{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/r785h7cf2n/manifest","type":"Manifest","label":{"en":["Ola Belle Reed and Southern Mountain Music on the Mason-Dixon Line"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","metadata":[{"label":{"en":["Agent"]},"value":{"en":["Douglas Downing Peach (Presenter)","Henry Glassie (Presenter)","Nathan D. Gibson (Presenter)","Alan Burdette (Presenter)","Louise Spear (Chair)","Michael Biel (Videographer)","Leah Biel (Videographer)"]}},{"label":{"en":["Date"]},"value":{"en":["2016-05-12 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Video","Audio"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eIn August 2015, Dust-to-Digital released a two-CD/book titled Ola Belle Reed and Southern Mountain Music on the Mason-Dixon Line, featuring field and archival recordings from Indiana University’s Archives of Traditional Music and the Maryland State Archives. The publication explores a migration of Southern Appalachian musicians from the tri-state area of North Carolina, Virginia, and Tennessee, to Pennsylvania, Maryland, and Delaware from the 1930s to the 1950s. The first part of the project details the life of Ola Belle Reed—a 1986 NEA National Heritage Fellow and a first-generation participant in the migration—and the second documents the second and third generations of musicians who carry forward the tradition of Southern Mountain music in the north. This panel will explore the production of the publication and the collaboration between individual scholars and the two archives where the project’s field recordings are housed. Additionally, the panel will highlight the mastering process for the production and elucidate the relationship between this two-CD/book and the publication contexts of applied academic work and archival collections. This presentation will contribute to issues surrounding the relationship between public programs and archival collections.\u003c/p\u003e"]}},{"label":{"en":["Language"]},"value":{"en":["English"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},{"label":{"en":["Video Editor"]},"value":{"en":["Nathan Georgitis"]}}],"summary":{"en":["\u003cp\u003eIn August 2015, Dust-to-Digital released a two-CD/book titled Ola Belle Reed and Southern Mountain Music on the Mason-Dixon Line, featuring field and archival recordings from Indiana University\u0026rsquo;s Archives of Traditional Music and the Maryland State Archives. The publication explores a migration of Southern Appalachian musicians from the tri-state area of North Carolina, Virginia, and Tennessee, to Pennsylvania, Maryland, and Delaware from the 1930s to the 1950s. The first part of the project details the life of Ola Belle Reed\u0026mdash;a 1986 NEA National Heritage Fellow and a first-generation participant in the migration\u0026mdash;and the second documents the second and third generations of musicians who carry forward the tradition of Southern Mountain music in the north. This panel will explore the production of the publication and the collaboration between individual scholars and the two archives where the project\u0026rsquo;s field recordings are housed. Additionally, the panel will highlight the mastering process for the production and elucidate the relationship between this two-CD/book and the publication contexts of applied academic work and archival collections. This presentation will contribute to issues surrounding the relationship between public programs and archival collections.\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},"provider":[{"id":"https://arsc.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Association for Recorded Sound Collections"]},"homepage":[{"id":"https://arsc.aviaryplatform.com/","type":"Text","label":{"en":["Association for Recorded Sound Collections"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/097/541/small/open-uri20200922-6764-1dl2bar_1600816366.jpg?1600801993","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541","type":"Canvas","label":{"en":["Media File 1 of 2 - open-uri20200922-6764-1dl2bar.mp4"]},"duration":2876.18133,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/097/541/small/open-uri20200922-6764-1dl2bar_1600816366.jpg?1600801993","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/097/541/original/open-uri20200922-6764-1dl2bar.mp4?1600801941","type":"Video","format":"video/mp4","duration":2876.18133,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541","metadata":[]}]}],"annotations":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541/transcript/19021","type":"AnnotationPage","label":{"en":["AUTO_TRINT_Ola Belle Reed and Southern Mountain Music on the Mason-Dixon Line [Transcript]"]},"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541/transcript/19021/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Afternoon, everyone. Welcome to this session on Folk Life in Ethnomusicology. We have three wonderful papers during this session and we have a whole crew of very distinguished and knowledgeable speakers. So I think you'll really enjoy the music and the presentations. Our first speaker is going to be Douglas Dowling Piech, and he is the PHC graduate student in the Department of Folklore and Ethnomusicology here at Indiana University. His research focuses on Gullah Geechee. Music and self are in coastal South Carolina concerning issues of tourism, festival and identity. He was formerly the South Carolina Folk Life and Traditional Arts Program Director at McKissic Museum and the South Carolina Arts Commission. He will be introducing the other speakers in the presentation, and their topic is all the Bill Reed and Southern Mountain Music on the Mason-Dixon Line. Doug. Thank you, Louise, and hello to everybody, we're really happy to be here today. We're going to discuss the book and to see these set that you see on the screen called Ola Belle Reed and Southern Mountain Music on the Mason-Dixon Line. This project was published by Dust to Digital Records and it was written by Henry Glassie. Clifford Murphy, who now works for the National Endowment for the Arts and myself. The project traces a migration of musicians from the southern Appalachian Mountains of North Carolina, Tennessee and Virginia to another tri state area, that of Maryland, Pennsylvania and Delaware. And this migration took place beginning with the Great Depression and lasted throughout the 1950s. First part of this project centers on the woman you see on the screen, and that's all LaBelle read. And you'll be hearing a lot about her today. The second half of this project focuses on the third and second generation of musicians whose families participated in this migration.