We're back with another entry in the Botkin Plus series AND another episode of the Folklife Today podcast! In this entry, we'll provide the video of a Botkin Lecture and a podcast interview, both of them featuring Cormac Ó hAodha. Cormac is the most recent Lovelace Fellow (aka Lomax Scholar) at the Library of Congress's John W. Kluge Center. That's a fellowship established within the Kluge Center especially for the study of the Alan Lomax collection, one of the American Folklife Center's signature collections. Cormac comes from the village of Cúil Aodha in the Múscraí Gaeltacht of Co. Cork in Ireland, a recognized heartland of the Irish language and traditional Irish-language singing. He is conducting in-depth research on the material Lomax collected some 73 years ago from singers in the Múscraí singing tradition, the same singing tradition Cormac grew up in and is a part of. Some of the people recorded by Lomax are Cormac's relatives, and his research seeks to illuminate their songs, their language, and their traditions. Follow the link to the post, the video, and the podcast!
In or about 1942, Alan Lomax sketched out a draft or proposal for a children's picture book, "The Story of the Mighty Blue Goose." The book, which Lomax planned to have fully illustrated by an artist, was to be based on "The Grey Goose," a song he had recorded for the archive alongside his father in 1934. Lomax credited the singer as the book’s main author: “Iron Head” Baker, a Texas prison inmate and trusty who sang about 60 songs for the Lomaxes. In 1936, Baker was paroled and spent three months collecting songs across the South with John A. Lomax, returning to prison in 1937. Like many of Alan Lomax’s projects, the book appears to have been interrupted by World War II and his departure from the Library of Congress. This is a shame, because Lomax was clearly onto something. "The Story of the Mighty Blue Goose" would have been inspirational on several levels. An homage to African American culture credited to a Black man and his white assistants, it would have been an inspiring children's book and a significant accomplishment in the legacies of the Lomaxes and of Iron Head Baker.
This post looks at photos and recordings of some important calypso stars of the 1940s New York music scene, Macbeth the Great (Patrick MacDonald), Duke of Iron (Cecil Anderson) and Lord Invader (Rupert Grant). The 1947 photos are part of the William P. Gottlieb collection at the Library of Congress Music Division, while the recording of a full-length 1946 concert by the three performers is part of the American Folklife Center’s Alan Lomax Collection. These collections shed light on an interesting time in American music, before the emergence of rock and roll, when calypso and related Caribbean styles were vying for popularity with other folk music genres. In 1944, the Andrews Sisters had a major hit with Lord Invader's "Rum and Coca-Cola." In 1956, Harry Belafonte's "Calypso" became the first million-selling LP record. During the period between those milestones, it looked possible that calypso could emerge to be one of the leading styles of American pop music. Performers like Duke of Iron, Macbeth, and Lord Invader engaged in friendly competitions like the ones documented by Gottlieb and Lomax, using witty lyrics, catchy music, and personal charisma to fascinate audiences on stage and on record. Find the photos and a link to the concert audio in this blog post.
This interview by AFC staff member, Guha Shankar, with Sarah Bryan, Executive Director of the cutural arts organization, the Association for Cultural Equity (ACE), highlights ACE's work in producing a range of programs and publications that raise public awareness of the richness and diversity of global expressive culture. ACE works in collaboration with the Library in several areas. particularly initiatives that center on the merican Folklife Center's seminal Alan Lomax collecton of world music, song and dance recordings.
This post continues Stephen Winick's series on the sea songs of Patrick Tayluer, and finishes the story of "The Leaving of Liverpool," the lyric lament of a nineteenth-century mariner who leaves his hometown of Liverpool for San Francisco. In this post Steve outlines how the song became a major part of the folk revival, and gives links to versions and adaptations performed and recorded by everyone from the Clancy Brothers to the Kingston Trio and Ewan MacColl to Bob Dylan. He asks what can be learned from Patrick Tayluer's version of the song. Finally, he provides a fragmentary recording of the song from 1942, sung by a woman, and discusses who the mystery singer might be!
This post continues Stephen Winick's series on the sea songs of retired sailor Patrick Tayluer, collected in 1942. One of the songs William Doerflinger collected from Tayluer was "The Leaving of Liverpool," the lyric lament of a nineteenth-century mariner who leaves his hometown of Liverpool for San Francisco, through the treacherous seas around Cape Horn. Doerflinger had previously collected it from another retired sailor, Richard Maitland. Years later, based on Doerflinger's publications, the song became a major part of the folk revival, with versions and adaptations performed and recorded by everyone from the Clancy Brothers to the Kingston Trio and Ewan MacColl to Bob Dylan. This post looks at Tayluer and Maitland and their field recordings of "The Leaving of Liverpool."
This post in the Homegrown Plus series features the Windborne Trio, a vocal group from New England. Windborne is usually a quartet, but Jeremy Carter Gordon was prevented from performing at this show. Luckily, before Jeremy joined the group, Windborne toured as a trio, so they had the repertoire, arrangements, and experience to put together a stunning show without him. Consequently, for this concert Windborne was Lynn Mahoney Rowan, Will Thomas Rowan, and Lauren Breunig. In their concert they performed a mix of old and new favorites, including American, English, Georgian, Corsican, and Basque songs. Just like other blogs in the Homegrown Plus series, this one includes a concert video, a video interview with the musicians, and connections to Library of Congress collections.
This is the third in a series of blog posts looking at the sea shanties, songs, and stories sung and told by retired sailor Patrick Tayluer for collector William Main Doerflinger in 1942. Many lovers of sea shanties have heard of Patrick Tayluer through Doerflinger's 1951 book "Shantymen and Shantyboys: Songs of the Sailor and Lumberman." Until now, however, very few singers or researchers have been lucky enough to hear Patrick Tayluer’s voice. This series of blogs aims to remedy that. This post focuses on Tayluer's commentary on sea shanties, including his beliefs about the origin of the genre among West African work crews. Of course, we get to hear some shanties as well!
"These should rank with the best shanty and sea-song recordings ever made." So said the sea shanty expert William Main Doerflinger in May, 1942, describing the recordings he had recently made of the retired sailor Patrick Tayluer. Circumstances have conspired to keep those recordings under wraps, until this blog series. In this second post, we’ll hear another of his shanties (“Paddy Lay Back” or “Mainsail Haul”) and one of his sea stories. Then, we’ll use available evidence to create a new biography of Patrick Tayluer (1856-1948), a multifaceted sailor, soldier, singer, storyteller, model-builder, long-distance walker, and, of course, shantyman.