| a_s2044_02_tape16 | Antjuan Edwards interview for the Sacred Steel Guitar Recording Project | Sound | Field recordings
Steel guitars
Guitar music
African Americans
Religious songs
Religious music
Gospel songs
Oral histories
Interviews
Religion | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Antjuan Edwards interview for the Sacred Steel Guitar Recording Project
- Date
- 1995-07-12
- Description
- One audiocassette recording. Recorded at the Ocala House of God Church #2. At the time, Edwards was a sophomore at Vanguard High School. He discussed playing and learning the sacred steel guitar. There is a significant amount of background noise, but the interview is still audible.
- Collection
| a_s2044_02_tape12 | Aubrey Ghent and Henry Nelson interview for the Sacred Steel Guitar Recording Project | Sound | Guitarist
Singers
Fieldwork
Steel guitars
Guitar music
Performing arts
Guitarists
Music performance
African Americans
Religious songs
Religious music
Gospel songs
Gospel musicians
Gospel (Black)
Personal experience narratives
Interviews
Oral histories
Life histories
Oral history
Protestants
Christianity
Churches
Religion
Musicians | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Aubrey Ghent and Henry Nelson interview for the Sacred Steel Guitar Recording Project
- Date
- 1993-11-26
- Description
- Four audio cassette recordings. Recorded at Nelson's sister's house (Mary Linzy) in Ocala. Ghent and Nelson discuss the origins of the Sacred Steel tradition, early influences (e.g. Troman and Willie Eason), the House of God tradition, and playing styles. The Sacred Steel Guitar Recording Project originated in 1992 when Florida Folklife Program folklorist Robert Stone discovered that several predominantly African American House of God churches (a sub-sect of the Pentecostal church) in the St. Petersburg area were using steel guitars in their religious services. The practice began by Willie and Troman Eason in the 1930s, and expanded upon by players such as Henry Nelson and Lorenzo Harrison. Realizing that this was a unique musical tradition, labeled Sacred Steel, the Florida Folklife Program to applied for a grant from the National Endowment for the Arts to conduct fieldwork and create a music album for public dispersal. The aim of the project was to increase public awareness of the gospel steel guitar tradition, as well as document it for future generations. Matched with state funds, the grant period originally ran from October 1993 through October 1994, but was extended for another year. In that time Stone, along with sound engineers William Dudley and Mike Stapleton, interviewed and recorded several steel guitarists in the St. Petersburg area. An album entitled Sacred Steel was released in 1995. It was then re-released through an agreement with Arhoolie Records in 1997.
- Collection
| a_s2044_02_tape03 | Aubrey Ghent and his father Henry Nelson performing sacred steel music at various events | Sound | Guitarist
Singers
Fieldwork
Steel guitars
Guitar music
Performing arts
Guitarists
Music performance
African Americans
Religious songs
Religious music
Gospel songs
Gospel musicians
Gospel (Black)
Festivals
Folk festivals
Special events
Church attendance
Church services
Protestants
Christianity
Churches
Religion
Musicians | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Aubrey Ghent and his father Henry Nelson performing sacred steel music at various events
- Date
- 1993-11-26
- Description
- One audio cassette recording. (Duplicate can be found on tape 5.) The first half of the tape was recorded at a House of God "Family and Friends Day Celebration" in Daytona Beach on 5 September 1993. The second half was recorded at the Ocala House of God Church #2 on 26 November 1993, and the then at the 1994 Florida Folk Festival on May 24 1994 (for entire festival performance, see D94-20 in S 1576.) On the second half, the vocals are weak. The Sacred Steel Guitar Recording Project originated in 1992 when Florida Folklife Program folklorist Robert Stone discovered that several predominantly African American House of God churches (a sub-sect of the Pentecostal church) in the St. Petersburg area were using steel guitars in their religious services. The practice began by Willie and Troman Eason in the 1930s, and expanded upon by players such as Henry Nelson and Lorenzo Harrison. Realizing that this was a unique musical tradition, labeled Sacred Steel, the Florida Folklife Program to applied for a grant from the National Endowment for the Arts to conduct fieldwork and create a music album for public dispersal. The aim of the project was to increase public awareness of the gospel steel guitar tradition, as well as document it for future generations. Matched with state funds, the grant period originally ran from October 1993 through October 1994, but was extended for another year. In that time Stone, along with sound engineers William Dudley and Mike Stapleton, interviewed and recorded several steel guitarists in the St. Petersburg area. An album entitled Sacred Steel was released in 1995. It was then re-released through an agreement with Arhoolie Records in 1997.