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541#t=12.08,151.26"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541/transcript/19021/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"What I'd like to emphasize is that this production has been a collaborative effort. The record collectors and archivists in the room today will be interested that this project was created in conjunction with the archives of traditional music at Indiana University. The archives of the Maryland State Arts Council, the aforementioned dusted digital records. And a number of folklorist and ethnomusicologist. We're affectionately referring to this bunch of people as Team Ollabelle. We're really excited today to have many members of Team Ollabelle here to talk to you about Ola Belle Reed share, about her life, about her music and the migration in which she participated. Today's talk is going to begin with Henry Glassie. Henry is a college professor emeritus of folklore right here at Indiana University who will be introducing us to Ollabelle Read next to Nathan Gibson, a P.H. D candidate in the Department of Folklore and Arts Musicology. Also here at IU, we'll share about all the bill's career prior to 1966. Following Nate's lead, I'll play some recordings from the first disc of old Bill Reed and Southern Mountain Music on the Mason-Dixon Line. And then finally, we'll end today with Alan Burdette, who's the director of the Archives of Traditional Music. And Alan, be sharing about the team's role in this project and also about how this fits into the larger initiatives that are occurring across the campus. And before I introduce Henry, I want to recognize another member of Team Ollabelle who hasn't been recognized yet. And that's Ginny Williams. Ginny, we raise your hand. Ginny was an intern at the Maryland State Arts Council and helped edit this project. And I just want to thank Ginny for helping to make this project a reality. So thank you, Ginny. So without further ado, I'd like us to get to know all the bill read and to do that.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541#t=152.73,256.12"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541/transcript/19021/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I'd like to ask Henry to come to the podium. This is working, Ola Belle Reed was born in the high mountains, the Blue Ridge of North Carolina, in 1916. Right here on the North Fork of New River in Ashe County, North Carolina. She was born right in the middle of the 13 children of our third LMA. Campbell Arthur was a great fiddler, noted banjo picker who played with the great G.B. Greeson in medicine shows. Arthur also was a school teacher having a lot of children. He then became a grocery store manager. The grocery store, of course, went bankrupt during the Great Depression. In 1933, the entire family moved north to find work right along the Mason-Dixon line in Maryland and Pennsylvania. Ollabelle found work as a domestic servant. She killed the terror of homesickness by singing in a band, the North Carolina Ridge Rutter's. He was put together by Shortie Woodson, Slick Miller, both of whom had been born in Nash County. Yes, it's all LaBelle was. They were first cousins. They put together a band. And right after the Second World War, when Ollabelle was the lead singer in the band, they added a young cousin, another first cousin who was also Balderdash County, North Carolina, called Johnny Miller. And Ollabelle brought in her younger brother, Alex. Alex had just gotten back from service in the Second World War while they were still performing in the North Carolina Ridge Letters where all of it made her very first recordings. They set up their own band called The New River Boys and Girls, named after the place of their birth right on New River in the far northwestern corner of North Carolina. They broadcast first over WASC, then WSC G. Then after that, they performed and performed constantly in public performance areas, New River Ranch and then Sunset Park.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541#t=256.42,396.2"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541/transcript/19021/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"They also recorded this time for Stardate. So they were professional musicians and their normal operation was to perform during the summers in a public place, New River ranchers, Sunset Park and during the winters. They performed in Campbell's Corner, the big grocery store that they owned. It served the Appalachian community that lived in that part of North and that part of Pennsylvania and Maryland. This picture was taken in February 1966. I took it. I'd been listening to the radio and I found a broadcast that came from WCO Jay, the voice of Chester County. And immediately I went down to that place, found Ollabelle performing. This picture that I took 51 years ago, shows Ollabelle performing for the very first time in her life, her own composition. You led me to the wrong. The band includes Sonny Miller, who is a younger brother of Johnny Miller, all of them born in Ashe County, North Carolina, also Burkill CLB, who was born eight miles west into Tennessee. But all of these are Appalachian performers. You see Ollabelle here with Alex. This is the time that we met Ollabelle at night. During the next 18 months, Ollabelle and I recorded her entire repertory, many songs over and over and over again. I also recorded her entire life history thinking this would be a celebration and commemoration of her existence. But furthermore, it would help her forward on her own career. Up to this point, she'd recorded with two important country bands, The Ridge Runners and in the book The New River Boys and Girls. But what she really wanted was to go solo. It happened during the same period. That is 1966 and 67. I became the first state folklorist in the United States to stateful burst of Pennsylvania in.