbooks and song sheets with original lyrics; organizational records; printed items and publications; name and subject files; newspaper clippings; t-shirts, pin back buttons, and posters; and audio and video recordings. Organizations represented in the collection include Grassroots Leadership, Citizen Action Inc., Jewish Fund for Justice, Youth Project, Forest Service, Save Our Cumberland Mountains, United Mine Workers of America, Amalgamated Clothing and Textile Workers Union, and AFL-CIO. Materials reflect Kahn's musical career and his work and interests in student activism, unionism, community organizing, voting rights, health and safety of textile workers and coal miners, and environmental justice. Union materials document his work on the 1970s campaign to organize in J.P. Stevens textile plants across the South and the 1974 Brookside coal miners' strike in Harlan County, Ky. Audio and video recordings consist of interviews, musical performances, recorded folk music, lectures, and other events recorded or collected by Si Kahn, as well as demos, masters, work tapes, and live recordings of Si Kahn.

The collection contains photographic prints, a poster, and panels with text for an exhibit by artist Jesse Kalisher (1962-2017) of Chapel Hill, N.C. The 2009 exhibit at Kalisher's Chapel Hill gallery featured images of farmers in the North Carolina community of White Cross who opposed the construction of a proposed airport for the University of North Carolina at Chapel Hill. Text panels include quotations drawn from interviews with the farmers. Acquired as part of the Southern Folklife Collection.

The Nancy Kalow Collection consists of video and audio recordings documenting various aspects of North Carolina folklife. The videotapes, which were recorded by folklorist, Nancy Kalow, between 1986 and 1991, primarily document traditional musicians from North Carolina. Videotapes include recordings of traditional North Carolina fiddlers and banjo players that Kalow made in collaboration with folklorist and traditional music performer, Alice Gerrard, as well as interviews and demonstrations by traditional musician, Walter Raleigh Babson, which are moderated by traditional music collector, educator, and practitioner, Andy Cahan. Other videotapes in the collection include performances by African American string band musicians Joe and Odell Thompson; Piedmont blues musicians, George Higgs and James Bud Powell; traditional musician, John Rector; and storyteller, Steven Henegar. The collection also contains a videotape documenting the 1988 Uncle Eli's Quilting Bee in Alamance County, as well as audio recordings featuring a 1994 performance by the band, Los Tramperos.

The collection contains audio recordings of events at Gardner-Webb University in Boiling Springs, N.C., where bluegrass musician Earl Scruggs received an honorary doctorate degree on 13 September 1986. White folklorists Nancy Kalow and Anne Kimzey recorded events during "Earl Scruggs Day" on open reel tape. Events recorded include performances, panel discussions, a seminar on Scruggs, and a banquet honoring him that featured music by John Hartford, Ron Huskey, and Mark Howa. The collection also contains related documentation, including an Earl Scruggs Day program and tape logs created by former Southern Folklife Collection staff.

The Wayne Martin and Nancy Kalow Collection consists of video recordings and related paper materials, 1987, made by North Carolina folklorist, fiddler, and arts administrator, Wayne Martin, in collaboration with folklorist and videographer, Nancy Kalow. Martin and Kalow received a grant from the North Carolina Arts Council in 1987 to document traditional fiddlers from North Carolina. The grant, titled, Hand Down the Fiddle and Bow: Documentation of Traditional North Carolina Fiddling, allowed Martin and Kalow to preserve and identify traditional fiddle music through a statewide videotaping project. Martin acted as the project director, interviewer, and occasional backup accompaniment, while Kalow acted as the videographer and editor. The goal of the project was to capture the subject's stylistic techniques, including bowing, fingering, and positioning on the instrument, while also capturing oral histories regarding the subject's biography, family, and community traditions. The collection includes the edited videos that were created as part of the project, as well as the original grant application, tape logs, and related paper materials. Fiddlers documented on videotape by Martin and Kalow for the project include Jess Albertson of Beulaville, Duplin County, N.C.; Lonnie Austin (1905-) of North Carolina; Clennie Davis of Jacksonville, Onslow County, N.C.; Earnest East of Mt. Airy, Surry County, N.C.; Harvey Ellington of Berea, Granville County, N.C.; Benton Flippen of Mt. Airy, N.C.; Tommy Hunter (1919-1993) of Mars Hill, Madison County, N.C.; Ben King of Sneads Ferry, Onslow County, N.C.; Smith McInnis of Raeford, Hoke County, N.C.; Walt Propst of Buffalo Creek, N.C.; C.L. Scott of Morehead City, Carteret County, N.C.; Lauchlin Nordan (L.N.) Shaw (1912-2000) of Anderson Creek Township, Harnett County, N.C.; Homer Lee Pappy Sherrill of Sherrills Ford, Catawba County, N.C.; Melvin Slaydon of Zephyr, Surry County, N.C.; Luke Smathers of Canton, Haywood County, N.C.; Joe Thompson (1918-2012) and Odell Thompson (1911-1994) of Mebane, Alamance County, N.C.; Doug Wallin (1919-2000) of Madison County, N.C.; and Otho Willard of Williamston, Martin County, N.C.

The Alan Kanter Collection contains audio recordings of live performances and interviews from notable folk musicians. Compiled by the California based sound engineer, Alan Kanter, the recordings consist of episodes and segments of the radio program, FolkScene, live performances at McCabe's Guitar Shop, and other recordings collected by Kanter. Notable artists featured on the recordings include David Bromberg, Guy Carawan, Martin Carthy, Elizabeth Cotten, Kinky Friedman, Bert Jansch, Emmylou Harris, John Hiatt, Mary McCaslin, Patsy Montana, Randy Newman, Tom Paxton, Utah Phillips, Suzzy and Maggie Roche, Linda Ronstadt, Mike Seeger, Sons of the Pioneers, Rosalie Sorrels, Tom Waits, Jennifer Warnes, Doc and Merle Watson, and George Winston, among others.

Folklorist Ann Kaplan was born in 1972 in Washington D.C. She earned an M.A. in folklore from the University of North Carolina at Chapel Hill in 2000. She has worked with the Southern Oral History Program, as an independent folklorist with diverse communities in North Carolina, and as director of the Orange County Arts Commission in Hillsborough, N.C. The Herring Run Folklife Project, funded by a folklife documentation grant from the North Carolina Arts Council, documents farming and fishing in Bertie County, N.C., through oral history interviews with residents and photographic slides. Audiocassettes consist of oral history interviews conducted by Ann Kaplan with residents in Bertie County, N.C., in which interviewees describe their lives farming and fishing. The interviews are accompanied by a description of the Herring Run Folklife Project and abstracts of the interviews. Slides contain images of Bertie County, N.C., including farmland; roadsides; boardwalks; fishermen at work; fishing nets; bait shops; interior shots of workers pickling, canning, and packaging fish at the Perry-Wynns Fish Corporation; fish markets; cafes; exterior shots of the Indian Woods Baptist Church; and an Indian Woods congregation fish fry.

The undated field recordings on open-reel audiotape made by Margaret Keenan contain summer camp songs and traditions. The recordings were likely made between the 1960s and 1970s. No other information about this recording, such as the locations where Keenan recorded, is available. Acquired as part of the Southern Folklife Collection.

The collection of white folk singer and radio program host Shirley Keller (-2017) of New Jersey contains four audio cassette tapes of folk music, press and publicity materials about Keller and her performances, and a paper index for the radio shows of her program "The Folk People," broadcast on WFDU FM Radio during the 1980s and 1990s. The audio tapes include two Keller albums likely self produced and titled "Shirley, Your Favorites and Mine" from 1985 and "Romping" from 1986 with music by Keller and Diane Wolkstein. The other tapes are memorial tributes to folk singer Lillian Appel and titled "Lil Appel: 'Twas a Pleasure to Know You" and "Lil Appel: 'Twas a Pleasure to Hear Her." Other materials include a black-and-white publicity photograph of Keller from circa 1997. Acquired as part of the Southern Folklife Collection.

The Ken Kenkel Collection consists of interviews and recorded performances created and compiled by Kenneth (Ken) Russell Kenkel for his 1986 master's thesis in folklore at the University of North Carolina at Chapel Hill. The collection includes an interview with Bobby McMillon, Anglo-American singer and storyteller, of Lenoir, N.C., about his traditional music and storytelling; an interview with Virginia Sykes Perry, Anglo-American of Orange County, N.C., about the folk house (I-house) she grew up in; a recording of Lauchlin Shaw, Anglo-American old-time fiddler, of Harnett County, N.C., playing old-time fiddle with an accompanying string band for the radio broadcast-CCTV Folklife Radio Series; a recording of a live concert of Frank Proffitt, Jr., Anglo-American singer and musician, of Morganton, N.C., playing old- time music on the banjo and dulcimer and singing; and interviews with Proffitt about his musicianship. Copies of Kenkel's thesis, titled, Frank Proffitt, Jr., and Bobby McMillon: traditional artists in the public eye, reside at the Davis Library and within the North Carolina Collection at UNC-Chapel Hill.

Audio recordings of folk music and traditions from England, Scotland, Wales, Ireland, Africa, and the United States, originally released on audiocassette by Folktracks, a commercial record label founded by white English folklorist, Peter Kennedy (1922-2006). Audiocassette recordings consist mostly of field recordings of traditional music and ballads, storytelling, stringed instruments, and children's songs and games, as well as interviews. The collection also contains supporting documentation consisting of photocopies of tape logs and brochures produced by Folktracks Recordings and the United Kingdom's National Centre for the Oral Tradition. Tape logs include song titles, often accompanied by contextual information on the recordings.

The Philip H. Kennedy Collection consists of field recordings, field notes, and photographs that document the folk music traditions of North Carolina and surrounding states. Folklorist and French professor, Philip H. Kennedy, compiled most of the materials in the late 1950s and early 1960s, as part of his research on the ballad collecting and fieldwork of Cecil J. Sharp and Frank Clyde Brown, who previously travelled the region to compile and record traditional ballads, tunes, and music. The collection also includes other audio recordings created and compiled by Kennedy, including WUNC produced radio programs on folk music; interviews with folklorist, Dr. Amos Abrams; dubbed field recordings of women ballad singers from North Carolina; and a privately issued LP featuring folk songs and ballads by Philip H. Houston and classical piano by Laura Nancy Hasenpflug.

Gary Kenton is a music critic, editor, and teacher of Greensboro, N.C. The collection consists of interviews conducted or collected, 1971-1989, by Kenton with music industry executive and founder of Folkways Records Moses Asch, his family members, and his business associates, many of whom were important figures in folk music and in the folk revival movement. Included in this group are folksingers Elizabeth Cotten, Jean Ritchie, and Pete Seeger, and Harry Smith, compiler of the Anthology of American Folk Music. Interviews are largely focused on Asch's life and work.

The collection of folk singer and songwriter Lionel Kilberg (1930-2008) contains audio recordings, lyric sheets, poems, small paintings, sheet music, writings, 35mm color film slides, printed items, and pin-back buttons for his bluegrass band the Shanty Boys. Kilberg wrote thousands of topical folk songs during the 1960s and 1970s and performed regularly in Greenwich Village as a part of the mid-twentieth-century folk revival music scene in New York, N.Y. The collection chiefly documents his prolific songwriting and his album series from the early 1970s, "Sociologically Speaking." Both commercial and noncommercial audio recordings are on cassette tape and open-reel. Kilberg's writings contain information and stories about his songs and poems. Abstract paintings made by Kilberg are on loose sheets of paper. Printed items include newspaper clippings, newsletters, and scattered issues of folk music fanzines such as "Caravan" and Gardyloo."

Recordings of interviews, songs, and music of white and African American musicians, most of whom grew up either on Piedmont tobacco farms, or were involved with the tobacco business in eastern North Carolina. Anne Kimzey, a white folklorist, conducted the interviews in July and August of 1987 while an intern at the North Carolina Arts Council, Folklife Section, for an exhibit at the Tobacco Farm Life Museum in Kenly, N.C. The museum had received a grant to hire a folklorist to do fieldwork in Johnston County and Wilson County and to prepare an exhibit on the role of music in the lives of tobacco farmers in eastern North Carolina. The collection includes the audio interviews, songs, and music that Anne Kimzey recorded as part of the project, as well as supporting documentation, such as field notes and select release forms, created and compiled by Anne Kimzey. Interview subjects discuss musical histories, repertoires, and social and community functions of the music, especially in relation to their life on the farm and tobacco farming. Notable recordings include interviews with Grace Corbett (1911-1990), a white pianist of Kenly, N.C.; Josephine Rice Ruffin (1922- ), an African American musician of Wilson, N.C.; Carl Lamm (1927- ), a white radio station owner and disc jockey of Smithfield, N.C.; Roy G. Taylor (1918-1995), a white guitar player and author of Wilson, N.C.; Alice Stevens (1925- ), African American singer of Wilson, N.C.; Betty Lee Woodard (1918-2000), a white shape note singer of Kenly, N.C.; William Joseph “Bill Joe” Austin (1911-1991), a white band leader, saxophone and clarinet player of Smithfield, N.C.; and Paul Byrd (1909-), an early white country musician. There are also dubbed recordings of Paul Byrd singing country and popular songs, both solo and with the Radio Pals, on two tapes recorded between 1941 and 1946.

The Mark Klempner Collection consists of audio recordings, 1974-1989, created by folklorist, historian, and folk musician, Mark Klempner. From 1982 to 1992 Klempner performed under the stage name of Jamie Michaels in Los Angeles, Calif. During this time he recorded with audio engineer, Henry Lewy, and with vocalists, David Lasley, Arnold McCuller, and Rosemary Butler. The collection includes recordings, 1987-1988, from these studio sessions as well as earlier live recordings, 1974-1982, of Klempner performing in concert as Mark Klempner. The collection also contains miscellaneous recordings, 1980-1982, including an interview that Klempner conducted with Scottish musician, Robin Williamson.

Franz Kunst worked for the Southern Folklife Collection, 1999-2000. He was program director of radio station WXYC at the University of North Carolina at Chapel Hill, 1993-2002.

The Pete Kuykendall Collection consists of audio recordings, moving images, and related documentation compiled by musician, discographer, and Bluegrass Unlimited co-founder, Pete Kuykendall. The majority of the collection is made up of audio recordings, 1938-1995, of American bluegrass, blues, old-time, and folk music. Artists featured on the recordings include Pete Kuykendall, Red Allen, Bill Clifton, Country Gentlemen, Hazel Dickens, Dorsey Dixon, Alice Gerrard, Poplin Family, and The Stanley Brothers, among others. The collection also contains a handful of moving image material, 1964-1970, featuring bluegrass and blues artists, including Elizabeth Cotten, Mississippi John Hurt, The Stanley Brothers, and Cousin Emmy. Related documentation consists of tape logs, song indexes, and subject files, which consist mostly of discographies and correspondence.

Audio recordings produced, distributed, or collected by Ladyslipper Inc., a North Carolina non-profit organization for women’s music which was founded by Laurie Fuchs, a white woman, in 1976. Recordings are largely independently produced and in some cases self-released. There is also a small amount of flyers, press kits, promotional materials, and other items dating from the 1980s and 1990s.

The collection of Luke Eric Lassiter contains a sound recording of Kiowa songs on audio cassette, accompanying field notes for the recording, and a copy of his 1995 dissertation written in fulfillment of a doctoral degree in anthropology from the University of North Carolina at Chapel Hill. His dissertation titled is an ethnographic study, which examines the communal context for the Kiowa Tribe of Oklahoma's Gourd Dance. Kiowa music traditions have a strong relationship to the American Indian tribe's traditional dances. Lassiter's 1994 field recordings include the Kiowa Gourd dance and Kiowa hymns. Acquired as part of the Southern Folklife Collection.

Here and There/Aqui y Alla was an exhibit of Latin American women's textiles in North Carolina presented at the 1996 Festival for the Eno in Durham, N.C. Kelly Feltault, a graduate folklore student, coordinated both the preliminary fieldwork and the presentation of the exhibit with contract assistance provided by Leila Childs, Kate (Kathryn) Hanser, and Ann Kaplan, all graduate students in the Folklore Curriculum at the University of North Carolina at Chapel Hill. Textile work exhibited included crocheted doilies, afghans, table cloths, and baby clothes; embroidered dresses, blouses, and head sashes; cross-stitched tortilla wraps and pillowcases for newlyweds; knitted sweaters; woven skirts from Guatemala; girl's dresses sewn without a pattern; hand hooked bags; and calado. The fieldwork and exhibit material focuses on the work, skills, and life experiences of eight Latin American textile artists: Manuela Avila Morales (Guatemala), Elvira Garcia (Mexico), Nazaria Munoz Joaquin (Mexico), and Ereneida Duarte Ocampo (Mexico) in Siler City, N.C.; Juana Pascual (Guatemala) and Agustina Lopez (Guatemala) in Morganton, N.C.; Octavia Mendoza (Mexico) in Kernersville, N.C.; and Gloria Munoz (Mexico) in Winston-Salem, N.C. Exhibit materials include text for the explanatory panels for the exhibit and copies of the printed publications associated with the exhibit and the Festival for the Eno. Some of this material is in Spanish. Photographs include portraits of artists, examples of their work, and the documentation of the actual exhibit. Audio tapes are fieldwork interviews with the artists conducted in Spanish with the assistance of a translator. Tapelogs are also included.

The collection of Barbara Lau (1958- ), a white folklorist and program coordinator based in North Carolina, contains materials, 1979-1984, related to Lau's folklife projects on African American shape-note singing in the Midwest, as well as materials, 1993-2008, connected to her fieldwork with Cambodian American communities in North Carolina. Documentation of Lau's work with African American shape-note singing groups in the early 1980s includes her senior thesis, Black Shape-Note Singing: A Beginning, along with surveys on which she based her writing. Also included are photographs, audio recordings, and slides from the 1983 Shape-Note Singing Reunion in Saint Louis, Mo., and the Ohio-Indiana-Michigan Vocal Singing Convention, 1983-1984. Materials documenting Cambodian American communities of North Carolina include color slides and prints by Lau and photographer Cedric Chatterley of the 1995 Cambodian New Year celebration, photographs of New Year celebrations in Lexington, N.C., and Charlotte, N.C., and videotapes by Jim White and photographs by Lau of a 1995 Cambodian wedding in Greensboro, N.C. Lau also interviewed two Cambodian dancers, Chea Khan and Chaa Moly Sam, while they were in residence at the Greensboro Buddhist Center and photographed their classes. The majority of photographs and interviews have extensive logs with commentary and field note summaries by Lau. Additions to the collection include interviews and supporting documentation created by Lau in preparation for a 2003 exhibit at the Greensboro Historical Museum entitled From Cambodia to Greensboro: Tracing the Journeys of New North Carolinians; a children's book with text, 2004, by Barbara Lau and photographs by Cedric Chatterley entitled Sokita Celebrates the New Year; and additional audio and video recordings, photographs, and research materials, 1996-2006, related to Barbara Lau's fieldwork documenting Cambodian American communities of Greensboro, N.C. and Charlotte, N.C.

Photographs, color slides, audio and video recordings, and documentary project files comprise the bulk of the Lau and Chatterley Collection. Barbara A. Lau (1958-), a white documentarian and folklorist, and Cedric Chatterley (1956-), a white photographer, collaborated during the 1990s and early 2000s on exhibits, workshops, and publications about communities of Cambodian and Montagnard Dega refugees and immigrants in Greensboro, N.C. Audio and video recordings contain oral history interviews, Buddhist sermons and chanting, Khmer music and dance, and traditional ceremonies and celebrations including the Cambodian new year. Photographic materials depict members of the Greensboro communities, the Buddhist temples, and events such as the Khmer Traditional Dance and Music Workshop. Projects represented in the collection include "From Cambodia to Greensboro: Tracing the Journeys of New North Carolinians," "The Original Children of Dega: Legends of the Montagnard-Dega People Remembered by the Refugee Communities of North Carolina," and "The Third Boat: Negotiating Cambodian Identity in North Carolina." Project files contain proposals, grant applications, budgets, research materials, field work, and transcriptions of oral history interviews.

The recordings on open-reel audio tape contain performances by the all-female string band the Coon Creek Girls led by claw hammer banjo player and fiddler Lily May Ledford of Powell County, Ky., solo performances by Ledford, and interviews with Ledford and other musicians. One performance by the Coon Creek Girls was originally recorded at the White House in Washington, D.C., in 1939. Also included are brief notes about each tape made by Ledford's granddaughter, Cari Norris of Hindman, Ky., who donated the tapes. Acquired as part of the Southern Folklife Collection.

Audio recordings on open-reel audio tape and 8-track tape contain live performances from the early 1970s of Steve Ledford and Roan Mountain, undated home recordings of A.W. Ledford, and country, old time, and gospel music dubbed from 78 rpm records. Musical artists on the recordings include the Skillet Lickers, The Carter Family, James Gardner, Steve Ledford and the Carolina Ramblers, George Jones, and Roy Acuff. Field notes accompanying the recordings include track lists. Acquired as part of the Southern Folklife Collection.

Materials, primarily 1890-1953 and centering around the life and career of white country musician William Ledgerwood, include Ledgerwood family genealogical records and photographs; business correspondence and publicity clippings related to Ledgerwood's Tennessee Fiddlers; and sound recordings, chiefly of country music. Photographs are largely from William Ledgerwood's childhood and youth in Grainger County, Tenn., and Rutledge, Tenn. Also included are photographs of the original Ledgerwood's Tennessee Fiddlers in Warren, Ohio. Band business and publicity materials include correspondence and clippings from newspapers either reviewing or advertising the band's appearances. Sound recordings are primarily home-recorded acetate discs and reel-to-reel tapes, some recorded after the band had stopped performing publicly. The recordings preserve a wide array of traditional country songs performed mainly by members of Ledgerwood's Tennessee Fiddlers. Included are recordings of William Ledgerwood, Gladys Ledgerwood, and Fred Ledgerwood, as well as other musicians who worked with the band, including Mack McGraw. Also included are three cassette recordings of interviews with Leland Ledgerwood.