- Collection
| a_s1576_12_c84-010b | Cowboy musician Jim Bob Tinsley | Sound | Cowboys
Life histories
Interviews
Oral histories
Country music
Country dancing
Clogging
Demonstrations
Music performance
Ranching
Libraries
Clog dancing
Musicians
Singers
Dancers | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Cowboy musician Jim Bob Tinsley
- Date
- 1984-03-09
- Description
Two audio cassettes. C84-10: Interview with Jim Bob Tinsley and Dottie Tinsley as part of the Library Folklife Program; Jim Bob describes his early life and how he learned to play music and how he got into cowboy music; Woodmen of the World Band; joining the Navy playing in a band in Africa during World War II; tells stories about the songs he performs as well as about Gene Autry and Winston Churchill; Dottie describes clogging steps. C84-11: Continuation of interview and performance in C84-10; he continues discussing cowboy music and the songs he performs; vagabonds; WLS National Barndance; Dr. John R. Brinkley stations in Mexico and Texas; continuation of traditions in singing and writing cowboy songs; his book; Jim Reeves; his albums.
- Collection
| Glass bottom boat drivers Willie Marsh and William Crowel | Glass bottom boat drivers Willie Marsh and William Crowel | Still Image | Occupational folklore
Occupational groups
Libraries
African Americans
Oral communication
Oral narratives
Oral histories
Life histories
Boat drivers
Nature
Springs
Boats and boating
Glass bottom boats
Boat driver | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Glass bottom boat drivers Willie Marsh and William Crowel
- Date
- 1984-03-09
- Description
- Two audio cassettes. Images of two former Silver Springs boat drivers being interviewed by folklorist Nancy Nusz at the Marion County Public Library. Both in their 80s at the time, Marsh and Crowel had driven glass bottom boats at the theme park since its opening in the 1920s. Sound recordings of the interviews can be found in S 1576, box 12, C84-8 and C84-9.
- Collection
| a_s2044_02_tape11 | Henry Nelson performing Amazing Grace | Sound | Guitarist
Singers
Fieldwork
Steel guitars
Guitar music
Performing arts
Guitarists
Music performance
African Americans
Religious songs
Religious music
Gospel songs
Gospel musicians
Gospel (Black)
Bands (Music)
Musical groups
Churches
Religion
Christianity
Protestants
Musicians | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Henry Nelson performing Amazing Grace
- Date
- 1993-09-05
- Description
- One audio cassette recording. For more of Nelson, see tape 3. The Sacred Steel Guitar Recording Project originated in 1992 when Florida Folklife Program folklorist Robert Stone discovered that several predominantly African American House of God churches (a sub-sect of the Pentecostal church) in the St. Petersburg area were using steel guitars in their religious services. The practice began by Willie and Troman Eason in the 1930s, and expanded upon by players such as Henry Nelson and Lorenzo Harrison. Realizing that this was a unique musical tradition, labeled Sacred Steel, the Florida Folklife Program to applied for a grant from the National Endowment for the Arts to conduct fieldwork and create a music album for public dispersal. The aim of the project was to increase public awareness of the gospel steel guitar tradition, as well as document it for future generations. Matched with state funds, the grant period originally ran from October 1993 through October 1994, but was extended for another year. In that time Stone, along with sound engineers William Dudley and Mike Stapleton, interviewed and recorded several steel guitarists in the St. Petersburg area. An album entitled Sacred Steel was released in 1995. It was then re-released through an agreement with Arhoolie Records in 1997.