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541#t=397.13,506.12"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541/transcript/19021/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"One of the main things that I did was to help Ollabelle set herself on that solo career. Would leader. By 1986 to a National Heritage Fellowship. That is, it was a very successful career. The tapes that I made at that time recorded Ollabelle at her high point were far better musically than the recordings that she relator would make with rounder clutter and our high point. But there was a record made of those tapes. But instead I put them, some of them in the Library of Congress, and now all of them are here in the Archives of Tradition and Music at Indiana University. So Ollabelle is, though, did in 2002 quite alive on tape. Fortunately, I had good machinery. Fortunately, it was real, a real tape that doesn't decay in 50 years after those recordings were made. We were able to get together, Clift, Murphy, Doug, Piech and myself and put together this two c.D set. That's a sketch of the background of Ollabelle. Read it now. It's my great honor to introduce to you Nate Gibson, the renowned author of the great book The Start A Story. So I've been asked to sort of contextualize some of all the Bells music career and recordings prior to her meeting Henry Glassey and making the recordings that you just heard about. And towards the end of the 1940s, all of Bill had made a couple records with the North Carolina Ridge runners, which was her first band. And despite actively playing throughout the 1950s on radio and at live shows, is the backing band. She made no commercial recordings throughout the 1950s during the so-called golden age of country music. And thus she maintained the status as a popular regional attraction, along with the new river boys and girls.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541#t=506.27,623.74"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541/transcript/19021/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But seldom was heard beyond the call letters, original call letters. Interestingly, though, those early recordings credited her as Ollabelle one line above the North Carolina Ridge runners as seen here covering Grandpa Jones classic bluegrass standard. After this, she would take a backseat billing to her brother Alex, often appearing as Alex Campbell and Ollabelle and the New River Boys, which was later changed to New River Boys and girls, which later became New River Gang. Well, the mid to late 50s marked a time when many women in country music were stepping out from the traditional girl singer role and taking a more individualized role in the industry. A lot Kitty Wells or Patsy Cline or Rose Maddox or Maleo de Jean Shepherd, Betty Amos and others. Ollabelle seemed content to play second fiddle to the old guitar for a variety of reasons which are detailed in the book. But even with radio shows and a strong reputation as the house band for Sunset Park, the new River gang had two records in the 1950s. So in 1960, Ollabelle and her brother Alex, along with Deacon Brumfield and the band, went to Washington, D.C. and recorded two songs, one instrumental featuring Deacon. And they were released on the Blue Ridge Records label out of North Wilkesboro, North Carolina. I just recently found out that there are two Blue Ridge record labels. This is Drucilla Adams, North Carolina, live in the early part of 1962, realizing the potential that records offered and realizing the potential for them to sell them out of their own Caballes corner store and keep the money for themselves. Alex formed his own record label called New River Records. You can note the Oxford, Pennsylvania address on the label. And in total they released 10 singles and eight PS all on this label, all but one by Alex Campbell and Ollabelle and the New River Boys, and almost all of them released in 1962 alone.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541#t=624.52,739.33"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541/transcript/19021/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Later that year, same recordings that were on these records scattered throughout were released to Star Day records, which is where my interest in the project came in. The largest independent country music record label of the 1960s and essentially a Nashville based Antine Nashville label that was proud of being in Nashville. The Musical Heart of America, eight of the New River. Forty five were compiled to make their first start, a LP titled Alex Campbell and the New River Boys. Note that all of Bill's name is entirely left out of the official LP title at the bottom there. I can see it on my screen. And while they may not have called themselves a bluegrass band at the time that they made these recordings, Alex, for example, on the back of one of those new river epee, is called The Band, a quote, group featuring the old time original country style music and quote, most casual listeners when they heard this music and they heard the banjo, they called it bluegrass and bluegrass is the reason that they most certainly ended up on started as their music was sold at labeled as the bluegrass music and coincided with the concurrent bluegrass and folk music boom playing indie mountain bluegrass style. The group was billed as a bluegrass act on their two solo LP and appear on the start, a compilation, Bluegrass Spectacular, as well as more Bluegrass Ball. Hall of Fame Volume two. They were featured on the Gospel Hall of Fame and Pray and Sing and Gospel Revival. Every night they'll piece. Although they were not considered big enough stars to merit mention on either cover. Started became quite known for their lavishly colored compilation, OBIS. They even put out a large number of women of country music themed elkies, but not once was all a bill featured on any of them.