Contains materials collected by white writer, entrepreneur, and business consultant Lester J. Levine. Materials include concert and festival ephemera, Newport Folk Festival photographs, photographs and newspaper clippings documenting events in Chapel Hill, N.C., and a memorial service program and newspaper documenting the assassination of Dr. Martin Luther King, Jr. Concert and festival ephemera includes three concert ticket stubs: Newport Folk Festival in Newport, R.I., 26 July 1964; Joan Baez at Wait Chapel in Winston-Salem, N.C., 12 March 1965; and Joan Baez and Bob Dylan at Reynolds Coliseum in Raleigh, N.C., 19 March 1965. Also includes a flyer for Joan Baez and Bob Dylan In Concert, 19 March 1965; an autographed festival program for the 1965 Newport Folk Festival; a reprint of "The Folk Scene" issue of Cavalier, July 1965; a program for the American Folk Festival at the Asheville Auditorium, Asheville, N.C., 25 June 1963; a concert program for "Where Have All the Flowers Gone: A Celebration of Songwriting and Singing," presented by WHYY-FM and Sing Out!, featuring Pete Seeger, Tom Paxton, Ronnie Gilbert, Fred Hellerman and others, 22 May 1994; and a program for the 1970 Jubilee Music Festival at the University of North Carolina at Chapel Hill, as well as photographs taken at the 1965 Newport Folk Festival workshops. Individuals photographed include musicians Bob Dylan, Joan Baez, Donovan, Ian and Sylvia Tyson, and Theodore Bikel. There are also 24 photographs, circa 1966, taken in Chapel Hill, N.C., including images of a "Beat Duke" parade, an art festival, the Jubilee music festival, and the "Silent Sam" Confederate statue. Newspaper clippings document an outdoor fire sale at the Chapel Hill record store Kemp's and a clipping from the Newport Daily News relating to the Newport Folk Festival, 1964. There is also an issue of the Daily Tar Heel about the assassination of Martin Luther King, Jr. with the headline "KING KILLED," 5 April 1968, as well as a Martin Luther King, Jr. memorial service program, 7 April 1968. The memorial service was organized by the Ministerial Alliance for the Chapel Hill Community, 7 April 1968. Materials range in date from 1964 to 1994, with most materials dating from 1964 to 1970.

The personal collection of Laurie Lewis, a white bluegrass singer, songwriter, fiddler, bandleader, producer and record label owner, and Tom Rozum, a white bluegrass musician. Materials document Laurie Lewis and Tom Rozum's music career and published recordings, both as solo artists and as collaborators, including Laurie Lewis & Tom Rozum and the Grant Street Band. The collection consists of audiovisual materials, photographic materials, computer discs, correspondence, promotional materials, festival files, scrapbooks, and ephemera. Topics represented include folk music, bluegrass music, country music, women in bluegrass, songwriting, and the American folk music revival.

Ron Liberti (1967-) is a white musician and artist originally from Passaic, N.J., but a resident of Orange County, North Carolina since 1991. The collection contains posters and audio recordings that document Ron Liberti's involvement in the Chapel Hill, N.C., independent music scene. Poster art constitutes the bulk of the collection. The posters are primarily announcements of concerts in the Chapel Hill area, many of them commissioned by Cat's Cradle, a local music venue, but there are also posters relating to film festivals, art openings, album releases, and tours. Among the artists and events featured on the posters are the Buzzcocks, Evil Wiener with Billy Sugarfix, Half Japanese, the Hi Mom! Film Festival, Tift Merritt, Portastatic, Sebadoh, Sleazefest, Southern Culture on the Skids, and Zen Frisbee. Audio recordings include rock music recordings by bands in which Liberti played, among them Pipe and the Ghost of Rock. There are also recordings from Liberti and Groves Willer's local alternative music imprint, Hypno-Vista Records, founded in 2002. These include some by Cantwell Gomez & Jordan, Mind Sirens, and Work Clothes.

The undated recording on audio cassette tape contains banjo music performed by Andy Light of Falkville, Ala., and an undated letter circa 1997 from Light to folklorist and former head of the Southern Folklife Collection, Michael Taft. In the letter, Light describes himself as a "tee totaler straight edge and vegetarian" and explains his associations with each song on the recording and where and how he learned "frailing" "drop thumb" and "old time 3 finger style." Acquired as part of the Southern Folklife Collection.

Audio recordings of bluegrass, old-time string band, and early country music from Virginia and North Carolina, particularly folk music in the Galax tradition. Most of the recordings feature B. C. Goad, a white autoharpist who was a member of the string band, Feed Room Five, and James Lindsey, a white musician and the founder, leader, and manager of the bluegrass band, Mountain Ramblers. Dana Lindsey Higgins and Larry Lindsey, white musicians who performed with Mountain Ramblers, compiled the recordings, which consist mostly of musical performances, dubs of 78s and radio programs, interviews, square dances and hoedowns, and live recordings from fiddlers conventions across Virginia and North Carolina, including Fries Fiddlers' Convention, Galax Old Fiddlers' Convention, Independence Fiddlers' Convention, and Union Grove Old Time Fiddlers Convention. The collection also includes practice tapes of Otis Burris, a white old-time fiddler who played with Mountain Ramblers from 1962 to 1968; master recordings of the Virginia based string band, Feed Room Five; and scattered supporting documentation, such as track listings and notes, found with the recordings.

The 1976 interview recorded on audio cassette tape is with a person identified only as Rev. Bangley, who may be Bernard K. Bangley (b. 1935), a Presbyterian minister living in Virginia in the 1970s. Margaret Lippard, then a student at the University of North Carolina, conducted the interview with Rev. Bangley in his workshop near Roanoke, Va. The focus of the interview was Bangley's construction of musical instruments, particularly the Appalachian dulcimer. No additional information about Bangley or Lippard was provided with the recording. Acquired as part of the Southern Folklife Collection.

Art and architectural historian M. Ruth Little (1946-) of Raleigh, N.C., was the principal investigator on the NEH-funded North Carolina Cemetery as Cultural Artifact Project, 1981-1982, directed by Terry Zug of the Curriculum in Folklore at the University of North Carolina at Chapel Hill. The Project supported Little's 1984 doctoral dissertation, later published as Sticks and Stones: Three Centuries of North Carolina Gravemarkers (UNC Press, 1998). The collection includes survey information, photographs, and other materials relating to the Project, which focused on photographic documentation, recording, and cataloging of cemeteries in three North Carolina counties: Cumberland, Davidson, and New Hanover. Other counties were added for comparison. Intended to link demographic and cultural traits with regional practices, one of the Project's primary focus points was to identify gravemarker artisans and carvers throughout the region and to trace their movements within, and influences over, the carving tradition. Included are master cards with cemetery survey information and topographical maps used in the research and identification process. Photographic materials include black and white prints, negatives, and color slides, many of which are of cemeteries or gravemarkers. Also included are research notes; keysort cards; grant materials; audiotapes of an interview with gravestone carver J. Thomas McLean of Lincolnton, N.C.; and other items.

Audio recording of an interview with Capt. Alvin Willis (ca. 1899-1975), a white fisherman from Morehead City, Carteret County, N.C., about his life as a fisherman. Recorded by Walker A. Long, a white University of North Carolina at Chapel Hill student and personal acquaintance of Willis, in March 1972 at Willis' home. The collection also contains supporting documentation consisting of a collection cover prepared by former library staff.

Eleanor R. Long-Wilgus, a white folklorist, was born in 1923 in Seattle, Wash. She received her Ph.D. in English Literature and Folklore from the University of California at Los Angeles in 1968. Long-Wilgus moved to Chapel Hill, N.C., in 1993 shortly after the death of her husband, D. K. Wilgus, folklorist and professor of English and Anglo-American Folksong in the Department of Folklore and Mythology at UCLA. In Chapel Hill, she became an active member of the local folklore community and established the D. K. Wilgus Fellowship in Comparative Ballad and Folksong Study in the Curriculum in Folklore at the University of North Carolina at Chapel Hill. Long-Wilgus died in May 2005 in Chapel Hill. The collection includes materials relating to Eleanor R. Long-Wilgus's research in British and Irish folklore. Among the materials are some relating to her teaching and lecturing on British and Irish folklore and several drawings and slides of historic sites in the United Kingdom and Ireland. There are also a few items relating to a tribute to North Carolina conservationist Margaret Nygard.

Jason Lonon is a graphic artist and musician who grew up near Los Angeles, Calif., before moving with his family to Burlington, N.C., in 1989. After four years and two combat deployments with the United States Marines, Lonon attended the School of Communication Arts in Raleigh, N.C., graduating with a technical degree in 3D modeling and animation. In 2002 he helped form the Greensboro, N.C., based rockabilly band The Tremors. In 2005, Lonon founded Death-Ray Design, a graphic design company through which he publishes posters, clothing, and other promotional printed items.

The Kip Lornell Collection consists of audio recordings, 1932-1976, created and compiled by Christopher Kip Lornell, a white ethnomusicologist, while he was a graduate student of folklore at the University of North Carolina at Chapel Hill. The recordings are primarily field tapes featuring performances and interviews with African American blues and pre-blues secular musicians from North Carolina. Performers featured on the field recordings include Jamie Alston, Wilbert Atwater, Pernell Charity, George Letlow, Arthur Lyons, Lesley Riddle, Dink Roberts, John Snipes, Leo Strowd, Joe Thompson (1918- ), Odell Thompson (1911- ), Willy Trice (1910-1976), and Clarence Tross (1884-1977). Music performed includes blues, old-time songs and tunes, boogie-woogie, and gospel songs, played on banjo, guitar, and piano. Also included in the collection is an interview with Guy B. Johnson, a white social science researcher and member of the University of North Carolina faculty who studied African American musical traditions; interviews with the Chapel Hillbillies, an African American string band in the 1920s and 1930s; a lecture on folk medicine by Wilbert C. Jordan, medical doctor and sixth generation voodoo priest; a re-recording of Primitive Baptist singing by Elder Golden Harris and others, ca. 1932; and performances by Virgil Craven (1902-1980), a white fiddler and hammered dulcimer player.

John D. Loudermilk started his music career in his native North Carolina under the pseudonym Johnny Dee. After reassuming his birth name and moving to Nashville, Tenn., his commercial success as a songwriter for Acuff-Rose Publications earned him a spot in the Nashville Songwriters Association International's Hall of Fame. In addition to maintaining his songwriting career, Loudermilk also actively supported folk and country music through his participation in folk festivals, his involvement with the Southern Folk Cultural Revival Project, and his role as producer of a 1980 album by Chet Atkins and Doc Watson.

Collection of historian and documentary film producer Malinda Maynor Lowery, a member of the Lumbee Tribe of North Carolina. Malinda Maynor Lowery has focused much of her academic and filmmaking career on questions pertaining to Native culture, identity, and migration. The collection contains papers, ephemera, photographs, and audiovisual materials related to some of Lowery's documentary film projects on these subjects, including work completed while she was a student at Harvard University and Stanford University, as well as the films Real Indian (1996), Sounds of Faith (1997), and In the Light of Reverence (2001). Papers include tape logs, release forms, transcripts, press kits, and other materials related to the production and distribution of select documentary projects by Lowery. Audiovisual materials, which make up the bulk of the collection, consist mostly of production elements of Real Indian (1996), Sounds of Faith (1997), and various student projects by Lowery, including original picture and sound elements, workprints, edited masters, and video viewing copies. The collection also contains photographs and audio recordings related to Malinda Maynor Lowery's husband, Willie French Lowery (1944-2012), a Lumbee musician and activist from Robeson County, N.C.

The Peter B. Lowry Collection consists of field recordings, studio recordings, interviews, and related materials compiled by folklorist, record producer, and ethnomusicologist, Peter B. Lowry. The original deposit consists of field recordings, 1972, of a medicine show at the Chatham County Fair in Pittsboro, N.C. on 16 September 1972. These sound recordings feature Peg Leg Sam, born Arthur Jackson, an African American harmonica player, singer, and comedian from Jonesville, S.C., and Chief Thundercloud, born Leo Kahdot, a Native American medicine show pitch man from Oklahoma. The Addition of 2016 consists of field recordings, studio recordings, and interviews that primarily feature Piedmont blues from North Carolina and the southeastern United States. Notable blues musicians featured on the recordings include Pink Anderson, Floyd "Dipper" Council, Honeyboy Edwards, Arthur Jackson, Homesick James, Eddie Kirkland, Robert Jr. Lockwood, Dink Roberts, Guitar Shorty, Richard Trice, and Willie Trice. The Addition of 2016 also contains documentation found with select recordings, including inventories, tape logs, track listings, and memos. The Additions of 2017 consist of sound recordings and documentation related to the British record label, Flyright Records, as well as documentation related to the independent record label, Trix Records, which Lowry founded in 1971.

The 1951 recording on open-reel audiotape was made by Ben Lumpkin Gray (1901-1982), an English professor at the University of Colorado and a collector of folk songs. The recording contains two ballads, "Mary Hebrew" ("The Wife of Usher's Well") and "Sonny Hugh" ("Sir Hugh or the Jew's Daughter"), sung by Mrs. Pearl Hartzell. Acquired as part of the Southern Folklife Collection.

The Bascom Lamar Lunsford Family Collection consists of studio and field recordings, 1935-1972, created or compiled by Bascom Lamar Lunsford (1882-1973), a white North Carolina lawyer, folklorist, performer and festival promoter, and his daughter, Kern Lunsford. The majority of these tapes are part of Bascom Lamar Lunsford's personal memory collection of folks songs, which he made in collaboration with Columbia University in 1935. With the help of George W. Hibbett, a professor in the English Department at Columbia, and recording engineer, Walter C. Garwick, Lunsford recorded more than three hundred mountain songs, folk ballads, folk readings, poetry, spirituals, and folk games that he had personally collected over several decades in the mountains of southern Appalachia. On the recordings Lunsford sings, plays fiddle, banjo, and guitar, recites poetry, tells jokes and stories, reads sermons and speeches, and gives detailed background information for each recorded track. The Bascom Lamar Lunsford Family Collection also includes recordings, circa 1970-1972, compiled by Lunsford's daughter, Kern Lunsford. These recordings include dubs of previous recordings as well as field recordings of North Carolina based gospel singers and country-western singers, including recordings of Reverend W. S. Woody (b. 1885), a white old-time Baptist preacher from Spruce Pine, N.C., singing sacred songs, and recordings of Mr. and Mrs. Calvin Boone and Evelyn Boone of Green Mountain, N.C., singing country-western and gospel songs both a cappella and with guitar accompaniment from song sheets.

Audio recordings containing dubs of Irish dance music originally released on 78 rpm records from the 1920s until the 1940s, as well as dubs made in the 1970s of Irish American musicians from Chicago, Ill. Instruments played on the recordings include uilleann pipes, fiddle, flute, piano, recorder, and viola. Tune types represented are jigs, reels, hornpipes, waltzes, set dances, and airs. John Maguire (1902-1976), an Irish music collector, singer, storyteller, and farmer from Rosslea, County Fermanagh, Ireland, compiled the recordings from his personal collection and donated them to the Southern Folklife Collection. Of particular note is a complete set of the recordings of Michael Coleman (1889-1945), an Irish American fiddler originally from Ballymote, County Sligo, Ireland, and recordings of Eleanor Kane Neary, an Irish American pianist from Chicago, Ill. Other Irish and Irish American musicians who appear on the recordings include Patsy Touhey, Michael Gallagher, Joseph Gallager, John McKenna, Leo Rowsome, James Morrison, Mrs P. Scully, Patsy Cawley, Michael Carney, and Angus Chisolm. The collection also contains supporting documentation, including a handwritten letter from John Maguire to Daniel W. Patterson, as well as a field collection cover sheet and tape logs prepared by John Maguire and former library staff.

The Bill C. Malone Collection documents the culture, history, and performers of country music, folk, bluegrass, gospel, and other related music genres and topics. Materials include audio and video recordings compiled by Bill C. Malone, a white historian of country music; newspaper clippings, articles from scholarly, trade, and popular publications, Malone's notes, and photographs. Audio recordings consists of interviews with Bill C. Malone, public and class lectures given by Malone, research materials compiled by Malone, and episodes of Malone's weekly radio program, Back to the Country.

The Bill Mansfield Collection consists of audio and video recordings created by the North Carolina based folklorist and musician, Bill Mansfield. The majority of the collection consists of 11 field recordings, 1990-1992, that Mansfield conducted for his master's thesis on North Carolina based tobacco auctioneers, while studying folklore at the University of North Carolina at Chapel Hill. These field recordings feature auctioneers, tobacco graders, farmers, buyers, and warehouse employees speaking in various industrial environments. The collection also includes 1 video recording, 1988, featuring a community-based music party that includes footage of clogging and in-context rabbit dancing.

The collection assembled by rockabilly musician Larry Manuel contains three typescripts and sixteen captioned photographs pertaining to his father and hillbilly musician Joe Manuel (1912-1959) and the elder Manuel's stage act and radio show called Saturday Night Jamboree. The Jamboree ran from 1953 to 1954 in Memphis, Tenn. Typescripts are a profile of Joe Manuel's music career, copy of a letter Larry wrote about the Memphis music scene of the 1950s, and a description of the Saturday Night Jamboree. Photographs are chiefly copies of promotional pictures for the radio show and include handwritten labels identifying the individuals and groups depicted.

The collection of ethnomusicologist and fiddler Erynn Marshall of Victoria, British Columbia contains a copy of her 2003 thesis titled "Music in the Air Somewhere: The Shifting Borders of West Virginia Fiddle and Song Traditions" and a cd with archival and field recordings of fiddlers in West Virginia. Marshall completed her master of arts degree in the Graduate Programme in Ethnomusicology and Musicology from York University in Ontario, Canada. Acquired as part of the Southern Folklife Collection.

The Susan Massengale Collection contains videotapes and paper documentation from documentary film productions affiliated with Susan Massengale, who produced and directed documentaries on North Carolina subjects for the University of North Carolina Center for Public Television from 1980-1997. Film productions represented in the collection include Step It Up and Go: Blues in the Carolinas (1989), a documentary film that traces the development of blues music in the Carolinas; Boogie in Black and White (1988), a documentary film about the making of Pitch a Boogie Woogie, a film shot in Greenville, N.C. in 1947 with an all African American cast; an untitled production on Cherokee Indians and Joyce Dugan, who was elected Principal Chief of the Eastern Band of Cherokee Indians in 1995; and an untitled production on Black Mountain College, an experimental arts college that was active in western North Carolina from 1933-1957.

The David Massengill Collection consists of audiovisual materials and papers created and compiled by white American folk singer-songwriter, David Massengill. Audiovisual materials consist primarily of sound recordings of studio masters and live performances by Massengill, including masters for the releases Coming Up For Air (1992) and The Return (1995). Papers consist of original manuscripts, promotional headshots of Massengill, and handmade flyers, cards, and books by Massengill.

Stephen Matchak was a professor of geography at Salem State College in Salem, Mass. Matchak received his M.A. in 1978 from the Curriculum in Folklore at the University of North Carolina at Chapel Hill, where he wrote his thesis, The Wildfowl Decoy in North Carolina and Back Bay, Virginia. Matchak also published a related article in Arts in Earnest: North Carolina Folklife in 1989. He went on to receive his Ph.D. in 1982 from the Department of Geography at the University of North Carolina at Chapel Hill, where he completed his dissertation Folk Houses of the Northeast.

McCabe's Guitar Shop is a musical instrument store and live music venue in Santa Monica, Calif. The McCabe's Guitar Shop Collection consists primarily of audio recordings, 1967-2008, of live concerts at McCabe's Guitar Shop, including performances by Elizabeth Cotten, Ramblin' Jack Elliott, John Fahey, John Hammond, Bill Monroe, Odetta, Jean Ritchie, Mike Seeger, Ralph Stanley, Merle Travis, Dave Van Ronk, Townes Van Zandt, Doc Watson, Merle Watson, and Kate Wolf, among others. The collection also contains video recordings, including a live performance, 1980, by John McEuen at McCabe's and a video interview, circa 1984, featuring Elizabeth Cotten and her family members. Other materials in the collection include discontinuous newsletter and concert calendars, 1976-2013, created by McCabe's to promote the store's concert series, products, and classes, as well as a newspaper clipping, 1984, and correspondence, circa 1980.

The Henry McCarthy Collection consists of audio recordings, videos, and other materials created and compiled by Henry McCarthy, a poet and radio host. The majority of the collection is comprised of audio recordings, 2009-2015, of the radio program Poets and Writers. Hosted by McCarthy and broadcast by National Public Radio (NPR) affiliate WEHC at Emory and Henry College, Poets and Writers concentrates on the philosophy of poets and writers and primarily features interviews, poems, and songs of artists from Virginia, North Carolina, and the surrounding regions. Interviewees on the program include authors, poets, musicians, actors, academics, and folklorists, among others. Noted guests include Roseanne Cash, Pat Conroy, Lee Smith, William Ferris, and Dale Carter Jett. The collection also contains field notes and ephemera, 2014, affiliated with Poets and Writers, along with miscellaneous videos, 1995-2007, papers, 1975-2015, digital ink-based photographs, 1953-2010, and posters, circa 1988-2014.

The collection of white folklorist, ethnomusicologist, and book editor Judith McCulloh (1935-2014) contains correspondence, printed items, research files, a book manuscript, writings by McCulloh and others including folklorist D.K. Wilgus (1918-1989), draft television scripts, and lyric sheets and sheet music for ballads and spirituals. The majority of the correspondence is with folklorists and authors and pertains to McCulloh's editorial work at the University of Illinois Press and to her graduate studies in folklore at Indiana University. Printed items include newspaper clippings; newsletters from organizations such as the American Old Time Fiddlers Association; promotional materials for books, especially Stars of Country Music: Uncle Dave Macon to Johnny Rodriguez; reprints of scholarly articles about folk, country, bluegrass, blues, and popular music; flyers promoting music events at the Ash Grove, a night club in Los Angeles, Calif., and items about the Campus Folksong Club at the University of Illinois at Urbana-Champaign. Research materials are related to McCulloh's 1970 Ph.D. dissertation titled "In the Pines": The Melodic-Textual Identity of an American Lyric Folksong Cluster. The book manuscript "Music from the Catskills The Camp Woodland Collection" was edited by composers Norman Cazden, Norman Studer, and Herbert Haufrecht and published in 1982 as Folk Songs of the Catskills. The drafts of television scripts are for the series "America's Appalachia" produced by WSWP-TV, a public radio and television station broadcasting in West Virginia.