- Collection
| a_s2044_02_tape06 | Master of the Sacred Steel album | Sound | Guitarist
Singers
Audiotape recordings
Steel guitars
Guitar music
Performing arts
Guitarists
Music performance
African Americans
Religious songs
Religious music
Gospel songs
Gospel musicians
Gospel (Black)
Religion
Churches
Christianity
Concerts
Community concerts
Protestants
Church services
Prayer
Musicians | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Master of the Sacred Steel album
- Date
- 1994-10-13
- Description
- One audio cassette recording. Master version of the Sacred Steel album, which was released in 1995 by the Florida Folklife Program. The album is divided into two sections: side 1 is instrumentals and concerts; side 2 are church services. For more information on musicians, recording locations, and production credits, see accompanying booklet, which can be found in S 2044, box 1, folder 22. The Sacred Steel Guitar Recording Project originated in 1992 when Florida Folklife Program folklorist Robert Stone discovered that several predominantly African American House of God churches (a sub-sect of the Pentecostal church) in the St. Petersburg area were using steel guitars in their religious services. The practice began by Willie and Troman Eason in the 1930s, and expanded upon by players such as Henry Nelson and Lorenzo Harrison. Realizing that this was a unique musical tradition, labeled Sacred Steel, the Florida Folklife Program to applied for a grant from the National Endowment for the Arts to conduct fieldwork and create a music album for public dispersal. The aim of the project was to increase public awareness of the gospel steel guitar tradition, as well as document it for future generations. Matched with state funds, the grant period originally ran from October 1993 through October 1994, but was extended for another year. In that time Stone, along with sound engineers William Dudley and Mike Stapleton, interviewed and recorded several steel guitarists in the St. Petersburg area. An album entitled Sacred Steel was released in 1995. It was then re-released through an agreement with Arhoolie Records in 1997.
- Collection
| a_s1576_12_c84-008 | Silver Springs boat drivers Willie Marsh and William Crowell | Sound | African Americans
Life histories
Interviews
Oral histories
Occupational groups
Occupational folklore
Glass bottom boats
Boat drivers
Boat driving
Libraries
Springs
Tourists
Tourism
Boat driver
Tour guides (Persons) | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Silver Springs boat drivers Willie Marsh and William Crowell
- Date
- 1984-03-09
- Description
- Two audio cassettes. C84-8: Side A Interview/talk with Willie Marsh and William Crowell as part of the Library Folklife Program; they discuss their childhood at Silver Springs as well as their work as guides at Silver Springs; driving boats at Silver Springs; tipping problems; stories told on boat tours (Bridal Chamber, Mammoth Rock Ledge, Main Spring, Catfish Reception Hall, Ladies' Parlor; Devil's Kitchen, Geysers; Florida Snowstorm, Blue Grotto, Backbone of Prehistoric Remains, Christmas Tree Grove, Boat used by Ponce De Leon, Catfish Hotel); commercialization damaging vegetation at Springs; visitor damage to the ecosystem of Springs. Side B They discuss glass-bottom boats; visitors who rode the glass-bottom boats; stories told; tipping gimmicks; experiences with snakes, boat breakdown, alligators. C84-9: Continuation of interview -- they discuss a row boat in the river; drowning of visitors on an excursion; traveling to New York to be on "What's My Line?"; seniority on the job; Tarzan; family members that worked at Silver Springs; music they learned from their parents; age and retirement; big boats on the river; drinking story and hunting story; different owners of Silver Springs; trip to Daytona Beach by horse and wagon.
- Collection
| Singer Bob Tinsley performing cowboy songs at the Ocala Public Library | Singer Bob Tinsley performing cowboy songs at the Ocala Public Library | Still Image | Guitarists
Libraries
Cowherding
String instruments
Occupational folklore
Musical traditions, Anglo-Americans
Cowboys
Singing
Musicians
Music performance
Performing arts
Ranching
Ranchers
Guitarist
Singers | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Singer Bob Tinsley performing cowboy songs at the Ocala Public Library
- Date
- 1984-03-09
- Description
- Eight color slides. Tinsley singing cowboys songs at the Ocala Public Library, accompanied by his wife Lottie in some images. This was part of a National Endowment for the Arts-funded folklife program across the state, using local talent at various libraries. Recordings of his performance can be found in S 1576, box 12, cassettes C84-10 and C84-11.
- Collection
| a_s1576_12_c84-010a | Singer Bob Tinsley performing cowboy songs at the Ocala Public Library | Sound | Guitarist
Guitarists
Libraries
Cowherding
String instruments
Occupational folklore
Musical traditions, Anglo-Americans
Cowboys
Singing
Musicians
Music performance
Performing arts
Ranching
Ranchers
Singers | /fpc/memory/omeka_images/thumbnails/catalog_audio.jpg |
Singer Bob Tinsley performing cowboy songs at the Ocala Public Library
- Date
- 1984-03-09
- Description
- Eight color slides. Tinsley singing cowboys songs at the Ocala Public Library, accompanied by his wife Lottie in some images. This was part of a National Endowment for the Arts-funded folklife program across the state, using local talent at various libraries. Images of Tinsley performing can be found in S 1577, v. 26, S85-654 - S85-661.
- Collection
Listen: The FolkFolk Program