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541#t=740.68,858.38"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541/transcript/19021/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"As Dave read notes in Henry's text, none of the headliners from Nashville quote, none of the bluegrass masters to whom she and Alex had given work. None of them, with the two noted exceptions, had recognized her, had appreciated her skills or her songs. And quote, In essence, this is because all of Bill and the rest of her band were perceived as though those was the LP that they were on that they were not mentioned on. In essence, this is because she and the rest of the band were perceived as Tex nobodies. And to some of the Stardate personnel that I interviewed during my start, a research Texan, nobody was a common term and a common phrase that a lot of people knew. And it's just the pejorative term that you use for an artist who wants to come to Nashville. They could be a regional star from anywhere. It doesn't have to be Texas. But if they want to pay for their own chance to make a recording and get a record released, their tax, nobody's. And so it was typically used for people who came to Nashville, paid for their own sessions, and then those sessions would be released not on Stati, but on Start, a subsidiary label called Nashville. And those Nashville label included releases by Ted Lundy and the Southern Mountain Boys, as well as Jay Johnson and Earle Taylor, who Dick spots. But now we're talking about earlier at lunch or I mentioned in this book as well. And this is not to say that the music on this label is not great. It's fantastic, Alex. But Alex Campbell in all about only had one single released on Star Day, and it was relegated to this budget text, nobody label as well.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541#t=859.49,956.93"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541/transcript/19021/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And this particular song that I'm going to play for you is the only song Ollabelle recorded for Stardate. And then once again later covered for Henry when Henry was making his recording. So this is their start, a version of Uncloudy Day. Don Pierce loved bluegrass and essentially released almost any bluegrass record. He could get his hands on throughout the late 1950s and 1960s, amassing the largest independent bluegrass record label at the time. By 1966, he could not sell bluegrass. According to Pierce, in a letter he wrote to Bluegrass Unlimited in 1967. For a while, quote, For a while, I felt that the college trade and the more sophisticated city trade would create a boon for bluegrass music sales. But it sure didn't happen that way for us. The people about bluegrass by mail order seem to identify bluegrass with so-called beatniks, draft dodgers, civil rights demonstrators and the like, including subversives, homosexuals, pill and dope takers. And as a result, bluegrass sales to the country music market took one hell of a beating and quit. And in the late 1960s, there was indeed a monumental shift in the audience for all the bill's music. Don Pierce was certain that it was adults broadly, but conservative, rural, adult bluegrass fans to be more specific. And he was certain that kids would never buy it. But by 1966, everything had changed. It was now, as Dave Reed called them, the, quote, hippies who were most into her music. The college crowd, the youth, the folk scene. And your Glassey knew it, but he not only knew it, he was in a strategic position that allowed all the bell to reach that audience and redefine her career. This book and these recordings and interactions with Ollabelle capture one of the truly great American musicians at just the precise moment that this realization was being made.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541#t=957.86,1150.16"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541/transcript/19021/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Don Pierce's reaction to the whole phenomena of the Bluegrass and folk revival was to sell Stardate records and get out of the music industry altogether. And Henry Glassey did the opposite. He was onto something spectacular in this book with its great insights from Doug Piech and the connections to very real living, lasting tradition. The New River Boys and Girls and Southern Mountain Music by Cliff Murphy, as well as BlueBell's own voice and contributions are vibrant and vivid examples of the extraordinary kinds of collaborative work that were being done in the 1960s. But more importantly, are still being done by folklorist today. Thanks. Dhobis. So Nate has just shared with you a little bit about all the bill's career prior to 1966, and what I'd like to do is to pick up where he left off. And I'd like to play three recordings from the first disc of all, the Bill Reed and Southern Mountain Music on the Mason-Dixon Line. And there is a logic here. My goal is for you to hear all the bells passed and to hear what she wanted to be for a future to do. So, I'm going to play a song that's reminiscent of what Ollabelle likely heard growing up in the southern mountains of North Carolina. And then I'm going to play two different versions of the original composition of all the bells which shaped to which she imagined as her musical future. So to begin, I'd like to play The Uncloudy Day, which is the first song on all the bells read in Southern Mountain Music on the Mason-Dixon Line. It's also the song that Nate just played a few minutes ago. Well, let's give a listen to this version. Let me be made. Now we are way, way down the road.