Contains the personal collection of John McCutcheon, a white folk musician, singer-songwriter, storyteller, activist and author. Materials include scores and sheet music, tour passes, project files, original song lyric drafts, album and tour t-shirts, published book projects, promotional materials, photographs, and audiovisual materials. Audiovisual materials include live recordings of McCutcheon's "Signs of the Times" tour with Si Kahn, as well as other performances by McCutcheon and other musicians, such as Currence and Minnie Hammonds, Bill Fell, Paul Van Arsdale, Albert Hash, Blackie Cool, Lee Sexton, Janette Carter, Cas Wallin, J. R. "Peanut" Cantrell, I. D. Stamper, Luke Smathers, and others.

Born in Kamloops, British Columbia, Canada, in 1943, Elizabeth Drake McDonald grew up in British Columbia's southern interior and taught school on the north coast. The collection centers around Elizabeth Drake McDonald's in-depth study and compilation of the lyrics of songwriter and musician Bob Nolan, who is best known for his work with the singing cowboy group, the Sons of the Pioneers. He penned many trademark songs of the cowboy song genre, including Tumbling Tumbleweeds, Cool Water, and Way Out There. McDonald has transcribed nearly 200 of Nolan's songs into a self-published book, Lyrics: The Song Poems of Bob Nolan. Paul Lawrence Hopper worked with McDonald on the project, writing annotations to Nolan's song lyrics. Hopper also self-published a companion volume, Bob Nolan: A Biographical Guide and Annotations to the Lyric Archive, which contains transcription recording information and a filmography for the Sons of the Pioneers and is included in the collection. Also included is material McDonald gathered during conversations with Nolan's daughter, Roberta Nolan Mileusnich, and his grandson, Calin Coburn. Mileusnich provided McDonald with lyrics from unreleased recordings, which are compiled in Bob Nolan, Volume Two: The Last Song Poems. Calin Coburn donated 274 high-quality scans of documents, letters, manuscripts, and photographs from the Nolan family album, along with a CD-R of the images in electronic format. Printed versions of these are included in the collection as are McDonald's annotations of these materials. Also included are copies of Nolan's song lead sheets, sheet music, lyric sheets from Brigham Young University, and audio recordings of Bob Nolan compiled by McDonald. The Addition of October 2017 contains materials relating to the singer, songwriter, and painter, Robert Wagoner, who was a close personal and professional associate of members of the Sons of the Pioneers.

The collection of white public health professional and ethnographer Mary Anne McDonald consists mostly of oral history interviews, 1982-1984, and documentation related to McDonald's masters folklore thesis on African American quilters in Chatham County, N.C. Interviewees featured on the audio recordings include Jennie Burnett, Bessie Lee, Laura Lee, Lilli Lee, Thelma Horton, and Mollie Rogers, all of Chatham County. Related documentation consists of interview transcriptions, narrative field notes by McDonald, correspondence with interviewees, newspaper clippings, funeral programs, scattered photographic prints, and other printed materials. The collection also contains additional audio recordings of Christian church services, concerts, and broadcasts compiled by McDonald, including field recordings, 1984-1987, of church concerts and services at Russell Chapel AME Zion Church and Hamlet Chapel Christian Methodist Episcopal Church in Pittsboro, N.C., as well as field recordings and radio broadcasts of church services and sermons by New Jersey based reverends. Related documentation for these recordings are also included.

The Jim McGee Collection consists of audiovisual materials, photographs, and printed materials compiled by traditional musician and folklorist, Jim McGee. The collection consists mostly of audio and video recordings of live performances, interviews with folk and old-time musicians, Primitive Baptist field recordings, and materials related to Jim McGee's documentary film, Coal Camp Blues, Coalfield Struggle (2003), about folk musician and activist, Carl Rutherford, of McDowell County, W.Va. The collection also contains photographs of Carl Rutherford and other musicians, as well as scattered printed materials on Carl Rutherford and Jim McGee.

The collection of white musician, songwriter, and producer Roger McGuinn contains an oral history interview with McGuinn conducted in 2000 by John Covach, Paul Jones, and Steve Weiss and a 1999 compilation of folk songs recorded for McGuinn's website Folk Den. Acquired as part of the Southern Folklife Collection.

Digital photographs taken by Hillsborough, N.C., photographer James P. McKelvey at a concert by Geoff Muldaur and Jim Kweskin on 2 October 2013 at the Arts Center, Carrboro, N.C., and at a concert by Bruce Cockburn on 10 September 2011 at the Cat's Cradle, Carrboro, N.C. There are also photographs from the International Bluegrass Music Association Wide Open Bluegrass Festival on 24-28 September 2013 in Raleigh, N.C.

The Bobby McMillon Collection consists mostly of audiovisual materials created or collected by Bobby McMillon, a white ballad singer, musician, and storyteller in the Appalachian tradition. As a performer, Bobby McMillon is best known for his ballad and story renditions about Frankie Silver, to whom he is distantly related. He has also collected interviews with and songs and stories from family members, neighbors, and friends since 1968. The collection includes audio and video recordings of performance, documentary audio recordings compiled by McMillon, and acetate discs of the 50th annual Hollow Springs Shape Note Singing Convention. The collection also contains paper materials, McMillon family photographs, and field notes, or supporting documentation, that correspond to the audiovisual materials found in the collection. Paper materials include the song folio, Cowboy Loye Presents 20 Famous Heart Songs, and photocopies of the handwritten text, "Ballads, Love Songs, Meeting House Songs, Verses and Others."

Interviews conducted in West Virginia in 1997 by Bryan T. McNeil for his honors essay In My Time: The Strike of 1949 in the Lives of the Coal Miners of Southern West Virginia (Department of Anthropology, University of North Carolina at Chapel Hill, 1998). The four interviewees are retired from the coal mining industry: Rufus Bethel is an African-American who worked as a coal miner; Roderick Pickett was a mine foreman; and Louis Vasvary and Fred Iddings are Anglo-American former coal miners. In the interviews, the participants discussed their lives, including their family history, their childhood, their experiences in the mines, and their thoughts on the United Mine Workers of America and on the mining industry in West Virginia. Special emphasis is placed on the period 1949-1950 with the men talking about the lifestyle during that time, their knowledge of negotiations during the 1949 strike, and their opinions relating to that event.

Videotapes created by Judith McWillie, a white artist, author, and professor emeritus of drawing and painting at the Lamar Dodd School of Art in Athens, Ga. The majority of the video recordings relate to southern vernacular art and southern artists in Athens, Ga., Memphis, Tenn., and throughout the South, including footage of artists Howard Finster, Lonnie Holley, Joni Mabe, J. B. Murray, and Art Rosenbaum. The collection also contains Judith McWillie's video field work conducted in Cuba, documentation of Baptist services in Athens, Ga., and footage related to the Athens, Ga. arts and culture scene.

Guthrie Gus Turner Meade, Jr., was a white computer programmer and systems analyst with a lifelong interest in folk music, especially traditional country music and Kentucky fiddlers. Meade avidly collected records and corresponded with record collectors, discographers, and music scholars around the world. He spent his summers recording and interviewing Kentucky fiddlers. In 1956, Meade began an annotated discography of early traditional country music. The discography includes some 14,500 recordings of 3,500 songs organized into four categories: ballads, religious songs, instrumentals, and novelty songs. He worked on this discography until his death in 1991.

David Menconi, a white professional music critic from San Antonio, Tex., began his career in 1985. He joined the News and Observer newspaper in Raleigh, N.C., in 1991, just as the area was being touted as an up-and-coming music scene. In 2000, Menconi published his first novel, Off the Record. The collection includes interview notes, correspondence, press releases, press packets, biographies, and videotapes, 1984-2017, relating to interviews Menconi conducted with alt-country, folk-rock, and rock and roll musicians from North Carolina and other parts of the South. Among those represented are Whiskeytown, Arrogance, the Backsliders, the Connells, Cracker, Mitch Easter, Chris Stamey, Peter Holsapple, Flat Duo Jets, Kevn Kinney, Tift Merritt, and Southern Culture on the Skids.

The collection of white writer and concert promoter Art Menius contains subject files, 1985-1995, related to Menius's work in country, folk, and bluegrass music. Included are promotional material from bands, articles written by Menius for various publications, flyers from music festivals, letters from professional organizations, clippings, business papers, and audiovisual materials compiled by Menius.

Merge Records was founded in Chapel Hill, N.C., in 1989, by Mac McCaughan and Laura Ballance, at the same time that McCaughan and Ballance founded local independent rock band Superchunk. The record label began as a way to release recordings by Superchunk and other indie rock bands in the early 1990s. Merge featured bands from the local Chapel Hill music scene and released recordings on 7" records and in audiocassette form. In 1992, Merge released its first full-length release. The label has continued to grow since then and includes a wide range of national and international artists on its roster.

Singer and songwriter Tift Merritt was born 8 January 1975 in Houston, Tex., and grew up in Raleigh, N.C. Merritt studied creative writing at the University of North Carolina at Chapel Hill, where she met drummer Zeke Hutchins and formed a band called the Carbines. Merritt became a popular figure in North Carolina's alternative-country music scene and signed a record contract with Lost Highway Records. As of January 2014, Merritt has released nine recordings, including collaborations with Two Dollar Pistols (1999) and classical pianist Simone Dinnerstein (2013).

Collection of photographer and cinematographer Rex Miller, focusing primarily on African American musicians, blues culture in the Mississippi Delta, and the conditions, culture, and lives of inmates and guards at Mississippi State Penitentiary. The materials relate to the creation of the documentary film I’m Walkin’: A Journey Through Parchman and the book and exhibit All the Blues Gone. Formats include: photographic materials (negatives, contact sheets, prints); audio (oral history interviews); video (production elements); papers (correspondence and writings by Parchman inmates, production files, transcripts, and notes), production files, transcripts, and notes. Born digital materials include hard drives and discs of production elements, including video, audio, and text.

The collection of folk revival musician and Appalachian dulcimer maker Howie Mitchell is comprised chiefly of letters he received in the early 1960s from traditional singer and banjo player Frank Proffitt. In his letters to Mitchell, Proffitt mentions family and friends, reading, playing music, musical instruments, folk music, folk songs, folk festivals, copyright, recording for Folkways, his tobacco crop, building a new house, and squirrel hunting. Also included in the collection are newspaper clippings, song lyrics, a letter to Mitchell from instrument maker Dennis Dorogi, guitar strings, and a 2002 note from Mitchell to folklorist and musician Mike Seeger about Proffitt's letters.

The collection contains commercial recordings of bluegrass and country music on audio cassette and non-commercial recordings of the musical group, the Blue Sky Boys, also on audio cassette. Other artists represented in the audio collection include Jim Nabors, "Little" Roy Wiggins, Debbie Bohanan, Ricky Scaggs, the Statler Brothers, Connie Francis, the Louvin Brothers, and Chet Atkins. Small printed informational booklets accompany some of the recordings. Also included in the collection are letters received by Mobley in the early 1990s from Bill Bolick of the Blue Sky Boys and a brief exchange of correspondence between Mobley and Sarah Ophelia Cannon popularly known as Minnie Pearl. Acquired as part of the Southern Folklife Collection.

The collection of folklorist and art professor A. Doyle Moore (1931-2013) contains materials Moore compiled in the course of his research on the autoharp, a musical instrument patented in 1882, and C. F. Zimmerman, a German immigrant and accordion maker who invented the autoharp and manufactured the instrument in Philadelphia, Pa., at the end of the nineteenth century. Materials include Moore's notes, Zimmerman's manuscript autobiography and a translated transcription, songbooks, sheet music, music charts, instructional manuals for the autoharp from the 1890s, manufacturers' catalogs and advertisements, newspaper clippings, articles, and printed items related to contemporary auto harpist John Kirby Snow.

Bill Morrissey (1951-2011) was a folk singer, songwriter, performer, and author born in Hartford, Conn., and based in Massachusetts and New Hampshire throughout most of his career (circa 1980-2011). He recorded more than ten albums, including North (1986) and Standing Eight (1989), and was nominated for a Grammy Award for his album Songs of Mississippi John Hurt (1999). He also wrote poetry and fiction, including the novel Edson (1996).

In 1991, David C. Morton, a white author, published DeFord Bailey: A Black Star in Early Country Music. Bailey (1899-1982) was a legendary African American harmonica player who performed on WSM's Grand Ole Opry, a weekly radio show broadcast from Nashville, Tenn. Bailey began his career soon after Nashville's WDAD radio station came on the air in 1925. He continued to play until 1941, becoming well known for his tune, Pan American Blues. The collection contains text and photographic documentation, sound recordings, and a videotape chiefly relating to Morton's work with DeFord Bailey. Documentation consists of correspondence concerning Morton's biography of DeFord Bailey and other matters relating to Bailey; newspaper and magazine clippings referring to Bailey's contributions to country music; calendars with photographs of Bailey; memorial information; a tributary brochure; publicity photographs and other images; and a poster for the segment on DeFord Bailey and the Grand Ole Opry that aired on 24 November 2000 as part of National Public Radio's Lost and Found Sound series. Sound recordings include reel-to-reel tapes and audiocassettes from interview sessions between David Morton and DeFord Bailey; they contain conversations and music recordings of Bailey on harmonica, guitar, and banjo. Also included are some recordings of performances by Bailey, recordings of National Public Radio programs related to Bailey, and interviews with other Grand Ole Opry employees. The videotapes are DeFord Bailey: A Legend Lost that was developed for Nashville Public Television, Inc., and Waiting in the Wings: African Americans in Country Music, produced by Henri Giles. There is also a 16mm film with sound of a DeFord Bailey performance. Other materials include Hohner advertising posters featuring Walter Horton, an African American harmonica player, and promotional photographs and a hand-held fan that depict white performers Sidney J. "Fiddlin' Sid" Harkreader and Jamup and Honey wearing blackface makeup.

Artus Monroe Moser (1894-1992), writer, educator, and historian, spent much of his life collecting ballads in and around his home in Western North Carolina in an effort to document the folk traditions of Appalachia. Moser wrote extensively about the folk songs, folklore, and history of Appalachia, and recorded numerous Appalachian performers onto acetate discs. In 1945, the Library of Congress provided Moser with the equipment to collect and record more material, which was later placed in the LC's Archive of American Folk Song. The Artus Moser collection includes biographical material relating to Artus Moser and his wife, Mabel Young Moser, and Moser's numerous writings on Appalachian folk song, folklore, history, and other subjects. Moser's writings on the life of novelist Thomas Wolfe and his biography of North Carolina potter Walter Benjamin Stephen are also included. Other materials are Moser's ballad collection, consisting of versions of over 200 traditional ballads and folk songs, as well as collected stories and reminiscences of Appalachian folklife. There are also family history materials and numerous photographs of Moser and his family, including Moser playing the part of Andrew Jackson in a 1950 performance of the outdoor drama Unto These Hills. The collection also contains numerous sound recordings and scattered moving images. Sound recordings consist of commercial 78rpm records and LPs Moser collected, as well as his own acetate disc and reel-to-reel recordings of traditional Appalachian performers, including Jean Ritchie, Bascom Lamar Lunsford, Marcus Martin, Maud Gentry Long, Samantha Bumgarner, George Pegram, Pleaz Mobley, Red Raper, and Virgil Sturgill. Other recordings include Waldensian singing, Western North Carolina Cherokee singer Will West Long, and shape note singers from Etowah, N.C.

The Joan Moser Collection consists of audiovisual materials and papers related to folk musician, music teacher, and historian, Joan Moser. The majority of the collection is made up of audio recordings compiled by Moser, including live recordings of folk festivals; interviews with folk musicians and folklorists, including her father, Artus Monroe Moser; class lectures by Joan Moser; and dubs of folk songs, ballads, and fiddle tunes collected by Joan Moser. Other audiovisual materials include a Super 8mm motion picture film of the 1970 Old Fiddlers' Convention in Galax, Va. and field notes found with select audio recordings. Collection papers include ballads, biographical materials, correspondence, dance instruction books, and writings by Joan Moser, among other materials.

Audio recording of the second annual Hollerin' Contest, Spivey's Corner, Sampson County, N.C., held 20 June 1970. It is unclear who created or donated this recording to the Southern Folklife Collection.

The collection of anthropologist Sharlotte Neely (1948-) contains recordings on open-reel audiotape of musical groups performing at the 1974 Trail of Tears Singing held by the Snowbird Cherokee Indian community in Graham, N.C. Cherokee groups from both North Carolina and Oklahoma featured at the Singing include Lossey Quartet, Snowbird Indian Quartet, Grand State Gospel Four, and the Littlerocks. The 1974 recordings contain interviews in the Cherokee language with Snowbird tribal council members Ned Long, Mose Waschacha, and Jim Jumper and with Gilliam Jackson, the first college graduate from Snowbird. Field notes with narrative description accompany the recordings. Also included are a 1973 recording of the Third Sunday Monthly Singing at Zion Hill Baptist Church in Graham County, N.C., and a 1971 recording of a Cherokee language lesson for children conducted by Goliath George. Acquired as part of the Southern Folklife Collection.

The Nancy Dols Collection consists of video recordings created by ethnomusicoligist and musician, Nancy Dols Neithammer. The recordings primarily feature old-time fiddlers Tommy Jarrell of Surry County, N.C. and Luther Davis of Grayson County, Va., including footage of Jarrell and others playing on and off stage at the 1982 Low Gap Fiddle Contest in Low Gap, N.C. and footage of Davis playing at his home outside of Galax, Va. Of particular note is the bowing lights video in which Jarrell plays in the dark with a light attached to his wrist to help illustrate his bowing technique.

Martha J. Nelson is a former graduate student in the Curriculum in Folklore at the University of North Carolina at Chapel Hill. From 1994 to 1995 she was staff folklorist at the Hiddenite Arts and Heritage Center in Hiddenite, N.C.

The New Light Gospel Music Store, owned by Roumel William Taylor, was located in Philadelphia, Pa., selling gospel music recordings and related items.

An audio interview with Mittie Agnew Barrier, a white quilter from Rowan County, N.C., who discusses wakes, black cats, and textiles used to cover coffins. Laurel Horton, a white folklorist and quilt researcher, and Joyce Joines Newman, a white artist and folklorist, conducted the interview circa 1975 when they were both students at the University of North Carolina at Chapel Hill. The collection also contains a note by folklorist Dan Patterson, who provides a brief description of the recording.

The collection contains four audio cassettes with an interview of Appalachian storyteller Ray Hicks. North Carolina outdoor writer T. Edward "Eddie" Nickens conducted the interview at Hicks's home in Beech Mountain, N.C., on 12 May 1989. In the interview, Hicks discusses growing up, living, and working as a farmer in Beech Mountain and explains how he became a storyteller. Hicks tells Nickens several Jack Tales including "Jack and the Beanstalk," "Lucky Jack and Unlucky Jack," and "The Cat and the Mouse." The collection also includes a partial transcription of the interview and field notes. Acquired as part of the Southern Folklife Collection.

The North Carolina Arts Council was created in 1964 by executive order of Governor Terry Stanford to strengthen North Carolina's creativity, invention, and prosperity. In 1967, the North Carolina Arts Council became a statutory state agency. It operates under the aegis of the North Carolina Department of Cultural Resources. The Council makes information, technical assistance, and over 1,000 grants a year available to non-profit organizations and artists in North Carolina. It also oversees the distribution of state and federal funds appropriated for support of the arts.

The North Carolina Folklife Institute Collection contains project files, administrative records, publications, and publicity materials for programs, events, and documentary works produced or supported by the North Carolina Folklife Institute, a nonprofit traditional arts organization in Durham, N.C. Projects and programs documented in the files include North Carolina Folklife Festival, Blacks 'n' Blues, Black Folk Heritage Tour, Blues to Bluegrass, Celebration!, Charlotte Country Music Story, Folk Music in the Schools, Cherokee Voices Festival, British American Festival, Sounds of the South conference and the establishment of the Southern Folklife Collection at the University of North Carolina at Chapel Hill, and the documentary films Free Show Tonite and From Our House to the White House: Square Dancing in Western North Carolina. Most projects were launched by the North Carolina Arts Council, a state agency, and supported by the Folklife Institute. Files contain correspondence, memorandum, planning documents, publicity materials, press releases, contracts, grant proposals and reports, budgets and other financial documents, participating artists' information, programs and schedules, posters, and newspaper clippings and magazine articles. Other events and organizations represented in the collection include the 1980 World's Fair in Knoxville, Tenn., and the American Dance Festival in Durham, N.C. The collection also contains some sheet music and a 1989 oral history interview on audiocassette tape with an accompanying tape log. The interview conducted by Leslie Williams is with Piedmont blues guitarist Etta Baker (1913-2006) of Caldwell County, N.C.

The North Carolina Folklife Media Project Collection contains radio programs and associated field recordings, 1982-1983, produced by the North Carolina Folklife Media Project, a National Endowment for the Arts funded media project directed by Cecelia (Cece) Conway, a white folklorist and professor at Appalachian State University. As project director, Conway headed the production of North Carolina Traditions, an 8-part radio series featuring North Carolina based musicians that aired on WUNC, the flagship National Public Radio station for the Research Triangle area of North Carolina. The collection contains master recordings, 1982-1983, of these radio programs produced by the grant funded project. The North Carolina Traditions radio programs feature such artists as Etta Baker, an African American Piedmont blues guitarist from Caldwell County, N.C.; Ike Rochelle, a traditional white fiddler, Worth Mason, a white singer and accordion player, and Otha Willard, a white fiddler, all from the coastal region of N.C.; Dorsey Dixon (1897-1968), a white singer and composer of textile and other songs from Richmond County; the Golden Echoes, an African American gospel quartet of Granville County; Big Boy Henry (1921- ), an African American blues guitarist and singer from Beaufort County, N.C.; Algia Mae Hinton, an African American blues singer and guitarist and buck dancer from Johnston County, N.C.; and John (Frail) Joines (1914- ), a white traditional storyteller from Brushy Mountain, Wilkes County. The collection also includes field recordings, 1983, of Algia Mae Hinton that were used as source material for the North Carolina Traditions radio program, " Algia Mae Hinton: Blues Woman of Zebulon".

The North Carolina Pottery Center Collection of Oral Histories consists of audio interviews conducted by the North Carolina Pottery Center with North Carolina based potters. The interviews were part of the center's "Living Tradition" oral history project, which was funded by the Institute of Museum and Library Sciences (IMLS).