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541#t=1150.94,1269.32"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541/transcript/19021/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Tell me the non. And a. Need only me eating. Well, we don't have recordings from all LaBelle's youth. One could strongly argue that this version of Uncloudy Day is similar to what Ollabelle likely heard growing up in Nash County. Particularly interesting here is her clawhammer banjo style playing. Actually, it's called a clawhammer shuffle, which was learned directly from her uncle, Oliver Dockery. It was inspired by her father, Arthur Campbell. If we think about Uncloudy Day, we're left with a song that was learned in the southern mountains, was turned into a bluegrass gospel number, as we just heard from Nate. And then it's turned back into a mountain song by Ollabelle in 1966 as a way to play her past. Thirty four years after leaving North Carolina, what I'd like to do next is to play two versions of I've endured. This is an original composition by Ollabelle and also one of her most famous songs that she's going to be joined by the musicians you see on screen. This is a Burl Kilby on the banjo and also John Miller on guitar. The first version of I've endured was recorded on April 17th, 1966, and the next was recorded just two days later on April 19th. And these are actually the first recordings of all of those wonderful LaBelle's most famous compositions. So before we begin, I'd like you to pay attention to how Ollabelle sings the melody to the banjo player Earl Kilby during the first instrumental break. And then Berl composes an accompaniment on the spot. I'd like you to listen also to how quickly your bird picks up on all the bells singing and thus a song and an arrangement begin to coalesce. I hope you heard all the bells consistently singing the same stands at Berl, who takes all the bells melody.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541#t=1273.66,1480.93"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541/transcript/19021/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And by the second instrumental break, an accompaniment begins to form. So keeping this version in mind, let's listen to the second version of I've endured. And this one will have John Miller playing guitar. Fifty years of drought, rain and snow. And in the second version of I've endured, we hear a solid introduction by Burl Kilby, which is the same accompaniment that he'd arranged just two days prior. The song is also transposed down from a major in the first version to F sharp major in the second version, presumably to better fit all the Bells vocal range. And finally, there's a more relaxed tempo with this version suggesting the musicians and the bells are more comfortable actually playing the song. So taken together, what we've heard here is all about developing her desired sound, was informed by being born in the mountains 50 years ago and aided by the musical talents of Girl Kilby and John Miller. And the sound was how old Bell wanted to hear her future. And it's what you can hear on all of Elfriede and Southern Mountain music on the Mason-Dixon Line. And with that, I'd like to turn over to Alan Burdette to help us talk a little bit about the archives of traditional music and their role in the project. Well, good afternoon. As Doug said, I'm going to talk a little bit about the role of the archives of traditional music in this project and the product that resulted. And this is an audience I don't need to convince of the benefits of archives and the importance of archives. But I think it will be useful to know a little bit more about how we were involved and what we did. We'll talk about the ways in which the archives traditional music is serving.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541#t=1481.8,1676.49"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541/transcript/19021/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Beyond this product is the repository record, providing both preservation services as well as cataloging services, the long term access, long term preservation for the materials. Our role in providing transfers of the original recordings and the ways in which we were part of a of early public forum for what later became this project. And this is in the case of recordings that were lost for a long time. Copies, in fact, were living at the Maryland State Arts Council and copies at the Library of Congress. But the original recordings had been following Henry around for a number of years, along with his documentation. The notes that you took at the time, and it really was kind of a chance conversations between Nate and Henry, where they discovered that Henry had some recordings of all about Reed and Nate talk with me. And I talked with Henry and we thought these these are recordings of valuable recordings for her legacy and that lots of people would be interested in. And they should come to an archive. And at that time, I didn't realize there were other copies in other places. But it was important, as we all know, for preservation purposes, to have to work from those original recordings. And so we began that process of bringing the original recordings into the archives of traditional music. And to give you a little bit of background about the archives of tradition music for those if you don't know who we are. We're the name doesn't quite capture the kinds of things we have. It's our scope is very broad, but we are centered around the fields of ethnomusicology and folklore and anthropology. We have significant linguistic holdings. We have a large early jazz and blues recordings and collections of a number of oral histories, as well as popular early popular music from around the world.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541#t=1677.06,1806.6"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541/transcript/19021/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So our scope is very international from this constellation of disciplines. And we have field recordings which we think of as being the core of what we hold in our archive. But we also have significant numbers of commercial recordings. There are about thirty eight thousand 78 R.P.M. discs in our holdings, about 12000 vinyl LP. Again, these are from all over the world, as well as some broadcast recordings, things that have been recorded from radio broadcasts typically outside of the United States in our case. So there are about 3000 different field collections. They represent about 40 thousand hours of recorded sound altogether, a total of about one hundred thousand recordings. And as I said, they're from all over the world. And we serve a wide public. We, of course, serve scholars and teachers here at Indiana University students. But we also in many ways serve scholars from all over the world, some of whom come to visit us, but others who simply contacts or contact us by email or phone. And we provide copies in the cases where we can for their research projects or in cases of the Native American holdings we have providing repatriation services for tribal institutions. We also serve the ethnomusicology program and the folklore program here by training students and archiving and handling archival materials, as well as library science students who work at the archives of tradition music. So, as I said, we get collections like this collection of recordings that Henry Glassey left for us and that began a process, like many archives do, of understanding what we have. Understanding the documentation. And in this case, it arrived at a time when we were very much working with the what we think of as the international crisis in media preservation.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541#t=1806.99,1947.99"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541/transcript/19021/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And so we were very active in doing some preservation transfer work in the archives at that time, working towards supporting the media digitization and Preservation Initiative and a facility that you'll have an opportunity to visit tonight. And so we very in this case, because there was some interest in doing other things with this collection, we very soon after getting the recordings made preservation transfers, and those then formed the basis for some later things that happened, but public presentations and then this particular publication. So that was something that we were able to do and very and because there was a kind of immediate interest in the recordings, moved ahead of other things that we'd been working on as all of our archives do, nibbling away at the holdings, both the preservation and the cataloging. I move this one up and help facilitate this particular project. The ultimate C.D. or a particular kind of product. But like any book or seeds released, there are often a narrow selection of a larger body of materials. And that's the case here as well. It's a product that curates these holdings much more thoroughly than our catalog records and our materials do. But by the sort of reverse token, there is a broader range of materials that are in the archives that are displayed within the book. And so to facilitate that, we we catalog our recordings at the archives of traditional music. We use a standard mark record format. And so our field collections, as well as our commercial recordings, are cataloged in a system that is available to anyone around the world who can access it through the IUE library system or world cat using very standardized library record. And this was the library record for this collection.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541#t=1948.8,2077.65"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541/transcript/19021/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And as our media preservation efforts progressed and our access services mature, we'll be able to also provide the rest of this collection as well as other collections like it in an online format where legal or ethical conditions allow us to do that. So one of the things that kind of happened as we acquired the collection and as I mentioned, there was kind of immediate interest is serendipitous coming together of Cliff Murphy's simultaneous interest in the recordings, the copies that he had discovered at the archive in Maryland, as well as the obsession of the collection here in Indiana. And I don't remember if Cliff contacted you wrong or how have the two pieces came together. But it was shortly after we did a public presentation about the collection as a way of highlighting collections here at the archives. And something that I've always felt was important to do and I always like to see more of is working with the folks who have collections and deposited deposited them, and particularly someone like Henry who can bring a wealth of knowledge about those collections and these recordings that he made doing a very wonderful public presentation. So this was kind of an early version of talking about these recordings and their legacy and their value prior to. I don't think anyone was thinking of a book at that point in time, but this became an initial kind of thing. So in a way that the archive provided a framework for this kind of public presentation and discussion about the materials in a way not unlike Judy Garland and Mickey Rooney. So let's put on a show and we said you can use our barn. And so the archive kind of played the role of providing the barn for this presentation, which then led to further discussions and a recognition that there's there's this is a this is material that has a value beyond just a presentation.