The North Carolina Symphony was formed in 1932 under the direction of Pulitzer Traveling Fellow, Lamar Stringfield. The Symphony was a Works Progress Administration project in the 1930s; in the 1940s, it was the first orchestra to receive state funding on a continuous basis. Benjamin Swalin and Maxine Swalin led the Symphony from 1939 to 1972. They promoted the idea of taking the orchestra out to all parts of the state, a tradition that began in 1943 when the North Carolina State Legislature passed what was referred to as the Horn Tootin' Bill. As of 2009, the Symphony plays over 175 concerts in 30 to 40 counties in North Carolina per year.

The North Carolina Department of Cultural Resources is the state agency responsible for arts, history, and library programs; among its divisions is the State Library of North Carolina.

The Bill Nowlin Photographs consists chiefly of images taken by the white co-founder of Rounder Records, Bill Nowlin, depicting folk singers and musicians at folk festivals, fiddling contests, and other performances, circa 1967-1975. Events depicted in the collection include, Northeast Oldtime Fiddlers Contest, National Hollerin' Contest, Smithsonian Folk Festival, UC Folk Festival, Union Grove Old Time Fiddlers Contest, and other events. Also included are images of the Rounder Records offices in Cambridge, Mass., as well as earlier photographic prints collected by Nowlin that depict musicians Clayton McMichen and Riley Puckett.

The collection contains recordings made on audio cassette tape by folklorist, radio producer and broadcaster, and bluegrass musician Philip Nusbaum. The recordings of Nusbaum's projects and radio shows include gospel music artist Lessie Anderson, fiddle contests, and modules from his "Gems of Bluegrass" series. Modules focus on specific elements of bluegrass music and feature music segments and commentary. Titles on the recordings are "Symbols of Stability in Bluegrass," "Bluegrass Banjo Styles," "Melodic Bluegrass Banjo," "The Bluegrass Boy in Town," and "The Culture of Bluegrass." Acquired as part of the Southern Folklife Collection.

Promotional materials relating to the motion picture film O Brother, Where Art Thou?, including lobby cards, photographs, poster, and production notes.

The 1990 video tape recording on VHS contains performances of the Saint Luke AME Zion Church choir in Wilmington, N.C., with its director Beryl Constance O'Dell. Acquired as part of the Southern Folklife Collection.

The Mark J. O'Donnell Collection consists of live audio recordings, publicity, set lists, posters, and other materials compiled by white collector, Mark J. O' Donnell, who recorded and collected live audio recordings of bluegrass, blues, folk, jazz, and rock music in North Carolina and elsewhere. Materials relate to concerts and festivals at North Carolina area venues, including Cat's Cradle, ArtsCenter, Festival for the Eno, and MerleFest, as well as some national venues and radio programs, including McCabe's Guitar Shop in Santa Monica, Calif. and the Los Angeles based syndicated radio program, Folkscene. Some items are signed by performers.

A twenty-year editor for Guitar Player magazine, Jas Obrecht has been writing about music since the mid-1970s. The Jas Obrecht Collection consists of audio interview recordings, 1978-2012, that Obrecht conducted with prominent guitarists and musicians throughout his career as a music journalist; manuscript versions of Obrecht's books, My Son Jimi, Talking Guitar, and Early Blues: The First Stars of Blues Guitar; original articles by Obrecht in Victrola and 78 Quarterly and reprinted articles in Japanese, Spanish, and Portuguese issues of Guitar Player and in other German and Italian magazines; celebrity correspondence and memorabilia; materials affiliated with the musician, Brian Patrick Carroll, who is known professionally as Buckethead; demo tapes and mixes; and other writings and papers.

The collection contains the administrative records of The Old-Time Herald magazine founded by folklorist and traditional music performer Alice Gerrard, based in Durham, N.C., and published by the Old Time Music Group of Galax, Va. Records include a prospectus for the magazine, galley proofs, camera ready art and copy, authors' manuscript submissions, correspondence, minutes and audio recordings of board meetings, reports, subscriptions, and financial documents such as receipts from vendors and donors. The majority of the correspondence was received by Alice Gerrard, who served as the magazine's first editor. Other materials are publications including other magazines about folk music and organizational newsletters, files about other organizations with which Gerrard and the Old Time Herald were connected particularly the Old Time Music Group, the Southern Folk Cultural Revival Project, and the Blue Ridge Music Association. Additionally, the collection contains some of Gerrard's writings, research files, and field work including transcriptions of interviews with musicians Elizabeth "Libba" Cotten, Tommy Jarrell, and Luther Davis. Acquired as part of the Southern Folklife Collection.

Steve Oliva grew up in Asheville, N.C., and Cape May, N.J. He studied English at the University of North Carolina at Chapel Hill and graduated in 2007. He works as a designer, illustrator, printmaker, and musician in Durham, N.C.

Opelika Pictures is a film company founded by New York-based filmmaker Macky Alston (Wallace McPherson Alston III). Alston directed the documentary film, Family Name, which examines the links between himself and the descendants of former slaves in North Carolina who share the Alston name. The collection is composed of research and genealogy notes, audio and video tapes, film, record albums, publications, photographs, business and personal correspondence, and clippings associated with the making of Family Name. Included are photographs of the work of artist Charles Henry Alston and interviews with his sisters and others who knew him. There are also photographs and taped interviews with Macky Alston and members of his family.

The recording made in circa 1989 by Laura Orleans, a folklore graduate student at the University of North Carolina at Chapel Hill, contains selected songs performed by the klezmer musical group Die Yiddishe Bande founded by fiddler Bert Chessin and based in Chapel Hill, N.C. Acquired as part of the Southern Folklife Collection.

The Blanton Owen Collection consists of audio, motion picture films, and field notes, 1963-1971, created and compiled by folklorist, musician, and photographer, Blanton Owen (1945-1998). The audio recordings primarily feature Anglo-American old-time musicians from Virginia, West Virginia, and North Carolina, including Hubert Caldwell, French Carpenter, Fred Cockerham (1905-1980), Mose Coffman, Virgil Craven (1902-1980), Burl Hammons, R. H. Haymore, John Hilt, Tommy Jarell (1901-1985), Taylor Kimble (1892-1979), Maggie Hammons Parker, Manco Sneed, Dan Tate, and Oscar Wright (1894-). Also included in the collection are audio recordings of a worship service at Little River Primitive Baptist Church. Of particular note are motion picture films, audio recordings, and field notes, 1971, associated with Blanton Owen's unfinished documentary film project that features Tommy Jarrell and Fred Cockerham playing music and conversing on Cockerham's porch in Low Gap, N.C. The collection also contains field notes created by Southern Folklife Collection staff that correspond to select audio recordings. These SFC field notes include performers' names, technical information about the tape, a brief description of contents, song titles, and tunings.

An instructor and coordinator of performing arts at Western Piedmont Community College in Morganton, N.C., Cheryl Oxford received her B.A. at the University of North Carolina at Chapel Hill and her M.A. and Ph.D. at Northwestern University in Evanston, Ill. The collection includes materials that Cheryl Oxford collected and produced in conjunction with her Ph.D. dissertation, They Call Him Lucky Jack: 3 Performance-Centered Case Studies of Storytelling in Watauga County, N.C. The focus of this research was the stories and performance paradigms of three traditional Appalachian Jack tale storytellers from North Carolina: Ray Hicks, Stanley Hicks, and Marshall Ward. Other regional tellers of Jack tales, both traditional and revival, including W. W. Rowland, Richard Chase, Frank Proffitt, Jr., Gwenda LedBetter, Doug Elliott, Orville Hicks, and Fred Armstrong-Park, were also documented as part of her research. The bulk of the materials are audio and video recordings of public performances and interviews, which include storytelling. Also included are story transcripts, published articles by Cheryl Oxford, and a copy of her dissertation. Most of the fieldwork was conducted during the summers of 1981 and 1982, with fieldwork and performance documentation continuing until 1988. The collection provides rich documentation of specific stories and storytelling performances by North Carolina regional storytellers and examples of the same story told by different tellers in the same region and the same story told by the same teller on different occasions. Audio and video recordings also contain a wealth of material on Appalachian traditional medicine, ghost stories, music, family genealogy, and folk customs and beliefs. Included is a rare performance of Jack in the Lions' Den by Marshall Ward.

The dubbed recordings on audio cassette tape are of musical artists Howlin' Wolf and Lightnin' Hopkins live in concert at Ebbets Field in Denver, Colo., in 1973 and 1974. David Paradise of Chapel Hill, N.C., collected these recordings. Also included are field notes compiled in 1993 with information about how the recordings were made. Acquired as part of the Southern Folklife Collection.

The collection assembled by James T. Parrish, Jr., contains sound recordings including 14 instantaneous discs made in the 1950s at the State Annual Singing Convention in Benson, N.C., also known as the “Benson Sing.” The recordings are chiefly of the Young Sisters Trio and include the gospel songs “Non Stop Flight to Glory,” “I’ve Got a Longing to Go Home,” “He Put a Rainbow in the Clouds,” and “I Won’t Have to Cross Jordan Alone.” Acquired as part of the Southern Folklife Collection.

Penny Parsons, a white music journalist who has spent much of her life involved with the bluegrass community, collected MerleFest posters, circa 1995-2008, and miscellaneous printed materials relating to white bluegrass mandolinist and tenor vocalist Curly Seckler.

White folklorists Daniel W. Patterson (1928- ) and Beverly Bush Patterson study North Carolina folk life, southern traditional and religious folk music, Shaker art and music, and southern religious music. The Pattersons have often collaborated in their work and research, including work as consultants with Tom Davenport on his folklife films and Folkstreams project and website for streaming folklife documentary films; with Jim Peacock and Ruel Tyson on the World and Identity Primitive Baptist collection; and on the Index of Selected Folk Recordings Project. The collection includes letters, subject files, films, photographs and slides of folk musicians and folk traditions, audio recordings and moving images about folklore topics, and other materials involving Daniel and Beverly Patterson, independent filmmaker Tom Davenport, and others, including Bobby McMillon working together or independently to produce films, books, and other materials about life in the mountains; Sacred Harp singing; musical traditions of the Primitive Baptist churches in North Carolina and New York; the Shakers, including interviews with Shakers and field recordings of Shaker music and songs; the legend of Frankie Silver; folk music and folklore; and other topics. SFC material traces its history from 1960s folk archive, through the acquisition of the John Edwards Memorial Collection in 1983, and the opening of the SFC in 1989 at the Sounds of the South conference. There are also student papers that were written by Daniel Patterson's students in the Curriculum in Folklore. Correspondents include folklorist and writer Archie Green; writer D. K. Wilgus and wife Eleanor R. Long Wilgus; Ralph Steele Boggs, founder of the Curriculum in Folklore at UNC in 1939; professor Cecelia Conway; publisher Hugh McGraw; folklorist Bobby McMillon; archaeologist Stanley South; novelist Russell Banks; composer Thomas N. Rice; blues collector and record producer Peter B. Lowry; and professor John Garst. Some materials relate to religious tunebook compilers, including John G. McCurry, who wrote a shape-note songbook in 1855 that Patterson and Garst republished in 1973. Subject files contain materials about religious songs; religious groups and movements such as the Primitive Baptists; music styles; religious tunebooks; and many other topics. Also included are hundreds of photographs by Patterson created while doing research for The True Image: Gravestone Art and the Culture of Scotch Irish Settlers in the Pennsylvania and Carolina Backcountry, published by UNC Press in 2012.

Bobby Patterson (1 April 1942–24 September 2017) of Galax, Va., a white guitar, banjo, and mandolin player, was a central figure in the Galax and Blue Ridge Mountain communities. He played with bluegrass, gospel, and old-time ensembles; helped found the magazine The Old Time Herald; created the record labels Mountain Records and Heritage Records; and organized festivals and concerts to promote traditional music in the area, including the annual Galax Old Fiddlers' Convention. The Bobby Patterson Collection consists largely of studio masters for Heritage Records and Mountain Records recordings of the Old Fiddlers' Convention. Other materials of note are files with photographs, artwork, and liner notes relating to record releases; correspondence chiefly relating to Heritage Records; catalogs; printed programs and flyers for local fiddling conventions; and photographs of Bobby Patterson with the Highlanders at the World's Fair in Knoxville, Tenn., and other old time musicians. There are also video tapes and 8mm films of fiddler conventions, live performances, and other events.

The North Carolina Folklore Broadcast Collection consists of audio recordings and related material, 1976, created as part of a National Endowment for the Arts (NEA) funded grant project that was carried out jointly by the graduate students and faculty of the Curriculum in Folklore at the University of North Carolina at Chapel Hill, with help from the staff of WUNC-FM. Folklorist and professor in English and Folklore at UNC, Daniel W. Patterson, directed the grant project, which consisted of producing a series of taped radio programs of regional folklore for broadcast over public radio in the state of North Carolina. For the contents of the program, the production team drew from discs and field tapes in the UNC's folklore archives (now known as the Southern Folklife Collection) as well as field recordings made specifically for the project. The radio series consisted of five one-hour broadcasts, each with a specific focus chosen to show a variety of local traditions. The themes and subjects of the five programs included Primitive Baptist songs, Durham blues, Piedmont blues, Chatham County, N.C., Tommy Jarrell (1901-1985), and Cas Wallin. The collection includes both the WUNC distributed radio programs as well as the field recordings made specifically for the project. The collection also includes related materials, including a copy of the NEA grant proposal signed by Patterson, a photograph of Cas Wallin alongside Dellie Norton and Evelyn Ramsey, and field notes that correspond to select audio recordings found in the collection.

Audio recordings of an interview with Florence Turner Arnold (1903-1990), a white resident of Covington, Newton County, Ga., about family history, and an interview with both Florence Turner Arnold and Edgar Wood (1908- ), a white friend and neighbor of Florence Turner Arnold, about growing up in Covington, Ga. Included are stories from childhood through early adulthood and recollections of family members and neighbors. Recorded by Claire Peacock, a white graduate student at the University of Texas at Austin and Florence Turner Arnold's grandniece, at Arnold's home on 24 July 1984. The collection also contains supporting documentation, including field collection processing sheets, inventory, and contents listings prepared by former Southern Folklife Collection staff, as well as a letter from former Southern Folklife Collection staff to Florence Peacock, Claire's mother, and a photocopy of Florence Turner Arnold's obituary.

The Catherine Peck Collection contains oral histories and field recordings created by white folklorist, Catherine Peck. The majority of the recordings relate to Peck's 1991 University of North Carolina at Chapel Hill masters thesis on African American women preaching traditions of North Carolina. These recordings, 1981-1984, feature interviews with African American women reverends and evangelists of North Carolina, as well as field recordings made at African American women led churches across the state. The collection also contains audio recordings of self-taught artists of North Carolina, including an interview, 1983, with the African American sculptor, Jeff Williams, of Salemburg, N.C., and a series of field recordings, 1984, that Peck conducted with the white sculptor, Annie Hooper, of Buxton, N.C.

The Lloyd Perryman Collection contains papers and audio recordings compiled by the white actor, singer, and Sons of the Pioneers member, Lloyd Perryman. Papers consist of scores, lyrics, song sheets, song folios, publicity photographs, and clippings relating to the Sons of the Pioneers. Audio recordings consist primarily of radio shows, compilations, songs, and public service announcements by Sons of the Pioneers, Lloyd Perryman, Rex Allen, Rusty Richards, The Whippoorwills, and others.

Documentary work by photographer David Persoff including a series of photographs of North Carolina old-time fiddler Joe Thompson during a visit at his home by David Brower of WUNC-FM, photographs of other regional musicians, and a short documentary on the 85th Star Fiddler’s Convention (2012) created for a class at the Center for Documentary Studies at Duke University. Acquired as part of the Southern Folklife Collection.

Field recordings of North Carolina based folk and blues musicians compiled by white educator and local blues historian, Bill Phillips. The recordings feature performances and interviews with Dink Roberts, African American banjo player, slide guitarist, and singer, of Haw River, N.C.; Sam Pridgen (1910-1989), white string band guitarist, of Durham, N.C.; Willy Trice (1910-1976), African American blues singer and guitarist, of Durham County, N.C.; and Charlie Poole, Jr. (1912-1968), white string band vocalist and son of old-time musician and string band leader, Charlie Poole, of Randolph County, N.C. The collection contains dubs of original field recordings created by Bill Phillips, along with white anthropologist, Victor "Vic" Lukas, and white record label founder, Barry Poss, as well as a dub of an interview conducted by white folklorists, Eugene Earle and Archie Green. Also included are related tape logs prepared by former Southern Folklife Collection staff member, Anne Kimzey. Tape logs contain contextual information on the artists and recordings, including technical information, brief content descriptions, and a list of song titles performed by the musicians.

PineCone, the Piedmont Council of Traditional Music, Inc., is a non-profit organization dedicated to preserving, presenting, and promoting all forms of traditional music, dance, and other folk performing arts. The PineCone Collection consists of office files and audiovisual recordings that document organizational business operations and event activities, including concerts, the Raleigh Fiddler's Convention, and the Eno Bluegrass and Old Time Music Convention. Materials include concert contracts, event information, board materials, financial statements, artist publicity, newsletters, calendars, promotions, photographs, video, and other materials.

The Doug Pomeroy Collection of Concert Fliers consists of nine advertisements for concerts in the Los Angeles area, circa 1955-1956. The concerts featured folksingers Noel and Guy Carawan, Frank Hamilton, Odetta, Rolf Cahn, Jo Mapes, Sondra Orans, Sid Berland, and Marcia Berman. Acquired as part of the Southern Folklife Collection.

The collection of Harry W. Porter of Chapel Hill, N.C., contains a color lithograph of Christy's Minstrels dated 1847 and four recordings on acetate discs of ballad singer Charles K. "Tink" Tillett of Wanchese, N.C., and others. The lithograph of the blackface minstrel group founded by Edwin Pearce Christy (1815-1862) in Buffalo, N.Y., is cross listed in Southern Folklife Collection Posters (30021). The acetate discs were recorded by folklorists and song catchers Frank Warner and Anne Warner of New York. Other artists on the 1940 and 1941 recordings are Mrs. C.K. Tillett, Steve Meekins, [John] Culpepper, Sally Daniels, and Albert Etheridge. Song titles performed and recorded include "72 Today My Boys," "Somebody's Waiting for Me," and "Bony on the Isle of St. Helena." Acquired as part of the Southern Folklife Collection.

Field recordings, 1976-1977, of Greek folks songs and poems recorded by John A. Porter, a white student of the Curriculum in Folklore at the University of North Carolina at Chapel Hill. The collection includes recordings by John A. Porter made in both Greece and the United States, including live recordings of Yannis Rountas (ca. 1901- ) and Theodoros Pantazis (ca. 1903- ), both Greek Sarakatsani shepherds and singers from Vitsa Zagori, Iōannina, Greece, singing Greek folk songs from the northern area of the country in Greek, as well as field recordings of Harry Chepriss (1886-1990), a Greek-American who immigrated from Karpenisi, Greece to Buncombe County, N.C. in 1900. The collection also contains supporting documentation, including a field collection cover sheet and tape logs prepared by John A. Porter and former Southern Folklife Collection staff, and a paper by John A. Porter related to his fieldwork with Harry Chepriss.

The Barry Poss Collection consists of 25 recordings, 1976-1979, created and compiled by Sugarhill Records founder, Barry Poss. The majority of the items are recordings, 1976-1977, of Virgil Craven (1902-1980), an Anglo-American old-time string band musician of Cedar Falls, N.C. The collection also includes two live recordings from 1975 of Gaither Carlton (1901-1972), an Anglo-American old-time fiddler, banjo player and singer from Deep Gap, Watauga County, N.C., and Arthel Doc Watson (1923-2012), an Anglo-American guitarist, banjo player and singer also from Deep Gap, Watauga County, N.C.

Contains recordings of interviews conducted by white writer and reporter David Potorti, as well as footage of blues musician Etta Baker, the gospel singing group The Branchettes, and the North Carolina A&T marching band. Interviews include: phone interviews with Gerry McCabe, Bess Lomax Hawes, Ron Hale, Bob Riskin, Walter Camp, and Ed Kahn, circa 1997, regarding McCabe's Guitar Shop; interviews with David Garner, David and Mary Farrell, Kings Pottery regarding potters in Seagrove, N.C.; an interview with artist Stacy Lambert (includes a paper written by Potorti about Lambert and copies of some of Lambert's drawings); interviews with North Carolina traditional musician Marvin Gastner, Jesse Eustice (daughter of old-time musicians Bobbie and Tommy Thompson), banjoist and author Bob Carlin, music journalist Jack Bernhardt, and WPAQ founder Ralph Epperson and his son, station manager Kelly Epperson; interviews with potters M. L. Owens and Nancy Owens, potter Jerry Parnell, and folk artist Vollis Simpson; interviews with old-time musicians Jim Watson and Alan Jabbour relating to a story on the Red Clay Ramblers; and interviews with old-time musicians Alice Gerrard and Hazel Dickens. Other footage includes: a video of blues musician Etta Baker visiting and singing in Professor Bill Malone's class at the University of North Carolina at Chapel Hill, 5 April 2000 and 6 April 2000; the gospel singing group The Branchettes, 23 February 2000; and the North Carolina A&T Marching Band, circa 2000.

Audio recordings, moving images, photographs, newspaper clippings, and scattered correspondence comprise the collection of Mack J. Preslar (1923-2014), a white CEO and electronics professional who was the associate director of the Department of Radio, Television and Motion Pictures at the University of North Carolina beginning in 1947. Correspondence includes letters from songwriter and producer, John D. Loudermilk, and from country music recording artist, George Hamilton IV (1937-2014), among others. Clippings and photographs depict Preslar's personal life, service in the United States Navy, as well as scenes from the Department of Radio, Television and Motion Pictures, including his role in radio broadcasting and his participation in a 1957 effort to photograph an eclipse in Thailand. Audio recordings consist of instantaneous discs of Norman Cordon, an operatic singer and UNC alum; open reel audio of radio broadcasts and live performances on the UNC campus, including a 1954 performance by Louis Armstrong and the All Stars; master open reel audio recordings affiliated with Orville Campbell's independent record label, Colonial Records based in Chapel Hill, N.C.; and other open reel audio recordings compiled by Preslar. Moving images consist of a videotape of Preslar with Norman Cordon and unidentified motion picture films.