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541#t=2082.37,2226.32"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541/transcript/19021/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"There's a lot more that we can do with this. And so that's what that's what we did. And so from from there, from kind of an early hosting and providing a context for discussion of the material present, preserving it and cataloging it, that provided a kind of launching pad and in certain respects for what followed. And I think that's a role that as archives, we we tend to talk a lot about the technical things that concern as cataloging preservation. But we also have this role of as a catalyst for curation that perhaps may have very little to do with our own particular input. The archives had almost nothing to do with the curation of this material in the form of the book. But we provided a context for some of us to get going. So we're very, very proud and very happy to have played that particular role in this project and to be a long term place for this. As we all know, these are a format with a limited lifespan. Our role is to provide long term access to these recordings. Well, after the C.D. is gone, whatever formats they may follow. So thank you very much. Thank you, everyone. What an interesting project. There is a few minutes available for questions if anyone would like to ask the panel anything about the team. All of Bill. And it seemed to me that this was really a wonderful, wonderful collaboration among the four of you. And the other people that were working with you as well. It sounds like it was very successful and very meaningful. I'm wondering if there were any collaborative challenges that you would like to share that might be helpful to other people who might be thinking of doing a abroad project like this.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541#t=2227.88,2369.14"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541/transcript/19021/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So works perfectly for everybody. I think we'd like contradictions and complexities and we'd like challenges. The fact is, nothing could have been easier than the final product of this summit. It was it wasn't hard in the old days. I met Lobello. We were friends in minutes and I put the tapes away and they were helpful to her when she got her National Heritage Fellowship. And that was a good thing and seemed sufficient. And she was very, very happy that they were deposited in the Library of Congress. That seemed to her an important place for her work to be preserved. She didn't live to see them here at Indiana University, but she lived to be quite happy about the whole deal. So there the tapes laid. Cliff Murphy found copies of it. I didn't know that he found copies of them. I didn't even know that he had copies of the copies were the copies that I gave all of them. Because it seems that the ethical responsibility of all of us to provide those things back. So I gave him a copy of every tape I made and she kept them. And then she'd be Creed's them to the Maryland State Archives. And when Cliff came, he is, of course, a man who loves country music and he's from the Northeast, stuck in Maryland. He's got a responsibility to deal with things other than country music, dealing with country music, and looked around for things that he could latch onto when he found those tapes. They had my name on them as well as all of those names. And what he did was begin to look for the people who had carried her tradition forward, that if she found her son the day he found her nephew, you know, other nephew saying he found other people in that area.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541#t=2374.06,2463.89"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541/transcript/19021/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It's an amazing thing that right there on them, on the Mason-Dixon line, there is an Appalachian community that still self identifies as Appalachia today, even though none of the people alive today were born in the south. So we found those people that as he found those people, he began to wonder why in the world I was. He went to the American Folklore Society in Louisville, Kentucky. We hit it off immediately and he started working on the next generation. I was happy to to do the project that Allen described. That is what did. Doug and I did. Nate started the whole thing. Doug and I then put on a little a little show at the noontime for the archives, information, music. Meanwhile, Cliff was invited here to give a lecture to the graduate students at the Folklore and as a musicology department. And when he came, he'd already begun to think about the possibility of a collaborative project. He showed up on the very day that we had done that thing. And so there was absolutely no tension at that point. Then we all became friends and Doug and I and Cliff then did the next all the next field project together. That is, we interviewed all the other people. We found Burl Kilby. We didn't know who. We were told that girl was dead. And we're told that Jody Miller was dead with effectives. They were still alive from an awful historical port purpose that was tremendously important. So we were able, the three of us, to record a whole lot of information that then was essential to the book. I would say to little said, the only challenge, I guess you would say, is that we had bad information about the deaths of two of the most important people, Berl, who played the banjo with Johnny, who played the guitar.