Elvis Presley (1935-1977) was a highly influential musician and actor. Between 1956 and 1969, he starred in 31 films. Each film included songs by the actor, although not all were performed on-screen.

Ethnomusicologist Karen Helms Pressley was born in Union County, N.C. Classically trained in piano, organ, and voice, Pressley developed an interest in the preservation of old-time music and the oral tradition. The collection contains fieldwork relating primarily to the oral musical traditions of the Outer Banks of North Carolina and Union County, N.C., in south-central North Carolina. Outer Banks materials consist of recorded folk songs, stories, and interviews with residents, as well as interview transcripts, Pressley's essay on the oral traditions of the Outer Banks, and ballads and songs she collected. The Union County, N.C., materials consist of field recordings Pressley made documenting the oral musical traditions of Union County. Music includes church gospel, guitar blues, fiddle and banjo tunes, traditional ballad singing, and childrens' songs performed by Union County residents. Also included are other recordings made by Pressley, among them some with storyteller Bobby McMillon, recordings from western North Carolina and the Piedmont area, and recordings relating to music workshops and children's songs.

The collection contains 24 wax cylinder recordings released by Edison Records in the early twentieth century and an Edison record player. Recording artists featured on the cylinders are Ada Jones, Billy Murray, Rachael Grant, Billy Golden, Joe Hughes, Anna Case, Walter Van Brundt, Charles D'Almaine, Waikiki Hawaiian Orchestra, and Jaudas' Society Orchestra. Songs include "All She Gets from the Iceman is Ice," "Steamboat Leaving Wharf at New Orleans," "Hawaiian Nights," and "When Irish Eyes Are Smiling-The Isle O' Dreams." The collector is United States Representative David Price of North Carolina. Acquired as part of the Southern Folklife Collection.

Raymond H. Pulley was a professor of history at the University of North Carolina at Chapel Hill, 1966-1973, and at Appalachian State University, 1973-1995. While a student at Oscar Frommel Smith High School in South Norfolk, Va., 1955-1957, Pulley worked as an engineer and disc jockey at the student-run radio station WOSFM, hosting The Cuzin' Ray Hoedown, a daily two-hour program that featured rock and roll, country, and hillbilly music. On 12 February 1956, Pulley interviewed Elvis Presley, Maybelle Carter, Helen Carter, June Carter, and Anita Carter in conjunction with their appearance at the Norfolk Municipal Auditorium.

The 1989 radio show dubbed on audio cassette tape was broadcast on the commercial radio station 2GB News Talk 87 in Sydney, Australia. The show featured a special report on the Australian country music collector and discographer John Edwards (1932-1960) and the John Edwards Memorial Collection in the Southern Folklife Collection at the University of North Carolina at Chapel Hill. Also included in the collection is a brief exchange of letters between Australian broadcaster John Raedler and UNC English and folklore professor Dan Patterson about the show. No additional information about John Raedler was provided with the recording. Acquired as part of the Southern Folklife Collection.

The Tom Rankin Collection consists of 31 field recordings, 1980-1982, created and compiled by photographer, filmmaker, and folklorist, Tom Rankin, while he was a graduate student in the Curriculum in Folklore at the University of North Carolina at Chapel Hill. The audio recordings primarily feature interviews and performances by blues, country, and old-time musicians from North Carolina. Artists featured on the recordings include Richard Big Boy Henry, a country blues artist of Beaufort, Carteret County, N.C; C. L. Scott, a traditional fiddler of Morehead City, Carteret County, N.C.; W. Earl Wicker, an old-time fiddler of Tramway, Lee County, N.C.; Jim Harris, a centenarian fiddler of New Bern, Craven County, N.C.; the Swain family of Columbia, Tyreell County, N.C.; and Mr. O. Williard, an old-time fiddler of Williamston, Martin County, N.C, among others. Rankin primarily recorded the artists performing at their home, while folklorist and banjo player, Bill Mansfield, accompanied many of the artists on the recordings. The collection also includes studio recordings of Big Boy Henry recorded at WUNC in Chapel Hill and dubs of Living Atlanta, a documentary radio series produced by WRFG.

Steve Rathe is a white radio producer and founder of Murray Street Productions. The Steve Rathe Collection consists of audiovisual materials, supporting documentation, and office files relating to radio productions for National Public Radio and Murray Street Productions that he compiled. Radio programs represented in the collection include Appalachia Waltz, Folk Festival, USA, HEAT with John Hockenberry, Jazz Alive!, New Music America, RadioVisions, SportsBand, and The Territory of Art, among others. Other miscellaneous audio recordings found in the collection include unidentified radio productions, demos, audition tapes, dubbed recordings of 78s, and conference recordings. There are also moving image materials compiled by Rathe, including live performances, promotional videos, dubbed television broadcasts, video production materials, and video materials relating to select radio productions. The collection also contains festival programs, posters, souvenir books, t-shirts, and other ephemera from various music and art festivals. Photographic materials primarily consist of portraits and images of Steve Rathe relating to his work in the radio industry, circa 1978-2000.

The collection contains 12 Recordio acetate discs with audio recordings of musicians from North Carolina and Tennessee performing folk songs and traditional music. Musicians include Artus Moser, Irene Moser, Joan Moser, Virgil L. Sturgill, Charlie LaCombe, Eva Russell, J.R. Martin, Harry West, and Pleaz Mobley. Songs recorded include "Barbara Allen," "The Merry Golden Tree," "I Gave My Love a Cherry," "The Knoxville Girl," "Blow Away the Morning Dew," and examples of traditional melodies played on the mountain Dulcimer. The label of one disc indicates that the recording was made to supplement Joan Moser's application for a Fulbright award. Acquired as part of the Southern Folklife Collection.

The Ola Belle Reed Collection consists of audio recordings and other materials of American folk singer, songwriter, and banjo player, Ola Belle Reed. Reed was born in Grassy Creek, N.C. As a teenager, she performed with an early version of the North Carolina Ridge Runners. In 1949, she married Bud Reed. Together they formed the New River Gang, along with Ola Belle Reed's brother, Alex Campbell, and operated New River Ranch, a popular country music park near Rising Sun, Md. In the early 1960s, they moved to Sunset Park in West Grove, Pa., and began broadcasting a weekly show from their store in Oxford, Pa. During the 1970s, Ola Belle Reed and family performed at many folk festivals, including the Smithsonian Folklife Festival and the Brandywine Mountain Music Convention. Audio materials in the collection include open reel recordings, 1969-1972, of traditional and original songs by Reed; family members, Bud Reed, David Reed, Ralph Reed, Herb Campbell, and Alex Campbell; and friends and neighbors, including Hazel Waltman. Additional audio materials include open reel recordings of Reed speaking about her life and music, a taped performance by the North Carolina Ridge Runners, and compact discs of live performances, 1960-1976, by Ola Belle Reed and others, including Alex Campbell, Bud Reed, and David Reed. The collection also contains a copy of High on the Mountain, Reed's unpublished autobiography; lyrics, handwritten sheet music, and lists of traditional songs and original compositions by Reed; clippings about Reed from various publications; a program from the Foothills Festival 1977; a promotional flier from Sunset Ranch; and three photographs. Correspondents include Josh Dunson, Pete Seeger, and John McGuigan.

The collection of folk singer and musician Susan Reed (1926-2010) of Columbia, S.C., contains audio recordings from the late 1940s and 1950s on open-reel audio tape and scattered publicity materials related to Reed's career in New York during the folk music revival of the mid twentieth century. One audio tape dated 1957 was recorded from "Art Ford's Greenwich Village Party" television show. Most of the tapes are not dated or labeled with identifying information. Acquired as part of the Southern Folklife Collection.

The David Reinhold Transcription Discs Collection consists of 11 audio recordings of religious radio programs compiled by the Brooklyn-based collector, David Reinhold. Radio programs represented in the collection include The March of Faith, "Sermons in Song" from The General Council of the Assemblies of God, and a recording related to the Southern Religious Radio Conference held in Atlanta, Ga. All of the audio recordings are on undated transcription discs that were presumably made and broadcast in the 1940s and 1950s by National Broadcasting Company and others.

The recording on audio cassette tape is a copy of two radio shows, "Pretty Polly" and "Little Rosewood Casket," broadcast on NBC Radio in 1934 for the program "Hillbilly Heart-Throbs." Created and produced by song collector Ethel Sloan Park Richardson (1883-1968) of Tennessee, "Hillbilly Heart-Throbs" featured song stories, mountain ballads, and guest musical artists. Acquired as part of the Southern Folklife Collection.

The collection contains homemade audio recordings of folk songs on acetate discs, which were purchased in 1993 by white collector of music and old-time radio recordings, Randy Riddle of Durham, N.C. Riddle found the discs at the Vintage Village Flea Market in Yadkinville, N.C., and he transferred and mastered the recordings of songs, which were performed by unidentified musicians likely in the 1940s. Song titles include "Cotton Eyed Joe," "Red River Valley," "Lonesome Road Blues," "Don't Let Your Deal Go Down," "Sunny Home in Dixie," "New River Train," and "Turkey in the Straw." The collection also contains an audiocassette with dubs made by Riddle after he mastered the acetate discs, as well as narrative field notes composed by Riddle to provide context about his work on the recordings.

The collection of Bob Riesman, the white author of I Feel So Good: The Life and Times of Big Bill Broonzy, includes research files, audiocassette interviews, live recordings, and printed materials relating to his biography of Broonzy, an African American musician from the Arkansas Delta who was a major influence on American blues and folk music.

David Robert is a former owner of the Chapel Hill (now Carrboro), N.C., music venue Cat's Cradle and previously ran Moonlight Records, an independent record label based in Chapel Hill, N.C. The collection consists of financial records for Cat's Cradle, El Morocco, Rock Club Ltd., and Catbird; Cradle Robber and other publications; band posters and promotional materials; sound recordings; and club calendars and ephemera.

Katherine R. Roberts has held a joint appointment in the Curriculum in American Studies and the Curriculm in Folklore at the University of North Carolina at Chapel Hill since 2006. Her research interests are centered on material culture.

Field recordings of Cherokee tales performed by Mary Ulmer Chiltoskey (1907-2000), a white storyteller, teacher, and an honorary member of the Eastern Band of the Cherokee Indians. Select recordings also include a conversation with Goingback Chiltoskey (1907-2000), a woodcarver and member of the Eastern Band of the Cherokee Indians. Ron Robinson, a white Duke graduate student of Waynesville, N.C., made the recordings in 1980 for a University of North Carolina at Chapel Hill folklore course taught by Daniel Patterson. Acquired as part of the Southern Folklife Collection.

The collection of speech communication professor Jimmie N. Rogers contains eighty open reel tapes comprising a 36-hour Memphis, Tenn., radio show titled The History of Country Music that was produced by Don Bruce and John Thayer of Together, Inc., in circa 1970. Other materials are scholarly papers presented at professional conferences by Rogers and his colleagues, a few publicity photographs of country music artists including George Jones, and clippings, posters, and printed items pertaining to Lucinda Williams and other musicians. The scholarly papers with titles such as "Audience Attitudes as Indicated by Cheatin' Messages in Country Songs" and "Images of Females as Indicated in the Messages of Loretta Lynn" are chiefly about rhetoric in country music. Rogers' collection also contains commercial videos of country music artists such as Merle Haggard and commercial audio recordings of popular music from the twentieth century on disc (LP, 78-rpm, and 45-rpm records), cd, cassette, and 8-track tape. Acquired as part of the Southern Folklife Collection.

Papers of white folklorist, folk musician, and civil rights activist Anne Romaine (1942-1995) document her music career, teaching career, family and personal life, and social justice activism especially through the Southern Folk Cultural Revival Project, an organization Romaine cofounded in 1966 with African American folklorist, singer, and civil rights activist Bernice Johnson Reagon. Romaine, who was married to civil rights activist Howard Romaine, also worked with Guy Carawan, Esther Lefever, and Hazel Dickens. Materials, 1935-1995, include correspondence, book manuscripts, songs, publicity materials, photographs, and recordings of Anne Romaine's performances. Among the topics covered are civil rights work in the 1960s, labor organization, cotton mills and textile workers, Bernice Johnson Reagon and the Southern Folk Cultural Revival Project, country music, labor songs, and folk music as a means of social protest. Also included are materials relating to her husband Howard Romaine; to her teaching career; and to her interest in astrology, particularly psychic readings. Personal and business correspondence, 1962-1995, includes many copies of outgoing letters. There are also manuscripts of two books, one about the Mississippi Freedom Democratic Party and the other a biography of Alex Haley; song-lyrics and audio and video recordings of Romaine's performances and workshops; and publicity photographs and posters relating to Romaine and to musicians and other performers who worked with the Southern Folk Cultural Revival Project. Also included are photographs of Romaine's family and slides reflective of various social injustices that Romaine used as backdrops in her performances.

Velma Rooke was raised in Jacksonville, Fla., but spent her adulthood as a professional musician, music educator, and music therapist in New York, N.Y. Rooke studied at The Julliard School and Columbia University. From approximately 1933 until 1956, Rooke was first chair trombonist, relief pianist, and arranger for Phil Spitalny's Hour of Charm All-Girl Orchestra. After the orchestra disbanded in 1956, Rooke became first trombonist for the Great Neck Philharmonic Orchestra. She also worked as a music therapist at the Creative Arts Rehabilitation Center (CARC), commonly known as the Music Therapy Center from its inception in 1960 until the early 1980s. Rooke also conducted music therapy and lessons at various New York locations, including the veterans affairs hospital in the Bronx, the Reece School for Emotionally Disturbed Children, and the Turtle Bay Music School.

In 1976, Mike Kappus, a white music manager and record producer, founded The Rosebud Agency, an artist booking agency based in San Francisco, Calif. Kappus started the agency with the concept of offering greater service to an intentionally limited number of timeless, rather than trendy, artists. Until it wound down its active role as a booking agency in December of 2013, the agency booked about 2000 shows a year worldwide for its more than thirty artists. The collection chiefly consists of contracts and other records documenting publicity and promotions for artists represented by The Rosebud Agency. Other records consist of publications and promotional materials relating to the music industry and affiliated award and philanthropic events. The collection also contains audiovisual materials that consist primarily of promotional and licensed materials by Rosebud artists.

Woodrow W. Rowland was a storyteller from western North Carolina.

The collection contains dubbed audio recordings of the African American gospel music group, the Swan Silvertones. Kerill Leslie Rubman, then a graduate student at the University of North Carolina at Chapel Hill, made the dubs from commercial recordings published between the 1940s and 1960s. Field notes accompanying the recordings list the songs, including "I Want to Rest" and "Amazing Grace." Acquired as part of the Southern Folklife Collection.

The Terry W. Rushin Collection contains a documentary film made by Terry W. Rushin while he was a student at the University of North Carolina at Chapel Hill. The short film, titled A. R. Cole, Potter, documents the artistic practice and pottery shop of Arthur Ray "A. R." Cole, whose family has worked in the ceramic arts for more than three generations. The film is shot entirely on location at A. R. Cole's pottery shop in Sanford, N.C., while the non-synchronous soundtrack consists of audiotaped interviews with A. R. Cole and his daughters, Celia and Neolia. The collection contains a 16mm moving image print of the film, as well as a digitized version with added title cards and countdown.

Audio recordings of a biographical interview with John Mason Brewer (1896-1975), a Black folklorist known for his work on African American tales and folklore, who was born in Texas. Recorded by Robert L. Russell in March 1967 at Livingstone College in Salisbury, N.C. The collection also contains supporting documentation, including field collection cover sheets prepared by former library staff. Supporting documentation indicates that the interview was conducted for an article that Russell wrote on Brewer.

Field recordings of various versions of the religious song, "Looking for the Stone," and other religious songs recorded in western North Carolina, including Buncombe County, N.C. and Graham County, N.C. Diane Sasson, a white author and educator, made the recordings for her term paper on the song "Looking for the Stone" when she was a student in a southern folklore course at the University of North Carolina at Chapel Hill. The audio recordings feature various musicians in Asheville, Buncombe County, N.C. and West Buffalo, Graham County, N.C. Of particular note is a field recording of a Cherokee church service in Graham County, N.C., which includes a gospel song, "Children of the Heavenly King", and an early shape-note tune from the Cherokee oral tradition. The recordings also feature, Lynn Trull, a male vocalist with the Copper Basin Christian choir singing "Heaven is My Aim," a camp meeting spiritual, and a recording of the congregation of the Cedar Cliff Baptist Church, both in West Buffalo, Graham County, N.C. The collection also contains supporting documentation, including a cover sheet prepared by former North Carolina Folk Music Archives staff, as well as sheet music for "Heaven is My Aim".

The Patricia Sawin Collection consists of audio recordings, 1979-1989, and a video documentary, 1996, created by folklorist, Patricia Sawin. The materials relate to Sawin's longstanding exploration of the life, songs, and stories of Bessie Eldreth, a folk singer from the Blue Ridge Mountains of North Carolina who died in 2016 at the age of 103. Born in 1913 on an Ashe County farm, Eldreth accompanied her everyday life with old ballads, gospel songs and hymns, parlor songs, and original songs. It was not until the 1970s that Eldreth began to sing publicly with her granddaughter, Jean Reid. The Sawin Collection contains audio from this period, including field recordings of live concerts, special events, church services, as well as interviews and story telling with Eldreth and Reid. The collection also contains video copies of Sawin's 1996 documentary film on Eldreth titled, Bessie Eldreth: Stories and Songs of a Blue Ridge Life.

Materials on country musician, Roy Acuff, compiled by Elizabeth Schlappi, a white collector and author who wrote Acuff's biography, Roy Acuff, the Smokey Mountain Boy (1978). The collection consists of correspondence, research files, photographs, and memorabilia, as well as audio recordings of live performances, radio and television appearances, interviews, and compilations of commercial releases featuring Roy Acuff and other country music artists. Other artists represented in the collection include Jimmie Rodgers.

Collection contains papers and photographs collected by white librarian and labor folklorist Saul Schniderman. Papers include a brochure from the Labor Heritage Foundation, labor song lyrics and music, a 1984 letter from folklorist and historian Archie Green, and tributes written about Green following Green's death in 2009. Photographs of Pete Seeger, Florence Reece, and Si Kahn are also included. Collected as part of the Southern Folklife Collection. Also includes the Forty Years Young record by the International Ladies' Garment Workers Union Northeast Department.

The Mark Schultz Collection consists of field recordings of rural church services created by historian, Mark Schultz, for personal use. The majority of the audio recordings were made at Baptist, African Methodist Episcopal (AME), United Methodist, and Pentecostal churches in Georgia, including Hancock County, Oglethorpe County, and Clarke County. The recordings document African American and white church services, and feature gospel music, pastor anniversaries, homecomings, and choir anniversaries, among other church activities. The collection also contains an additional field recording of an AME choir reunion in Malvern, Pa., as well as a photograph of the Mt. Zion Baptist Church in Hancock County, Ga.

Tommy Scott, a white guitar player and singer, began his career in entertainment performing for local square dances. He performed on a radio broadcast for the first time in 1933, and, in 1936, joined Doc Chamberlain's Medicine Show, which had toured the South since 1890. In 1938, Scott took over the show, which was later known as Ramblin' Tommy Scott's Hollywood Hillbilly Jamboree. Scott performed on radio station WWVA in Wheeling, W.Va., where he developed characters and routines that were later featured in his live, radio, and television appearances, including a blackface character named Lightning and a ventriloquist act featuring the puppet Luke McLuke. Scott wrote a number of hit country and western songs and appeared in several feature films. The Ramblin' Tommy Scott Show, which began airing in 1948, was the first country music show on television. During the 1950s, Scott had another show on television called Tommy Scott's Smokey Mountain Jamboree.

The Dave Sear Collection consists of audio recordings, 1959-1996, created and compiled by the New York based folk musician and radio producer, Dave Sear. A veteran of over 40 years in radio, Sear is best known as the host and producer of the nationally syndicated programs, Adventures in Folk Music, Folk and Baroque, and Folk Music Almanac. All three programs were produced at WNYC and broadcast by public radio stations across the United States. The Dave Sear Collection contains programs from these three radio series, in addition to miscellaneous recordings of live concerts and recorded music, all of which feature major figures from the folk revival movement. Artists featured on the recordings include David Amram, Guy and Candy Carawan, Michael Cooney, Louis Killen, Dave Mallett, Tom Paxton, Utah Phillips, Jean Redpath, Jean Ritchie, John Roberts and Tony Barrand, Peter Schickele, Pete Seeger, Fred Small, Bill Staines, Sonny Terry, Happy Traum, and Robin and Linda Williams, among others.

Mike Seeger, white traditional music performer, collector, and folklorist, devoted his life to singing, playing, and recording old-time and bluegrass music. The collection consists of audio, video, film, and supporting documentation for studio recordings and live performances in concerts and festivals by Seeger and others, including his band the New Lost City Ramblers, and Seeger's interviews with many notable old-time and bluegrass musicians. There are also photographs of Seeger and many of the artists represented, as well as his correspondence, project files, writings, publicity, and extensive documentation of his appointments, contacts, contracts, and other financial records.

Live audio recordings created by Mary Seelhorst, a white museum professional, writer, musician, and auto racing crew member, when she was a graduate student of Folklore at the University of North Carolina at Chapel Hill. The recordings include a 1983 documentary recording of the funeral of Mary Seelhorst's grandmother, Sena Edith Burke (1902-1983) of Greenup County, Ky., as well as a performance of old-time tunes, bluegrass, and country songs performed by the house band of the Pollirosa Restaurant in King, Stokes County, N.C. in 1984. The funeral service for Sena Edith Burke was recorded by Mary Seelhorst in November 1983 at the Morton Funeral Home in South Shore, Ky. This recording includes lined out hymns and a chanted sermon by Brother Baxter Osborne and members of the Regular Baptist Church from South Shore, Ky. The Pollirosa Restaurant house band features musicians Ralph McGee, white fiddler; J. J. Rierson, white electric guitarist, fiddler, and vocalist; Rex McGee, white pianist (Ralph's son); Rex McGee, Jr., white banjo player (Ralph's grandson); and Coy Vogler, white bass player. Mary Seelhorst recorded the band on 5 October 1984 in the Pollirosa Restaurant. The collection also contains supporting documentation, including a field collection cover sheet prepared by former library staff, as well as tape logs and a transcription of the funeral service recording made by the collector.

The collection of Josie Shapira, country and western music enthusiast and founder of a Sons of the Pioneers fan club, contains photographs of musicians. Most images are snapshots taken by Shapira. Some images include Shapira with performers. Musicians depicted in the photographs include Wes Buchanan, Johnny Cash, June Carter Cash, Karl Farr, Hugh Farr, Shug Fisher, and Lloyd Perryman. Acquired as part of the Southern Folklife Collection.

Lauchlin Nordan Shaw, a third-generation farmer from Anderson Creek Township, Harnett County, N.C., taught himself how to play his father's fiddle when he was ten years old. Shaw traveled and recorded extensively, often with A. C. Overton, his musical partner for 50 years. He was repeatedly honored for his traditional fiddling style and promotion of old-time music. The collection includes sound recordings, many recorded by Lauchlin Shaw's wife, Mary Lily Shaw, at the Shaw residence; notes from 8-track and reel-to-reel tape boxes; and other documentation. Musicians include Apple Chill Cloggers, the Britt Brothers, Virgil Craven, Glenn Davis, Marvin Gaster, Tom Hearn, Wayne Livengood, Margaret Martin, Wayne Martin, Fred Olson, A. C. Overton, Evelyn Shaw, Malcolm Shaw, Robert Temple, and Wade Yates. Scattered throughout the recordings are Christmas carols that were recorded during family gatherings.

The undated open-reel audiotape contains traditional songs collected and recorded by Herbert Shellans in Mount Airy, N.C. Female and male vocalists including Shellans performed the songs, and some were sung with accompaniment of autoharp and guitar. Song titles include "Broken Engagement," "Oh Willy My Darlin Come Back," "Old 97," and "Froggy Went-a-Courtin." Shellans may have recorded these songs for his book Folk Songs of the Blue Ridge Mountains : 50 Traditional Songs as Sung by the People of the Blue Ridge Mountains Country. Acquired as part of the Southern Folklife Collection.

The collection of Jewish American folklorist and longtime editor of the folk music magazine Sing Out! Irwin Silber (1925-2010) contains correspondence, writings, subject files, articles, newspaper clippings, transcripts of interviews, sheet music, lyric sheets, song books, bibliographies, photographs, a video recording, and newsletters, zines, pamphlets, and other publications chiefly related to American folk music and workers' rights. The materials document Silber's leading role in the folk revival of the mid-twentieth-century, publication of topical American folksongs and protest songs, leftist political activism and writings, anti-war stances and protests particularly during the Vietnam and Iraq wars, and Silber's avid support for workers and labor unions, civil rights of African Americans, and women's rights. Major correspondents include Pete Seeger, Archie Green, Ronald Cohen, Raeburn Flerlage, and Silber's wife, folk singer Barbara Dane. Of interest are materials related to the House Committee on Un-American Activities including Silber's subpoenas to appear before it in the 1950s, a notebook he kept during a trip he took to Vietnam in 1974, and professional correspondence and papers related to the American Folksay Group, People's Songs, People's Artists, Sing Out!, and the record label Paredon Records that he and Dane started.

The collection of white pianist and publisher Robert Silverman contains sound recordings of piano music on open-reel audio tape, a 1987 interview of Silverman by folklorist Amy Davis on audio cassette tape with accompanying notes made by Davis, a 1984/1985 issue of Silverman's publication, and black-and-white photographs taken in North Carolina and dated 1947. Music recordings include Silverman's composition for the Joffrey Ballet's 1948. In the interview, Silverman discusses a 1947 trip to the South including North Carolina and Tennessee and the tobacco worker strike in Winston-Salem, N.C., that year, a folk festival in Asheville, N.C., poverty in the mountains, Tennessee Valley Authority dams, and sharecroppers in Alabama. Acquired as part of the Southern Folklife Collection.

Contains the personal collection of Barbara Barnes Sims, a white woman, from the years she worked in public relations at Sun Records (1957-1960), including correspondence, promotional photographs, and other publicity materials. These materials offer the perspective of a young woman working in the recording industry for a rising independent record label that would transform popular music and introduce artists including Carl Perkins, Johnny Cash, Jerry Lee Lewis, Roy Orbison, and Elvis Presley, among others. Sims later became a professor at Louisiana State University (LSU), where she taught English for 36 years and authored the book The Next Elvis: Searching for Stardom at Sun Records (LSU Press, 2014).

The Sing Out! Collection documents the organization's administrative functions and the publication of its magazine about traditional and contemporary folk music. The photographic materials consist of images depicting folk musicians, groups, and related subjects, chiefly in the United States. There are also administrative records documenting licenses, financials, permissions, promotions, fundraising, human resources, the advisory board, book proposals, and the North American Folk Music and Dance Alliance. Of particular note are extensive collections of folk-related newsletters and serials, folk festival programs, and artist subject files. Also included are some pre-publication materials for Sing Out! titles; a small group of promotional materials, songs, and songbooks of music therapist, teacher, and folksinger, Jean Murai; and audio and video recordings of traditional and contemporary folk music compiled by Sing Out! staff.

The Susan Sink Collection on Carteret County Folklore consists of open reel audio recordings of a lecture on Carteret County, N.C. history and folklore by Eugene Pond, mayor of Beaufort, N.C. The lecture, titled "Carteret County Folklore: Fact and Fiction", features stories and songs pertaining to American Indian, colonial, and later settlements in Carteret County, N.C., as well as tales and songs about the county's maritime history. The collection also includes a tape log that contains notes on the stories and songs performed by Eugene Pond on the recordings.

The Patrick and Cathy Sky Collection consists of a 1991 interview with Tommy Thompson conducted by musician, Cathy Sky, in Chapel Hill, N.C. Thompson was a founding member of both the Hollow Rock String Band and the Red Clay Ramblers, as well as a playwright, composer, and actor. Cathy Sky conducted the interview with Thompson for an article in the Raleigh-based Spectator Magazine. In the interview Tommy Thompson discusses the Red Clay Ramblers, his early dramas and musicals, and playwright Sam Shepard.

The collection contains dubs on open-reel audiotape of country, old time, and gospel music from the 78 rpm record collection of Frank B. Sloop, Jr., a student at the University of North Carolina at Chapel Hill in the early 1970s. Sloop inherited the record collection from his uncle, Jasper A. Sloop of Landis, N.C. Recording artists represented on the dubs include the Carter Family, John Lee Williamson, Sonny Boy Williamson, Lester McFarland, Robert A. Gardner, the Johnson Brothers, Rev. A.W. Nix, and Rev. S.J. Worell. Field notes accompanying the recordings list the artists and songs. Acquired as part of the Southern Folklife Collection.

The collection of Charles M. Smallwood (1920-1996) contains scrapbooks, photographs, publications, research notebooks with dance notation, organizational records, and scattered correspondence related to his research and writings on international folk dancing. Scrapbooks hold a variety of materials including newspaper and magazine clippings, picture post cards, photographs, flyers, newsletters, and programs for dance performances and folk festivals such as Folkmoot USA in western North Carolina. Images in post cards and photographs depict folk dancing and traditional costumes and clothing. Publications include books, magazines, journals, and directories related to folk traditions, particularly dancing. Descriptive notes and dance notation including figures and diagrams comprise the research notebooks documenting a variety of specific folk dances from all over the world. Organizational records include by-laws and financial documents for the National Folk Organization of the United States of America. Scattered correspondence includes letters to Smallwood and his wife Judith R. Smallwood from Vytautas Finadar Beliajus, Lithuanian folk dancer and founder of Viltis: A Magazine of Folklore and Folkdance. Dance traditions represented in the collection span the globe and include Greek, Serbian, Bulgarian, Turkish, German, Russian, Jewish and Israeli, Maori, Kenyan, Indonesian, and Native American folk dancing. Acquired as part of the Southern Folklife Collection.

Bill Smith is a white chef and author in Carrboro, N.C. The Bill Smith T-Shirt and Cookbook Collection, 1950s-2014, consists of Smith's collected T-shirts, chiefly of rock bands that performed at the Cat's Cradle in Carrboro, N.C., and community cookbooks published by churches and women's organizations located across the South.

Open reel audio recording of folk songs performed by Martha Boozer Crumpler and Susan Harriet Snyder, both white women affiliated with the Eau Claire Music Club of Columbia, Richland County, S.C. Martha Boozer Crumpler is the maternal grandmother of Susan Harriet Snyder. The songs they perform on the recording were handed down to them by their families in Newberry County, S.C., dating back to the mid and late 1800s. Mary Crumpler Snyder (1922-1987), the daughter of Martha Boozer Crumpler and mother of Susan Harriet Snyder, made the recording at a meeting of the Eau Claire Music Club, for the "Family Participation Program", on 14 May 1963. The collection also contains supporting documentation, including a collection cover sheet prepared by former library staff, sheet music, and a letter from Mary Crumpler Snyder containing information about the performance and the history of the songs.

Audio recordings of storytellers, blues musicians, midwives, farmers, and herbalists of the southern United States, compiled by Joseph Daniel Sobol, a white storyteller, musician, and folklorist. The majority of the recordings document stories and songs of residents of Cleveland County, N.C., Hyde County, N.C., and Lee County, S.C. Of particular note is a recording of Drink Small, an African American blues singer of Columbia, S.C., recollecting his musical background and life interspersed with songs and reflections on blues and gospel music; oral history recordings with students and faculty of the Bishopville High School and Mt. Pleasant High School, both in Lee County, S.C., regarding folk tales, supernatural legends, and various rhymes, riddles, and jokes, as well as local student folklore projects; an oral history recording with Elsie Magazine (1904- ), a retired African American midwife of Browntown, Lee County, S.C.; and an oral history recordings of Ivory ("He") Wilson (1913- ), an African American retired farmer of Lee County, S.C. Additional recordings found in the collection include a live recording of Arthur Lee "Tommie" Bass (1908-1996), a white herbalist from Alabama, on a field hike in Duke Forest, Durham County, N.C., as well as live recordings of Donald Davis, a white tale teller from North Carolina, performing and discussing four different jack tales as part of a small group discussion in the Graduate Lounge of Greenlaw Hall on the University of North Carolina at Chapel Hill campus. The collection also contains supporting documentation prepared by former Southern Folklife Collection staff that correspond to the Lee County, S.C. and Donald Davis recordings. Documentation consists of select transcripts and tape logs, which include both technical information on the recordings and descriptions of content.

The Ed Solomon Collection consists of audio recordings of folk and bluegrass music created and compiled by music manager and promoter, Ed Solomon. Recordings consist of dubbed compilations created by Solomon, as well as live recordings recorded by Solomon at American bluegrass festivals and music clubs. Notable artists featured on the live recordings include Joan Baez, Jimmy Martin, Bill Monroe, New Lost City Ramblers, Jean Redpath, Mike Seeger, Pete Seeger, Ralph Stanley, Doc Watson, and Mac Wiseman. The collection also contains documentation related to the audio recordings, including log books and scattered field notes found with select recordings.

The Sons of the Pioneers was one of the leading vocal and instrumental groups in Western music. They were especially known for their harmonies, songwriting, and musicianship. In addition to their creative success, the Pioneers were among the longest lasting groups in the history of country music, celebrating 65 years of continuous performances in 1998. Over the years, the members of the group included Pat Brady, Ken Carson, Ken Curtis, Tommy Doss, Hugh Farr, Karl Farr, Shug Fisher, Luther Nallie, Bob Nolan, Lloyd Perryman, Rusty Richards, Roy Rogers, Tim Spencer, and Dale Warren.

The recordings on audio cassette tapes contain live performances by western music singing group Sons of the Pioneers on KERA Radio broadcast from Dallas, Tex., in 1977. Robert L. Huffman of Portland Ore., donated the tapes in 1981. Acquired as part of the Southern Folklife Collection.

Souls Grown Deep Foundation is dedicated to documenting, preserving, and promoting the contributions of Black artists from the southeastern United States, and the cultural traditions in which they are rooted. The Souls Grown Deep Foundation was founded by William Arnett, an art historian, scholar, and collector. Since its inception in the 1980s, the foundation has been located in Atlanta, Ga.

Audio recordings of the North Carolina Arts Council funded radio series, Sounds of the South, which aired on WUNC-FM's Backporch Music from 1991 to 1994. Hosted by Tom Hanchett, the series consisted of thirty-minute programs that primarily featured 1930s and 1940s classic country music sourced from the Southern Folklife Collection at the University of North Carolina at Chapel Hill. Folklorist, Wayne Martin, and former UNC Sound and Image Librarian, Mike Casey, were also involved in the production of the series. Program themes on the series included songs of prohibition, early country radio, southern Christmas songs, southern storytellers, women blues singers, the local music scene, The Two Sisters ballad, music from the Carolina coast, local music festivals, Durham blues, preserving African-American traditions, and southern author, Lee Smith. Also included in the collection is an episode list for the 1991-1992 programs, a tape log for the Preserving African-American Traditions program, and photocopies of clippings regarding the program.

Sound recordings, posters, and ephemera related to the surf rock and rockabilly music group Southern Culture on the Skids of Chapel Hill, N.C.

The collection of organizational records, audiovisual materials, and photographs documents the Southern Folk Cultural Revival Project, an organization based in Nashville, Tenn., and founded in 1966 by African American folklorist, singer, and civil rights activist Bernice Johnson Reagon and white folklorist and folk musician Anne Romaine. The Southern Folk Cultural Revival Project (SFCRP) worked to present traditional musicians from African American and white cultures in performance together at a time when this was considered controversial. The SFCRP continued presenting musical performances throughout the South until the late 1980s, keeping close ties with the civil rights movement.

The materials in this collection were compiled from various sources by Southern Folklife Collection staff, with the goal of creating a reference resource to aid in research. Artist name files contain correspondence, booklets, obituaries, press releases, discographies, promotional materials, and other items relating to many of the artists whose work is relevant to the Southern Folklife Collection as a whole.

The collection consists of materials related to record labels, discographies, and record collecting in the United States and around the world, 1907-2006. Included are recording catalogs, discographies, press releases, newsletters, record release announcements, promotional materials, newspaper and magazine articles, ledgers, and correspondence. Also included are collectors' inventories; auction, sale, and wants lists; collectors' reference guides; and directories of record collectors. Some catalogs, on the Capitol, Conqueror, Columbia, Decca, Gennett, Harmony, His Master's Voice, King, MGM, Okeh, Parlophone, RCA Victor, Regal, Vocalion, and Zonophone labels, date from the 1920s, 1930s, and 1940s. There is also a Victor Records catalog from 1907 and a 1924 Paramount and Black Swan catalog annotated by Paramount producer J. Mayo Williams and sociologist Guy B. Johnson. Okeh Records material includes original label copy for about 150 records released by Okeh in the 1920s. The collection also contains substantial materials related to the American Record Corporation, Arhoolie, Bear Family, Champion, County, Edison, Romeo, Sugar Hill, and Smithsonian/Folkways record labels. There are less inclusive materials relating to many other companies. Ledgers include Brunswick and Vocalion ledger sheets from the 1920s, as well as ledgers of recordings made by record producer Art Satherley. Among the collectors represented are Eugene Earle, John Edwards, Will Roy Hearne, and D.K. Wilgus; among those with extensive discographies are Kitty Wells and Johnny Cash.

This collection contains fan club newsletters, primarily published by the fan clubs of country music artists. Artists significant in the collection are listed as access points. There are also several publications of the International Council of Fan Clubs and the International Fan Club Organization.

This collection contains materials from various music and folk festivals held throughout the United States and internationally in Australia, Canada, England, and other countries, 1936-2005. Festivals center around music (chiefly bluegrass, blues, country, folk, jazz, old-time, cajun, and zydeco) and/or crafts, dance, storytelling, fiddling competitions, or other similar topics and activities. Included are flyers and other promotional materials, programs, guides, newspaper clippings, and other items.

This collection comprises field notes, transcripts, memos, ephemera, and other items associated with sound and video recordings assembled at the Southern Folklife Collection. The identifying number for the associated recording as well as provenance information (where available) is noted in the finding aid. Materials in this collection are associated with recordings from a wide variety of collections, including those of Andy Cahan, Bob Carlin, Cecelia Conway, the John Edwards Memorial Foundation, Joan Fenton, Peter Hartman, Glenn Hinson, John Huddle, A. P. Hudson, Beverly Patterson, Daniel Patterson, and many others. The recordings in those collections include materials produced for commercial distribution as well as (predominantly) materials gathered in a field context by folklorists. The notes include information on African American music, banjo music, Primitive Baptist church music, country music, fiddle tunes, folk music, folklorists, old-time music, popular music, storytelling, and other topics, chiefly but not exclusively relating to North Carolina or the American South.

Southern Folklife Collection Moving Image Materials were compiled, 1972-1989, from various sources, including the University of North Carolina at Chapel Hill Folklore Department and the North Carolina Department of Cultural Resources. The collection includes videotapes on North Carolina and South Carolina history, town life, culture, religion, and churches; folklife, folk art, and folk music; African American music, dance, and verse; medicine shows; Confederate officer Zebulon Baird Vance; African American slave Denmark Vesey; musicians Pink Anderson, Henry Johnson, Willie Trice, Dink Roberts, Guitar Shorty, Jamie Alston, Wilber Atwater, Bascom Lamar Lunsford, and John Dee Holeman; the Blue Grass Rangers; folklorist Bruce Bastine; University of North Carolina at Chapel Hill professor Glenn Hinson; and filmmakers Tom Rankin, Beverly Boggs, Rosemarie Hester, Vik Lukas, Cecelia Conway, Tom Davenport, Joan Fenton, and Roger Manley. There are some interviews with and performances by blues and folk musicians, and some items include storytelling. Locations in North Carolina include Badin, Weaverville, Hot Springs, Durham, Elizabethtown, Pittsboro, and Creedmore. Locations in South Carolina include Spartanburg, Union, Wadmalaw Island, and Johns Island. All of the videotapes are U-Matic, 1/2-inch open reel, and 2-inch videotapes with sound. Both field recordings and documentary films are represented.

The Southern Folklife Poster collection comprises posters received from various sources and assembled by the SFC. The posters include advertisements for live performances, conventions, festivals, meetings, dances, and exhibits; promotional materials for commercial recordings; reproductions of drawings, engravings, and other works of art; and other assorted ephemera. Highlights include an 1847 poster for Christy's Minstrels; circa 1950 two-color posters for Grand Ole Opry stars Ernest Tubb, Minnie Pearl, Bill Monroe, Eddy Arnold, and Whitey The Duke of Paducah Ford; advertisements for Carolina Folk Festivals in the late 1940s and early 1950s, and folk festivals in Berkeley, Calif., New York, N.Y., and Chicago, Ill., in the 1960s; a series of circa 1950 posters for country and bluegrass shows at the Lyric Theatre in Rainelle, W.Va.; a circa 1950 poster for a Hillbilly and Variety Show in Collingwood, Victoria, Australia; and a poster advertising the 1967 Monterey International Pop Festival.

The collection consists of materials related to radio stations and television stations in the United States and Mexico, 1930-2005. Materials include program guides, radio playlists, station newsletters, promotional materials, newspaper and magazine articles, station-produced publications, correspondence, press releases, and about 56 press release photographs from KBBQ in Burbank, Calif. Some KBBQ photographs depict country music recording artists, including Lynn Anderson, Eddy Arnold, Glen Campbell, Jimmy Dean, Merle Haggard, Lee Hazlewood, Ferlin Husky, Waylon Jennings, Jerry Lee Lewis, George Lindsey, Roger Miller, Buck Owens, Ray Price, Jeannie C. Riley, Tex Ritter, Nancy Sinatra, Hank Thompson, Sheb Wooley, and Tammy Wynette; Hollywood tailor Nudie Cohn; and actor Andy Griffith. Station publications include about 150 issues of Stand By! from WLS in Chicago, Ill., from the 1930s and 1940s. There is also material relating to the Southern Baptists Radio-Television Commission.

The collection consists of sheet music and song lyrics from the United States, circa 1852-1988. The sheet music is largely for country songs. Much of this music was published by Acuff-Rose of Nashville, Tenn., but other music publishers are also represented. Among the artists represented are Felice and Boudleaux Bryant, Martha Carson, Helen Carter, Don Gibson, John D. Loudermilk, Ira and Charles Louvin, Roy Orbison, and Leon Payne.

This collection consists of song folios from the United States, Canada, Australia, and England, circa 1882-1983. Some folios were published by radio stations, including WSM in Nashville, Tenn., and WWVA in Wheeling, W.Va. Musical genres and song styles represented include calypso, comedy songs, country songs, cowboy songs, gospel songs, Hawaiian songs, hobo songs, hymns, Irish reels, labor songs, Latin-American songs, minstrel songs, Mormon songs, novelty songs, parodies, popular songs, spirituals, songs of the Industrial Workers of the World, traditional songs, union songs, vaudeville, western songs, and World War II songs. Significant persons and groups are listed below.

The collection comprises 303 folders containing background information on subjects germane to the collecting mission of the Southern Folklife Collection. These subjects, while they all pertain to folkways and traditions in North Carolina or other locations in the American southeast, span a broad array of academic disciplines and cultural interests. General topics include African American music, ballads, banjo music, bluegrass music, blues, cajun music, country music, cowboy music, fiddle music, folk music, gospel music, guitar music, hillbilly music, jazz, old-time music, rhythm and blues, rock, western swing, zydeco, and other types of music; animal calls; folklore and customs of the Appalachian region; folk art; folklore; furniture; ghost stories; hollering; Native Americans; labor lore and songs; legends and storytelling; Melungeons; minstrel shows; oral traditions; Primitive Baptists; race relations; shape note singing; snake cults; square dancing; tattooing; Waldenses; and others. Materials contained in the files include newspaper clippings, magazine articles, pamphlets, other writings, theses, dissertations, correspondence, memoranda, handbills, sheet music, press releases, bibliographies, discographies, newsletters, theater and concert programs, catalogs, instructional booklets, exhibit guides, directories, invitations, brochures and church fans.