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541#t=2464.21,2560.55"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541/transcript/19021/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The last piece that Doug played for you. But they were alive. Actually, Berl only lasted about three more months, but we did get a good interview with him and it was possible for his badge and picking to be a to appear. He is the only person who appears on both. The CDC reported in 1966 and 67 for me recorded and I guess it was 2013 for Cliff. But I would like to say there were challenges. But what there really was, was a kind of glorious serendipity. The person who does a lot of your work, like I do, realizes there's a kind of God that watches over the witness ethnographer. And occasionally you feel that a project is blessed. I think that was exactly what I would say of this, and I wouldn't necessarily spiritualized that blessing. But Dave, read all the bells. So does and believes that his lord actually stepped down and stepped in. That's his idea, not mine. But nonetheless, the project. What is easy as though there were a guardian angel for the whole thing. I'd like to talk about challenges. There weren't any. We hit it off. The whole thing worked. I loved Ollabelle. I loved Cliff. I loved Doug. I loved De la Valot music. That's a wonderful. Any other comments from the. Well, one thing that struck me as I was putting together my thoughts for this is that often we get archival collections and we sometimes, unfortunately, we get them. Well, after the person who made them has passed away before we get them without with only the barest of information. And in this case, Henry had very good notes about these recordings. Even as a young man, he was doing very good work in terms of ethnographic fieldwork.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541#t=2560.97,2677.64"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541/transcript/19021/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And in all of us look back at our younger days like I could do things much better. But Henry had very good notes, but there was no book that went live. This was there was a lot of information in your memory. And then Will was fleshed out later by this oral history. And I think the really wonderful thing that happened was a book worth of knowledge was created out of this that didn't exist before. And if all the pieces hadn't come together would not have happened. And we would know a lot less about these recordings, about Ollabelle, about this collection than this. So if the Guardian Angels had interviewed us, the family say there is a minute more at the Super Bowl Sunday morning that this wouldn't take very long. But this marriage is a kind of celebration of the proposition of fieldwork because the whole project was a matter of field work that was done last night, were doing field work together right up to the present. But it's also true that the lucky break for me, in fact, was when I met all the bill. I wasn't brand new in the field. I had been so fanatic that I had been out in the field with big old covers and recording equipment that is up in the Appalachian region. For five years before I met all the bill that is, I started it when I was 19. And what that meant was that I really knew a lot about the music that she was going to play. And that's what immediately closed the connection between the connection between us wasn't exactly a personal thing. It got very personal. But the very beginning, as if she could talk music and I could talk music.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541#t=2678.2,2770.68"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541/transcript/19021/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And she sang a song and I'd already heard that song. And furthermore and most important was that she came from Ashe County, North Carolina, where she taught me the very first night that we met and I knew where not. Did I know where that Ash County was? I had already at that time and recorded a lot of music in Ash County, not only by any of her family. Indeed, had already published a couple of articles in that Ash County tradition. And so that she saw me as not only a person who knew about Ash County, but it was a person who was at a university. I was a graduate student who was at a university and who could, in effect, in the tradition that she had already internally ennobled herself. And so there was a meeting in the air between all the bill and I about how tremendously important that music. She played was wasn't just entertainment. It was the precious heritage of the people from the high mountains who had not had much in money and had a great deal with culture. And that was how we connected. And so that the fact that more I guess I'm seeing more field work you do, the more you understand, the more you understand, the more connection to music, to making what happened with me and all the bill was that we connected it on the reality that we both absolutely loved the music that she loved most. Thank you so much. Your time for one question, if anyone would like to ask anything. Okay. Let's thank our speakers very, very much.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541#t=2770.97,2858.27"}]},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541/transcript/19021","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/97541/transcript/19021/annotation/23","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/019/021/original/open-uri20200924-1405-1ysf25o?1600953465","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/019/021/original/open-uri20200924-1405-1ysf25o?1600953465"}]}]},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/255747","type":"Canvas","label":{"en":["Media File 2 of 2 - ARSC_conf_2016_Burdette_Gibson_Glassie_audio.mp3"]},"duration":2856.07981,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/255747/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/255747/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/255/747/original/ARSC_conf_2016_Burdette_Gibson_Glassie_audio.mp3?1730749495","type":"Audio","format":"audio/mpeg","duration":2856.07981,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29705/file/255747","metadata":[]}]}],"annotations":[]}]}