The Southern Folklife Transcription Discs consist of commercially recorded transcription discs documenting a wide array of radio programs and individual performers from the early 1940s through the late 1960s. Performers represented include: Eddy Arnold; Chet Atkins; Gene Autry; Johnny Bond and His Red River Valley Boys; June Carter (June Carter Cash); the Cass County Boys; Spade Cooley; Eddie Dean and the Pals of the Golden West; Jimmy Dean; Johnny Desmond; Duke Ellington; Tennessee Ernie Ford; the Harmoneers; Hawkshaw Hawkins; Ferlin Husky; Hank Keene and His Gang; Pee Wee King and His Golden West Cowboys; Texas Jim Lewis and His Lone Star Cowboys; Hank Penny and His California Cowhands; the Prairie Ramblers; Riders of the Purple Sage; Carson Robison and His Buckaroos; Carl Smith; the Sons of the Pioneers; Uncle Henry's Original Kentucky Mountaineers; Kitty Wells; Tex Williams; Bob Wills and His Texas Playboys; and many more. Radio programs represented include: Old Fashioned Revival Hour; Music by the Baptist Hour Choir; and The Human Adventure: Story of Ballads. Genres documented include country music, Hawaiian music, jazz, and western swing.

The Southern Highland Handicraft Guild is a non-profit educational organization with a focus on teaching people in the southern Appalachian mountains traditional handicrafts and providing market outlets for them. The Guild represents over 700 craftspeople in 293 counties of nine southeastern states. From 1993 to 1995, Georgia Wier, a white folklorist for the Southern Highland Handicraft Guild, with assistance from Ron Ruehl, Patience Bingham, and Betsy Baker, documented the handicraft work of individual, educational, and organizational members of the Guild in North Carolina. The documentation consisted of interviews with individual artists focusing on their craft and their association with the Guild and other folk art schools, organizations, or family businesses. The handicrafts of woodworking and weaving are particularly well represented, with a number of folk schools and artists documented. Also included are colonial knotting, pewter work, pottery, Hmong needlework, and dried flower arrangement.

Audio recording of bear hunting tales told by Erwin Peterson, a white storyteller of Sampson County, N.C., for a documentary film project produced in Austin, Tex. Recorded by Bernard Stafford on 3 May 1986. Little is known about Bernard Stafford and their connection to the recording.

The Chris Stamey Collection consists primarily of audio recordings related to Chris Stamey, a white musician and record producer, who was a member of the American pop rock groups, the Sneakers and the dB's. The collection contains mixes, masters, demos, and outtakes by the Sneakers, the dB’s, and subsequent solo projects, as well as recordings by artists that Stamey collaborated with, including Alex Chilton, Peter Holsapple, Whiskeytown and Tift Merrit, and Yo La Tengo, among others. The collection also contains track sheets and other documentation related to the recordings found in the collection.

Recording of an interview with the Clewis family musicians, including Tony Clewis, his father Buck Clewis, and his mother, and live performances of songs on the banjo, piano, and voice. Kay Stanley recorded the Clewis family in Riverview, N.C. ("Crusoe Island") on 20 June 1974. Little is known about Kay Stanley and their connection to the recording. The collection also contains a cover sheet prepared by former staff of the Southern Folklife Collection, which includes minimal information, such as collector and informants names and technical data on the recording.

The Star Concertina Manufacturing Company Collection contains printed items including sheet music and a song book for the concertina and accordion, a self-teaching manual for playing the concertina, an article by accordion player and collector Yoshiya Watanabe (1952-2013), a brief history of the concertina by William W. Brown, and advertisements and ephemera related to the manufacture and sale of concertinas, bandonions, and accordions. Acquired as part of the Southern Folklife Collection.

The interview recorded on two audio cassette tapes is with a person identified only as Hattie Powell. Mary Margaret Steedly, then a student at the University of North Carolina at Chapel Hill, conducted the interview in circa 1977 for a folklore class. No information about Hattie Powell was provided with the recordings. Acquired as part of the Southern Folklife Collection.

Lew Stern, a white author, writes on banjo history, 18th century British banjo makers, and other banjo-focused topics. The collection consists chiefly of Stern's research materials on traditional musicians Dwight Diller and Tommy Thompson, founding member of the Red Clay Ramblers. Materials consist of research files, audiocassette recordings of interviews and workshops, and born-digital materials compiled and created by Lew Stern. The addition includes a flyer promoting the 2019 Vandalia Gathering; correspondence with John Cohen, a white musician and musicologist, and Malcolm Owen, a white fiddler in the Fuzzy Mountain String Band; and contextual information about these items provided by Stern.

The Connie Jean Stone Collection contains an audio recording of husband and wife, Roy Coleman and Ollie Coleman, white storytellers of Iredell County, N.C. On the recording, Roy and Ollie Coleman, perform ghost stories, witch stories, and supernatural legends related to Iredell County, including stories about family members. Connie Jean Stone, a white student at the University of North Carolina at Chapel Hill, made the recording for a folklore class project while at UNC. The collection also contains supporting documentation, consisting of a tape log created by former Southern Folklife Collection staff.

Molly Stouten, artist, art educator, and musician, of Greensboro, N.C. The collection contains a handmade book by Stouten illustrating the traditional folk ballad Omie Wise and 23 field recordings of traditional Appalachian music. One of 15 of its kind, the book includes eleven intaglio prints with the text of the ballad set in linotype. Also included are slides and other materials relating to the book. The field recordings are from several visits and a 1992 residency Stouten did in the Cumberland Plateau region of Tennessee and Kentucky. They document musicians, including fiddlers and traditional singers, mostly from Jamestown, Tenn.; Monticello, Ky.; and Fentress County, Tenn. Kentucky fiddler Clyde Davenport is prominently featured. Also appearing on the audio recordings are John Doss, Merta Doss, Nancy Hicks Winningham, Charlie Acuff, Clyde Troxell, Ralph Troxell, and Virgil Anderson.

The Bryson Strauss Collection consists of live audio and video recordings, 2000, of North Carolina based alternative-country bands, Tift Merritt and the Carbines and Trailer Bride. Compiled by Bryson Strauss, the recordings were made by Aaron Taylor at the Historic Playmakers Theatre in Chapel Hill, N.C. The performances were part of the first annual Classic Sounds of the South concert series sponsored by the University of North Carolina at Chapel Hill's Curriculum in Folklore. Recordings are on Digital Audio Tape (DAT) and MiniDV.

The collection contains documentary projects and corresponding fieldwork created between 1999 and 2003 by college students who completed Into the Fields internships conducted in North Carolina and South Carolina by Student Action with Farmworkers, a nonprofit organization. Oral history interviews, photographs, videos, audio recordings, and publications document the life stories and experiences of farmworkers, many of whom migrated from Mexico and Central America to the southeastern United States. Topics explored in the students' documentary projects include farmworkers' foodways, oral literature and storytelling, folklore, religious beliefs and practices, holiday traditions and celebrations, life in migrant worker camps, the labor movement, and traditional arts, crafts, music, and dance. Many items in the collection including transcriptions of oral history interviews are in Spanish.

Design work by Sue Meyer Design, a design firm founded by white graphic designer, illustrator and art director Sue Meyer, including publications by Southern Culture on the Skids, Hasil Adkins, Sugar Hill Records, the Museum of Life and Science, and Algonquin Books. Materials consist of design and print mechanicals, production mockups, package design, book jacket design, printed promotional posters and a printed catalog.

Founded in 1978 in Durham, N.C., the bluegrass and Americana record label Sugar Hill Records has released albums by more than 100 artists including Dolly Parton, Doc Watson, Nickel Creek, Townes Van Zandt, Donna the Buffalo, Ricky Skaggs, Bad Livers, and Red Clay Ramblers. Recording artist files containing press packets, album reviews, newspaper clippings, and publicity photographs comprise the bulk of the collection. The collection also contains commercial recordings released by Sugar Hill, demo tapes from artists, publicity materials and printed items for the label, and office files with contracts, licensing agreements, correspondence, and financial documents. Acquired as part of the Southern Folklife Collection.

Jason Summers and Kate Fix created the film Unknown Passage: The Dead Moon Story (2006). The collection consists of a poster for the film, two holiday postcards created by Jason Summers and Kate Fix, and a digital sound recording, 15 February 1992, of the band Pipe performing live at Jason Summers' apartment in Chapel Hill, N.C. The addition of December 2021 contains digital images of approximately 70 paintings and other works by Bynum, N.C., folk artist Clyde Jones, taken by Jason Summers at his home in Graham, N.C. in February 2020.

Brett Sutton (1948- ) was born and raised in Champaign-Urbana, Ill. He eared as Masters degree in 1976 from the Curriculum of Folklore at the University of North Carolina at Chapel Hill. His thesis focused on African American spiritual folk singing around Raleigh and Durham, N.C. Peter Hartman (1959- ) earned a B.S. in 1975 UNC. Hartman, also a banjo player, joined Brett Sutton to explore their mutual interest in religious folk music. In 1976, they moved to southwestern Virginia where they worked on an NEH-funded project called Religious Folksongs in the Virginia Mountains. From this research, they produced a book and LP recording called Primitive Baptist Hymns of the Blue Ridge (UNC Press, 1982). The collection consists of sound recordings and documentation relating to Sutton and Hartman's NEH project. The folk hymn singing tradition of conservative Baptists in southwestern Virginia in worship services and congregational meetings were recorded in rural churches, and interviews and songs were collected in congregation members' homes. Supplemental information and transcripts include indices of texts, songs, and informants. Also available is an inventory and comparative summary of tunes collected and the NEH grant application, which includes a narrative about the purpose, significance, and scope of the project.

Folklorist and librarian Brett Sutton was born in 1948 and raised in Champaign-Urbana, Ill. He enrolled in the Curriculum of Folklore at the University of North Carolina at Chapel Hill, earning a Masters degree in 1976. His thesis project, The Gospel Hymn, Shaped Notes, and the Black Tradition, focused on African American spiritual folk singing in North Carolina. The collection includes reel-to-reel tapes with cover sheets, tape indices, and content notes for each recording that were gathered for Sutton's thesis research. These tapes were recorded in several locations, including the World's Greatest Church of Our Lord Jesus Christ of the Apostolic Faith in Durham, N.C., an African American congregational church. Recordings consist of Sunday morning services; a benefit to honor the choir's sixth anniversary; shape-note gospel hymns; spirituals; and interviews with Gurtha Dunston, leader of the vocal choir at Gethsemane Baptist Church in Franklin County, N.C. Other tapes contain music and preaching recorded from WSCR radio broadcasts in Durham.

The dvd compiled by Phil Tanner of Dacula Ga., contains film footage from 1955 of Gid Tanner (1885-1960), fiddler with the old-time string band and recording artists the Skillet Lickers. The footage shows Gid Tanner playing music at home with his sons Gordon and G.W. Tanner and playing with Earl Johnson of the Clodhoppers and Johnson's sons Robert and Roger Johnson. The dvd also contains a 1982 documentary titled and a program recorded at Wolf Trap in Vienna, Va., that same year. Acquired as part of the Southern Folklife Collection.

The collection contains three framed panoramic photographs of participants in the biannual Tennessee Banjo Institute held in Cedars of Lebanon State Park near Lebanon, Tenn. The Institute was a three-day event with workshops, lessons, and concerts including the Banjo Meltdown. The images show the large groups of participants all holding their banjos. The timed exposure for the panoramic photographs allowed at least two notable participants, Béla Fleck and Pete Seeger, to appear on both sides of the image taken in 1992. Acquired as part of the Southern Folklife Collection.

Photographic materials, audio, video, posters, ephemera publications, memorabilia, and audiovisual materials created and collected by D. Kent Thompson, a white photographer, in the course of documenting the independent rock music scene in North Carolina in the 1980s, 1990s, and 2000s and the "Moral Monday" movement and other grassroots protests and marches centered in Raleigh, N.C., beginning in 2013. Moral Mondays protests began in North Carolina in spring 2013 in response to actions by the Republican-led state government. Later protests focused on the Poor People's Campaign, gun violence, women's rights, transgender rights, and immigration policies separating children from their families. The International Bluegrass Music Association is also documented.

During the 1940s and 1950s, white country music singer and guitarist Glenn Thompson was a popular bandleader, radio personality, and recording artist, performing first with the Burlington, N.C.,-based Blue Ridge Entertainers and subsequently with his own Dixie Playboys. Thompson continued to perform regularly and released several recordings as both soloist and bandleader until his retirement in 1985. The collection includes photographs and sound recordings documenting Thompson's musical career. Photographs feature Thompson, his bandmates, and associates during the 1940s and 1950s, and include several promotional shots of Thompson, the Blue Ridge Entertainers, and the Dixie Playboys. Photographs also document Thompson's involvement with Danville, Va., radio station WDVA and his performance at a number of venues, including the WDVA Barn Dance, the Carolina Theatre (Burlington), a voting rally, a WTOB (Winston-Salem) television show, and several radio stations. Also included are photographs of comedians who performed in Thompson's stage show, most commonly long-time bandmate Sleepy Johnson and WDVA personality Homer T (Thomasson). Other performers include Charlie Monroe; armless musician Ray R. Meyers; and the Louvin Brothers. Sound recordings include CD copies of commercial 78 rpm records and LP records; original 45 rpm records; and cassettes and compact discs issued privately by Thompson or by the Greensboro-based Skatter label. A taped interview, in which Thompson comments on the collection's photographs, provides anecdotes about Buck Owens, Bill Monroe and Charlie Monroe, Lester Flatt and Earl Scruggs, the Louvins, Ray Meyers, Thompson's bandmates, and Thompson's musical experiences in Danville and Burlington.

The Tommy Thompson Collection includes materials primarily relating to Thompson's musical and theatrical activities, 1970s-1990s. Tommy Thompson (1937-2003), a white co-founder of both the Hollow Rock String Band and the Red Clay Ramblers, was also a playwright, composer, and actor. Included are rough drafts, final scripts, scores, publicity, photographs, correspondence, and other materials related to dramatic works that Thompson authored or co-authored, scored, or performed in.

Cheryl Thurber is an interdisciplinary scholar, cultural historian, folklorist, and photographer. During the 1970s and 1980s, Thurber traveled with fellow folklorist and music historian David Evans through Mississippi, Alabama, Georgia, Tennessee, Texas, Louisiana, and California, documenting African American communities, local musicians, and local musical traditions.

Allen Tullos graduated in 1976 from the University of North Carolina at Chapel Hill with a Masters degree in folklore; he also earned a Ph.D. in American Studies from Yale University. His research interests have centered on American popular culture, the South, cultural geography, biography, and documentary forms.

The 1966 field recording on open-reel audiotape contains performances of cante fables, including "The Castle of Calamancas," and ballads. Author James B. Twitchell, then a student at the University of North Carolina at Chapel Hill, recorded his family members' folk performances in his hometown of Burlington, Vt. Acquired as part of the Southern Folklife Collection.

Lesa Ukman co-founded IEG Inc. (www.sponsorship.com) in 1981 and serves as its President and Chairman. Prior to founding IEG, she served in the Mayor's Office of Special Events for the City of Chicago, creating the blueprint for sponsorship of festivals and municipal marketing. The collection consists of posters relating to music festivals, including the Beale Street International Festival, Bubmershoot, Jimi Hendrix Guitar Festival, New Orleans Jazz and Heritage Festival, Cowboy Poetry, Montreaux Jazz Festival, and Chicago Kool Jazz Festival.

John S. Ullman, a white concert coordinator, director, and manager, co-founded the Seattle Folklore Society in the 1960s and later was a manager for artists including Elizabeth Cotten and Mike Seeger. Collection contains 23 16mm motion picture kinescopes and 48 open reel audiotapes of concerts and workshops organized and produced by Ullman. Recorded artists include: Fred McDowell, Lightnin' Hopkins, Mike Russo, Doc Watson, Booker T. Washington "Bukka" White, Jesse Fuller, Mike Seeger, Sonny Terry and Brownie McGhee, Roscoe Holcomb, Furry Lewis, John Lee Hooker, Son House, Georgia Sea Island Singers, New Lost City Ramblers, Bill Monroe, Robert Pete Williams, Vern & Ray, Joe Pancerzewski, Reverend Gary Davis, Hamza El Din, Ramblin' Jack Elliott, Sam Hinton, Mance Lipscomb, Ralph Stanley, Big Joe Williams, Buell Kazee, the Mills Family, and others.

The collection contains the culminating student projects for a folklore class at the University of North Carolina at Chapel Hill. Professor Danielle Christensen taught the course, Introduction to Material Culture, in 2011. The projects are on different arts, crafts, foodways, and folkways, primarily in North Carolina. Topics include camping, pottery, recreational fishing, bee keeping, canning, pie making, calligraphy, home brewing, aromatherapy and alternative medicine, crochet, and mountain banjo. Field notes, audio recordings of interviews with field consultants, tape logs, digital images, and narrative reflections comprise the project of each student. Acquired as part of the Southern Folklife Collection.

The collection consists of two award-winning submissions for the Center for the Study of the American South's Sounds of the South Award for Undergraduate Research, 2011-2012, and contains field recordings, logs, award proposals, and final reports. Acquired as part of the Southern Folklife Collection.

The Dave Van Ronk Collection consists of audio recordings, 1965-1971, created and compiled by Dave Van Ronk, an American folk singer and an important figure in the American folk music revival and the Greenwich Village music scene for more than four decades. The collection includes concert recordings of Van Ronk circa 1967, 1969, and 1971, a WBAI radio show of Dave Van Ronk and Terri Thal, a work tape of his 1967 album Dave Van Ronk and the Hudson Dusters, as well as recordings of Ian Buchanan, Tom Paley, and Bob Dylan.

Personal papers of John Vlach, scholar of African American folklife, vernacular architecture, and folk art. The collection consists of correspondence and teaching, research, and publishing files, 1970s-2000s. Acquired as part of the Southern Folklife Collection.

The collection of white musician, record producer, and writer Stephen Wade (1953- ) contains press clippings, posters, magazines, performance programs, and other printed and published items; scrapbooks; commercial recordings; and non-commercial audio and video recordings, both analog and digital. Materials document Wade's musical career and his projects on American traditional music. Scrapbooks and press clippings pertain chiefly to Wade's one-person theatrical show called "Banjo Dancing," which combines storytelling, traditional music, and percussive dance. Commercial recordings are 78 rpm, LP, and other discs from the personal collection of American folklorist and anthropologist with expertise in Haitian life, Harry Courlander. Non-commercial audio and video recordings contain musical performances by Wade and others, and most are related to his projects on American traditional music, particularly Banjo Diary: Lessons from Tradition (2012) and the Smithsonian Folkways compilation Hobart Smith, In Sacred Trust: The 1963 Fleming Brown Tapes (2005). The collection also includes numerous audio and video recordings compiled by Wade, including dubs of live performances and commercial releases of folk music and bluegrass by mostly white performers, such as Blue Sky Boys, Carter Family, Buell Kazee, Jimmy Martin, Earl Scruggs, and Stanley Brothers. The addition of 2018 contains audio and moving image materials relating to Bruce Kaplan, a white folklorist and founder of Flying Fish Records, a Chicago based record label that specialized in folk, blues, gospel music, and country music. The addition includes master audio tapes of Flying Fish artists, including the Zion Harmonizers, Hickory Wind, and Bryan Bowers; live recordings of the Berryville bluegrass festival; copies of Martin, Bogan & Armstrong's Barnyard Dance (1972); as well as film and video recordings related to Bruce Kaplan. Acquired as part of the Southern Folklife Collection.

The Elijah Wald Collection consists primarily of materials related to publications by American folk blues guitarist and music historian, Elijah Wald. Subjects of Wald's publications include the Narcocorrido folk music of northern Mexico; blues singer and guitarist, Robert Johnson; folk singer, Dave Van Ronk; blues singer, guitarist, and civil rights activist, Josh White; the evolution of popular music; and the various music genres found along the Mississippi River. Of particular note are the audio interviews that Wald conducted for select publications. Notable interviewees include Oscar Brand, Compay Segundo, Barbara Dane, Tom Glazer, Sam Hood, Ali Akbar Khan, Barry Kornfeld, Christine Lavin, Josephine Premice, Pete Seeger, Irwin Silber, Wavy Gravy, Izzy Young, and members of the Josh White family. The collection also contains interviews and transcripts for his writings on roots and world music for the Boston Globe and other publications, master audio recordings of Elijah Wald's commercial recordings, and other materials compiled by Wald, including writings on the 40th anniversary of Arhoolie Records, course materials, and publicity for Wald's music.

Ellen Walters, filmmaker, teacher, and anthropologist of Laurinburg, N.C., has produced and directed several documentary films on southern culture. The collection includes unedited video footage used in the making of The Firehouse Women: Faith, Food and Fellowship (1998) and the final edited copy of the film. The Firehouse Women, funded in part by a folklife documentation grant from the North Carolina Arts Council, features the Gibson, N.C., Firehouse Restaurant and its family of owners--three generations of women restaurateurs. The restaurant is known for its southern-style cooking, a cappella gospel music performed by the owners, and its family atmosphere.

Audio recording of an interview with Billy Edd Wheeler, a white singer, poet, songwriter, storyteller, and playwright who grew up in Highcoal, W.Va., and lives in Swannanoa, N.C. Recorded in 1975 by University of North Carolina at Chapel Hill student, John N. Warner, a white commercial photographer who graduated from UNC in 1976. Warner made the recording in an English 187 course taught by Daniel W. Patterson for a term paper titled "An Introduction to Billy Edd Wheeler,” which is also found in the collection.

The collection of accordion player and collector Yoshiya Watanabe contains two issues of magazine with articles by Watanabe, English translations of those articles, and a letter from Watanabe to former curator of the Southern Folklife Collection, Michael Taft. The articles are "On the Trails of AA [Alfred Arnold]" about bandoneons built in the Vogtland-Erzgebirge region of Germany in the nineteenth century and "The Chemnitzer Concertina-a big brother of the bandoneon breathing actively in the Mid United States." Acquired as part of the Southern Folklife Collection.

Photographic negatives and proof sheets created by photographer, writer, and music promoter Dick Waterman in the course of documenting the blues, country, and rock music scenes in the United States during the 1960s, 1970s, 1990s, and early 2000s. Included in the collection are images depicting music legends Joan Baez, Chuck Berry, Eric Clapton, Ray Charles, Albert Collins, Reverend Gary Davis, Willie Dixon, Champion Jack Dupree, Bob Dylan, Buddy Guy, John Lee Hooker, Lightning Hopkins, Son House, Mississippi John Hurt, Etta James, Skip James, Janis Joplin, Junior Kimbrough, Robert Lockwood, Albert King, B. B. King, Mance Lipscomb, Taj Mahal, Mississippi Fred McDowell, Brownie McGhee, Dave Van Ronk, Bobby Rush, Otis Rush, Rolling Stones, Roosevelt Sykes, Sonny Terry, Mavis Staples, Othar Turner, Sippie Wallace, Muddy Waters, Junior Wells, Big Joe Williams, and Robert Pete Williams. Materials depict musicians playing at a variety of events and venues including, Newport Folk Festival, Newport, R.I.; WGBH-TV studios, Boston, Mass.; Ft. Lauderdale Blues Festival, Ft. Lauderdale, Fla.; and the Bull Durham Blues Festival, Durham, N.C.

The 1972 recordings on open-reel audiotape contain performances by African American gospel singers including members of Echoes of Zion from Scotland County, N.C. Also included on the recordings are three spirituals sung by Novella Covington. Mary Wayne Watson, a white student at the University of North Carolina, made the recordings in Wagram, N.C. Field notes accompanying the recording provide information about the singers and lists songs performed including "I want to walk (be) just like him," "We come this far by faith," and "Let me lean on you." Acquired as part of the Southern Folklife Collection.

Contains the personal files of personal files of Edward Weiss AKA "Charlie Brown", a white Jewish disc jockey and host of the syndicated beach music program On the Beach with Charlie Brown. From 1964 until 1970, Brown was evening host on Top 40 WKIX in Raleigh, N.C. Materials include song playlists, newspaper clippings, promotional materials, photographic prints, and open reel tapes. One of the tapes includes interviews Brown conducted backstage with touring musicians in the late 1950s, including Clyde McPhatter, Bo Diddley, The Platters, The Crests, Frankie Lymon, Carl Perkins, Duane Eddie, Dion DiMucci (of Dion and The Belmonts), Ahmad Jamal, Dakota Staton, and Keely Smith. There is also a rare interview with Buddy Holly.

The collection contains audio recordings made by Steve Weiss, curator of the Southern Folklife Collection. Recordings on audio cassette tape and digital audio tape (DAT) include live musical performances on the campus of the University of North Carolina at Chapel Hill by Trailer Bride and Tift Merritt and the Carbines. Other recordings are interviews with songwriters Gary Louris (1955-) and Marc Olson (1961-) of the Jayhawks, and bluegrass musician Doc Watson (1923-2012). Acquired as part of the Southern Folklife Collection.

The collection of North Carolina based rock musician Matt Welborn is an uncut layout for a record album cover. The 7" vinyl record by the musical group Razzle was released in 2003 and contains two songs, "Chuck" and "Freshen Yr Drink Guv'ner?"

The Skip Weshner Collection consists of audio recordings and papers created and compiled by Skip Weshner, a radio disc jockey and host of The Skip Weshner Show. Weshner's radio show, originally known as Accent on Sound, was based and broadcasted in both New York City (WBAI, WNCN) and Los Angeles (KRHM-FM) from the mid-1950s until the mid-1980s. The collection includes audio recordings, 1958-1984, of Weshner's radio shows as well as miscellanous papers, 1941-1984, related to Weshner and his carreer in radio. Noted guests on the audio recordings include musicians Hoyt Axton, Leon Bibb, Jose Feliciano, Bob Gibson, John Sebastian, Blossom Deary, Gordon Lightfoot, Mickey Newbury, Jerry Jeff Walker, Fred Neil, Randy Newman, John Denver, Ramblin' Jack Elliot, and Joni Mitchell.

Live audio recording of Henry Atwater (1924- ), an African American blues singer and harmonica player from Carrboro, Orange County, N.C., performing country blues songs on harmonica and voice, with a brief interview about music and religion. Recorded by Bruce Westbrook, a white University of North Carolina at Chapel Hill Library Science student, in Spring 1971 at Henry Atwater's home. Westbrook made the recording in conjunction with a term paper for Daniel W. Patterson's English 146 course, British and American Folk Song. The collection also contains supporting documentation, including an inventory, tape log, and a re-recording data sheet prepared by former Southern Folklife Collection staff.

Jerry Wexler (1917- ) was born in New York City. He was a partner with Ahmet Ertegun in Atlantic Records, an independent record label specializing in rhythm and blues, a term Wexler coined while a reporter for Billboard Magazine. With Atlantic, Stax, and other labels, Wexler created a greatly influential corpus of classic rhythm and blues, rock and roll, and soul music. He was inducted into the Rock and Roll Hall of Fame in 1987.

Personal collection of Billy Edward "Edd" Wheeler, a white author, performer, songwriter, playwright, and visual artist. The collection materials consist of personal papers, photographs, audio and video recordings, posters, and printed materials. Papers include correspondence; business records related to copyrights and royalties; manuscripts of publications for books by Wheeler, including an autobiography and writings on Appalachian humor; press clippings; press releases. Photographs consist of promotional photographic prints and slides related to his career in the music industry. Audio recordings are made up mostly of masters and outtakes related to commercial releases by Wheeler, including Asheville, Gee Haw Whimmy Diddle, and various singles and tracks. Video recordings include footage of performances and television appearances by Wheeler, including Hee-Haw and Nashville Now, as well as interviews, promotional materials, and community events featuring Wheeler, such as the The Writers' Workshop of Asheville, N.C. and Wheeler's induction into West Virginia Hall of Fame. The collection also contains various printed materials related to Wheeler and a scrapbook about his songwriting career.

The David E. Whisnant Collection consists of audio recordings and other materials compiled by University of North Carolina at Chapel Hill Professor Emeritus of English, David E. Whisnant. The recordings comprise of live performances, interviews, and dubbed radio recordings. Artists or interviewees featured on the recordings include the Blue Sky Boys, Bill Bolick, Garland Bolick, the Burke Family Gospel Singers, and Norman Edmonds, among others. Other materials found in the collection include a publicity photograph of D.L. Menard and the Louisiana Aces and student papers from David E. Whisnant's fall 1991 course, The Politics of Country Music, at UNC-Chapel Hill.

The Bebo White Collection consists chiefly of materials related to jug band music and the jug band music scene of northern and southern California. The collection contains correspondence, subject files, scattered photographs, festival posters, and other jug band materials compiled by Bebo White, a white computer scientist, jug band musician, and University of North Carolina at Chapel Hill alum. The collection also contains an open reel sound recording, 1965, featuring an interview conducted by White with Bob Dylan and Joan Baez in Raleigh, N.C., and an autographed color snapshot photograph from the session.

The Charles White and David Rhees Collection consists of an open reel audio recording, 1972, of the college radio program, Mostly Blues, which aired on WQFS at Guilford College in Greensboro, N.C. Christopher Kip Lornell, a white folklorist and ethnomusicologist, hosted the program, while Charles White, a white musician, and David Rhees, a white Guilford College student, produced and recorded the program for broadcast on WQFS. The recording features performances by Peg Leg Sam (1911-1977), born Arthur Jackson, an African American harmonica player, singer, comedian, and medicine show entertainer from Jonesville, S.C.; and Elester Anderson (1925-1980), an African American blues guitarist and singer from Conetoe, Edgecombe County, N.C., on guitar, harmonica, and voice, with brief interviews.

The collection of white videographer and producer Jim White of Chapel Hill, N.C., contains video recordings for the 1992 to 1993 community history project in Holly Springs, N.C., titled "What Was Lost: The Cultural Consequences of School Closings." Directed by professor George W. Noblit from the University of North Carolina at Chapel Hill’s School of Education, the project explored the experiences of both whites and African Americans between 1969 and 1972, when multiple Holly Springs public schools closed as a result of consolidation and desegregation. Other materials include documentation that corresponds to the Holly Spring video project, including a project description, partial script, tape logs, newspaper clippings, notes, and correspondence related to the video production and the larger project. Additional videos in the collection are of a 1995 quinceañera celebration in a Latinx community in Granville County, N.C. Acquired as part of the Southern Folklife Collection.

The letter dated 22 June 1956 is a teenage girl's first-person narrative about attending an Elvis Presley concert in Atlanta, Ga., and meeting Elvis after the performance. Writing to her friends, Genie describes the crowd of mostly screaming young girls, the presence of police for crowd control, Elvis's stage performance including the songs he sang and his dancing, his attire, and even the smell of his hair and his appearance closeup when he gave her an autograph and a kiss. Genie did not faint. The letter and envelope with collage of Elvis image cut-outs were displayed in 2011 at the American Visionary Art Museum in Baltimore, Md., and featured in the journal that same year. Acquired as part of the Southern Folklife Collection.

The collection of white folklorist and UCLA professor D.K. Wilgus (1918-1989) contains professional correspondence and papers; personal correspondence; writings and publications about Anglo American folk music; teaching materials of both Wilgus and Eleanor R. Long-Wilgus; research files and discographies for folk music artists and record labels; photographs, many taken at the UCLA Folk Festival in Los Angeles, Calif.; project files and related publications about the Titanic and outlaw Jesse James; a personal card catalog with notes and discographical information about country and western music, songsters, blues, old-time music, Irish music, Rocky Mountain ballads, and other topics; and audio recordings made or collected by Wilgus, chiefly of ballads and songs by individual performers. Audio materials also include copies of radio transcription discs of artists such as Lulu Belle and Scotty, Texas Jim Lewis, Bluegrass Roy, and Faron Young; field recordings made by Wilgus between 1969 and 1972 in Ireland of ballad singers and instrumentalists; recordings of Anglo-American ballad singer Sara Cleveland and early country musician and steel guitar player Jimmie Tarlton; items related to Naomi Wise; and interviews with country musicians Ernest Tubb and Ernest Stoneman.

The collection of artist and graphic designer Chris William of Durham, N.C., contains posters, art prints, and flyers primarily created for touring music acts performing at venues in Raleigh, Durham, Chapel Hill, Cary, and Carrboro, N.C. Most posters are numbered and signed prints. Venues represented in the gig posters include Cat's Cradle, King's, Broadstreet Cafe, Duke Coffeehouse, Local 506, Carolina Theater, Nightlight, Duke Performances, Meymandi Concert Hall, and Koka Booth Amphitheater. Musical groups and solo music artists represented in the gig posters and flyers are chiefly Americana, country, bluegrass, and rock acts including Junior Brown, Neko Case, Todd Snider, Avett Brothers, Drive-By Truckers, Maple Stave, Steep Canyon Rangers, Super Chunk, The Queers, Chris Stamey and Peter Holsapple, Megafaun, Bob Mould Band, and Susan Tedeschi. Other posters advertise for the Hopscotch Music Festival, the Flicker Film Festival, and the SXSW Music Festival in Austin, Tex. Acquired as part of the Southern Folklife Collection.

The North American Traditions Collection consists of audio recordings, 1967-2007, and videotapes, 1997, of North American traditional music created and compiled by Mark Wilson, a white professor who conducted field work and released a wide range of traditional music with the sponsorship of Rounder Records. The collection includes Mark Wilson's original field recordings, sessions, outtakes, and production masters related to Rounder Records' North American Traditions Series, as well as LP copies of the Rounder Records releases. Artists featured on the audio recordings include the Balfa Brothers, E.C. (Estil Cortez) Ball, Orna Ball, John Campbell, Winnie Chafe, Paddy Cronin, Tom Doucet, Art Galbraith, Sarah Ogan Gunning, George Hawkins, Roscoe Holcolmb, Jerry Holland, Van Holyoak, Bessie Jones, Theresa and Marie MacLellan, Carl MacKenzie, Joe MacLean, Doug MacPhee, Glenn Ohrlin, Ola Belle Reed, Almeda Riddle, Fields Ward, and Nimrod Workman. The collection also includes video recordings, 1997, featuring Owen Chapman and J. P. Fraley II, and scattered tape logs and memos found with select audio recordings.

The Ronald C. Wimberley Collection consists of live recordings of the 1970 Ann Arbor Blues Festival, which was held 7-9 August 1970 at the Otis Spann Memorial Field in Ann Arbor, Mich. Ronald C. Wimberley, a white sociologist, and John Hatch, a college friend of Ronald C. Wimberley, created and compiled the open reel recordings, which include live performances by Son House, Big Mama Thornton, Robert Pete Williams, John Lee Hooker, Howlin' Wolf, John Jackson, Carey Bell, Little Brother Montgomery, Buddy Guy, Otis Rush, Johnny Winter, Luther Allison, Mance Lipscomb, Junior Parker, Lowell Fulson, Johnny Shines, and Sunnyland Slim, among other blues musicians. The Ann Arbor Blues Festival began in 1969 and was the first electric blues festival in North America. The festival was created and organized by a group of mostly white University of Michigan students led by Cary Gordon, a native of suburban Detroit, and John Fishel, who grew up in Cleveland and had transferred to Michigan from Tulane University. Ann Arbor Blues Festival was sponsored first by the University of Michigan with help later from the Canterbury House, an Episcopal group which owned a folk club in Ann Arbor.

Audio recordings related to the 1976 Winter Folk Festival, a folk music festival held 20-24 January 1976 in Chapel Hill, N.C. The festival featured concerts, workshops, films, and jam sessions of folk music and traditions of the southern United States, including old-time, blues, Cajun, and string band music. Cecelia Conway and Jan Schochet, white graduate folklore students at the University of North Carolina at Chapel Hill, conceived of the festival, which was sponsored by UNC's Carolina Union and hosted at various venues across campus as well as the larger Chapel Hill and Carrboro community. The recordings include performances by Tommy Jarrell, Dewey Balfa, Mike Seeger, Howard Armstrong, Peg Leg Sam (Arthur Jackson, 1911-1977), Big Chief Ellis, John Cephas, Fred Cockerham, the Red Clay Ramblers, Hazel Dickens, and Alice Gerrard, among others. It is unclear who created or donated the recordings to the Southern Folklife Collection, although white folklorist and performer, Joan Fenton, is credited for recording select items. The collection also contains supporting documentation prepared by former library staff, consisting of handwritten and typed tape logs and tape index. Tape logs include song titles and performer names when known.

The James E. Wise Collection consists of field recordings of a Saturday evening church service held at the Rescue Mission Church, a holiness church of the Sons of God denomination, in Lenoir, Caldwell County, N.C. The recordings were made by historian and author, James E. Wise, while he was a graduate student in the Curriculum of Folklore at the University of North Carolina at Chapel Hill, and correspond to his 1977 thesis, The Sons of God in the North Carolina Mountains: An Exercise in Thick Description. The recordings feature music, testimonies, and sermons by Margaret Parsons, presiding preacher for Rescue Mission Church, Lenoir, N.C.; Bonnie Pennell, gospel soloist and testifier; Ray Townsell, preacher and testifier; and Coy Parsons, guitarist, gospel soloist, and testifier. Also included in the collection are tape logs and transcripts that correspond to the audio recordings found in the collection, as well as ephemera and transcripts that correspond to additional Sons of God field recordings found in the North Carolina Folklore Broadcast Collection.

Old-time musician Stephan Wishnevsky was the author of three books, including How The Hippies Ruin't Hillbilly Music: A Historical Memoir, 1960-2000 (2006).

Handwritten musical compositions, mostly in country style, of Reuben Ellsworth Wixson. Wixson played string instruments, composed music, and conducted an orchestra for silent films and vaudeville during the 1920s and 1930s in the Orlean, N.Y., area. Acquired as part of the Southern Folklife Collection.

Stan Woodward is a white southern auteur and documentary filmmaker. The Woodward Studio Limited produces documentaries on southern folk culture through the themes of American foodway and related traditions. In the 1980s, Woodward served as director of the Media Arts Center and the Communication Wing at the Capital Children's Museum in Washington, D.C., where he got to know animator Chuck Jones. Woodward also worked as filmmaker-in-residence in Georgia, S.C., and other locations where he was involved in mentoring independent filmmakers and advising classroom teachers on how to teach students to create Super 8mm films. In the 1990s, Woodward worked on productions of Satellite Distance Learning Broadcasts for various television networks.

Reminiscences by author R. Bryce Workman of Harpers Ferry, W.V., are excerpts from his longer piece titled "Reflections of a Transplanted Tarheel" that focus on his father Robert Moses Workman (1907-1980). The elder Workman, a fiddler who performed under the name Uncle Henry, played with North Carolina string bands the Silver Hill Buddies, Arizona Wildcats, and Happy Hillbillies in the 1930s, frequently as guests on WFMR radio broadcast from High Point, N.C. The reminiscences include reproductions of photographs featuring Robert Moses Workman and his string bands. Acquired as part of the Southern Folklife Collection.

The World and Identity in Ritual Action Collection consists of field recordings, papers, and photographs related to the 1981-1984 National Endowment for the Humanities grant-funded project, "World and Identity in Ritual Action: A Comparative Study in American Sectarian Religion." Conducted principally by Daniel W. Patterson, James L. Peacock, Ruel W. Tyson, white University of North Carolina at Chapel Hill professors, and Beverly Bush Boggs (later Beverly Bush Patterson), a white doctoral graduate student, the interdisciplinary grant supported the field work and study of white Primitive Baptist churches in northwest North Carolina and southwest Virginia, including churches in Alleghany County, N.C, Ashe County, N.C., and Grayson County, Va., as well as Harnett County in eastern North Carolina. Most of the collection is made up of field recordings, 1970-1987, with corresponding field notes. Field recordings consist of sermons, songs, and oral history interviews with Primitive Baptist church elders and members, including Walter Evans, Sonny Pyle, Dewey Roten, Carrie Severt, and Edd Severt, among others. Daniel Patterson, Beverly Bush Boggs, James L. Peacock, Debra Warner, Cece Conway, and Ruel Tyson recorded the majority of the field recordings between 1977 and 1983 as part of their research effort. The collection also contains video recordings of Primitive Baptist services held in Grayson County, Va., as well as audio recordings that predate the grant project, including dubbed radio broadcasts, tapes dubbed from church members' private collections, and preliminary field recordings created by Daniel W. Patterson, Blanton Owen, Beverly Bush Patterson, and Tom Rankin. Papers found in the collection are comprised mostly of printed materials by or about Primitive Baptists, including newsletters and periodicals, directories, Primitive Baptist Association minutes, and photocopies of articles, manuscripts, and publications. Other papers include notes by Daniel W. Patterson and others, as well as papers related to Beverly Bush Patterson and Tom Rankin's preliminary field work. The collection also contains photographic slides, 1982-1985, taken by Beverly Bush Patterson and Daniel W. Patterson. Photographs depict Primitive Baptist churches, church members, church events, and hymn books.

The 1985 field recording made for a folklore class at the University of North Carolina at Chapel Hill by then student Michael Louis Yopp contains folk songs and spirituals sung by his grandmother. Songs include "Old Uncle Ned," "Dan Tucker," "Roll Jordan Roll," "Slave's Christmas," and "Old Black Joe." Acquired as part of the Southern Folklife Collection.

The collection contains an audio recording of a biography of Harry "Haywire Mac" McClintock, and interviews with Jim Evans, who was the founder of the Jimmie Rodgers Society, and with Sara Carter (1898-1979), who was a member of the original Carter Family musical group. The recording includes a recitation by country music singer Dwight Butcher (1911-1978), old-time songs about trains, and steam engine train sounds. Also included in the collection is a 1989 letter from Henry A. Young of Temple, Tex., who compiled the recordings.

The Craig Zearfoss Collection consists of live video recordings, audio recordings, posters, photographs, and papers affiliated with the Triangle's indie rock music scene from 1988 to 2008. The majority of the collection consists of live video recordings created and compiled by videographer and documentarian, Craig Zearfoss, from 1993 to 2005. The videotapes, which feature live performances and interviews from local and touring musicians, were recorded at various concert venues in the Triangle, including the Brewery in Raleigh, N.C., the Cat's Cradle in Carrboro, N.C., the Cave in Chapel Hill, N.C., the Local 506 in Chapel Hill, N.C., the Duke Coffeehouse in Durham, N.C., and Pine Hill Farm in Durham, N.C. Notable musicians and bands featured on the live video recordings include, Ben Folds Five, Peter Case, Drive By Truckers, Alice Gerrard, Man or Astro-man?, Tift Merritt, Old 97's, Pipe, Southern Culture on the Skids, Squirrel Nut Zippers, Superchunk, Two Dollar Pistols, and Whiskeytown. Many of the materials found in the collection correspond to Sleazefest, an annual local music festival that Zearfoss documented from 1994 to 2004. These materials consist of live video recordings, papers, photographs, and posters. The collection also contains music videos, 1992-1998, privately released and commercial audio recordings, 1988-2004, as well as broadcast video material, 1994-1999, related to the Triangle based public access shows Live Around Town, Wide Angle, and Radiovision. Also included are posters and papers related to Zearfoss' live video recordings and the Triangle music scene at large, including concert posters and flyers, letters, press clippings, video tape logs, video release forms, and zines.

Religious studies scholar Michael J. Zogry conducted interviews for the Enduring Voices Project through a folklife documentation grant from the North Carolina Arts Council. The collection includes typed transcripts and videotapes of interviews with individual members of the Eastern Band of Cherokee Indians in Cherokee, N.C. Interviewees include herbalist Amy Grant Walker, musician Walker Calhoun, storyteller Jerry Wolfe, and woodcarver Amanda Crowe. Topics include recollections of childhood on the Cherokee Indian Reservation and Cherokee songs, dances, stories, crafts, stickball games, and medicine.

The Charles G. Zug III Collection consists of interviews, field notes, and other papers compiled by white folklorist and University of North Carolina at Chapel Hill professor, Charles G. Zug III. The majority of the collection is made up of audio interviews conducted primarily by Zug with North Carolina-based folk artists, including boatbuilders, chair-makers, painters, potters, sculptors, ship model builders, and weavers, from the counties of Burke, Carteret, Catawba, Davidson, Lincoln, and Surry. Notable interviewees include sculptor, Raymond Coins; potter, Burlon Craig; and painter, Minnie Reinhardt. The collection also contains field notes, or transcripts, created by Zug that correspond to the interviews found in the collection, as well as other papers compiled by Zug, including applications for the North Carolina Folk Heritage Award and printed materials featuring published works by Zug on the folk art and self-taught artists of North Carolina.