Category: Exhibits

Here at the Birthplace of Country Music Museum, we’ve spent the past month and a half exploring the power and impact of visual imagery through the NEH on the Road exhibit For All the World to See: Visual Culture and the Struggle for Civil Rights (on display until January 7, 2019). But we’re a music museum, and one thing we know for sure: music has power and impact too.

And that is certainly true when you think about the music of the Civil Rights movement. Many of these songs had their origins in traditional hymns and African American spirituals, and while they weren’t all originally about freedom and social justice, their message was clearly relevant. Some were also revised to include new lyrics that spoke directly to the issues people were facing, such as voting rights. Others grew out of the musicians’ personal experiences or observations of the discrimination around them.  These songs – often and rightfully called anthems – inspired determination and bravery, helped to lessen fears and steady nerves, focused activists’ passion and energy on the task at hand, and acted as motivators to protesters and observers alike. They were delivered by professional musicians and groups like the Freedom Singers, but more importantly they became the unified voice of ordinary people displaying extraordinary courage at rallies, marches, and protests and in churches, meetings, and workshops.

There are many accounts of this music history and the songs of the Civil Rights struggle in books, audio collections, and films such as Strange Fruit: The Biography of a Song, We Shall Overcome: A Song That Changed the World, Let Freedom Sing: The Music of the Civil Rights Movement, Sing for Freedom: The Story of the Civil Rights Movement Through Its Songs, Voices of the Civil Rights Movement: Black American Freedom Songs, 1960-1966, Freedom Song: Young Voices and the Struggle for Civil Rights, and Soundtrack for a Revolution (screened at the museum in November). All of these are worth exploring to get a better understanding of the place and significance of music in the fight for civil rights over the years.

A blog post about this music would be incredibly long – it’s a long and interesting history and each song has a story! And so, we’ve chosen just five songs that highlight the power of this music, including a brief history or description of each, to get you started on an incredibly inspiring musical journey.

“Uncle Sam Says,” Josh White (1941)

Josh White’s 1941 record Southern Exposure: An Album of Jim Crow Blues, co-written with poet Waring Cuney, was called “the fighting blues” by author Richard Wright, who wrote its liner notes. One of its songs, “Uncle Sam Says,” highlighted the frustration felt by African Americans when faced with the continuing effects of Jim Crow even as they fought and gave their lives for their country. It was inspired by White’s visit to his brother at Fort Dix in New Jersey where he saw the segregated barracks and unequal treatment of the black servicemen. After the album was released, White was invited by President Franklin Delano Roosevelt to the White House for a command performance, the first black artist to do so.

“This Little Light of Mine,” Rutha Mae Harris

For many of us, “This Little Light of Mine” is a song of our childhood sung at school or church. But the song has a much more interesting history within the Civil Rights movement and beyond as a “timeless tool of resistance” – check out this NPR piece from August 2018 that celebrated the song as a true “American Anthem.” The song, both a spiritual popular in the black churches and a folk song, became even more impactful when it was employed by Civil Rights protesters and activists who often personalized the lyrics to the situation or as a way to name the oppressors they were facing. Original Freedom Singer Rutha Mae Harris demonstrates the energy and power of the song as she leads a contemporary group in its verses at the Albany Civil Rights Institute:

“I Shall Not Be Moved,” The Harmonizing Four (1959)

This African American spiritual is based on Jeremiah 17:8—9, reflecting the idea that the singers’ faith in God will keep them strong and steadfast. The song became a popular resistance anthem during the Civil Rights movement, especially in relation to sit-ins; it was also used as a labor union protest song. As with “This Little Light of Mine,” the lyrics were sometimes altered to speak to the specific cause. Maya Angelou’s poetry collection I Shall Not Be Moved was named after the song.

“Why Am I Treated So Bad?,” The Staple Singers (1966)

The Staple Singers met Dr. Martin Luther King Jr. in 1963 after a performance in Montgomery, Alabama. Roebuck “Pops” Staples, the band’s patriarch, said afterwards: “I really like this man’s message. And I think if he can preach it, we can sing it.” The group went on to write and perform many Civil Rights songs, including “March Up Freedom’s Highway” and “Washington We’re Watching You.” “Why Am I Treated So Bad” was written in reference to the treatment of the nine African American children at the forefront of integration in Little Rock, Arkansas, in 1957. It became a particular favorite of King’s and was often sung before he spoke to a crowd.

“We Shall Overcome,” Mahalia Jackson (1963)

One of the most well-known songs of the Civil Rights movement, “We Shall Overcome” exemplifies the resilience, determination, and hope of the activist leaders and the everyday protesters alike. Its origins stretch back to the early 20^th century with Charles Tindley’s “I Will Overcome.” Striking workers took up the song in the 1940s, later sharing it with Zilphia Horton at the Highlander Folk School in Tennessee, a center for social justice and activism. White and black activists came together at Highlander for workshops and planning during the Civil Rights movement, and some of that work involved learning songs and how to employ them in protests. Musical director Guy Carawan learned a version of the song from Pete Seeger; Carawan later introduced the song at the founding convention of the Student Non-Violent Coordinating Committee. (To hear Candie Carawan talk about the work at Highlander and the power of music during the Civil Rights movement, check out December 19’s archived On the Sunny Side show on Radio Bristol; her interview is towards the end of the show.)

https://www.youtube.com/watch?v=vTyKJjj2oC0

Finally, did you know that there is a connection between Carter Family favorite “Will the Circle Be Unbroken?” and civil rights? The song has been sung by various activist musicians, including Jimmy Collier and the Movement Singers and Freedom Singer Bernice Johnson Reagon, and an audio history of the Civil Rights movement takes the song title on as its name.

Olive Dame Campbell appears sometimes as a ghostly figure in the world of folk music: half champion, half a forgotten footnote. She came to our attention by different routes. While undertaking her PhD in Ethnography in Newfoundland, Wendy met her as a strong feminist icon doing great work; Jack discovered her as we prepared to teach ballads and folktales at the John C. Campbell Folk School in Brasstown, North Carolina, a few years ago. Olive had established the school in memory of her late husband, and they had both been involved in establishing settlement schools in Appalachia in the early 1900s.

Olive first encountered Appalachian ballads and fiddle tunes as she and John began their good works, and a little sidetracking goes a long way – Olive was the first to start collecting the old mountain ballads that had migrated from Scotland and England via the Scots-Irish pioneers, and she also created a manuscript collection of words and music. Experts debate how her work came to the attention of the famous English folk song enthusiast Cecil Sharp, who came to the Appalachians to do similar work in 1916 to 1918 and, with his secretary Maud Karpeles, built on the collecting work done by Olive. Eventually this combined work would be published as English Folk Songs from the Southern Appalachians; however, since its publication, the collection has mostly been referred to as Sharp’s work – rarely do we see Olive given much credit beyond her name in small print on the book’s title pages.

Until Hollywood got hold of the story, that is….

The lead character of a movie called Songcatcher was loosely based on Olive Dame Campbell. The film focuses on the mountain music of Appalachia and uses many very fine local musicians in supporting roles, including Sheila Kay Adams and Phil Jamieson. In the final scene, as the ballad collector heads down the mountain to conquer city life with her new Appalachian family, they meet an English gentleman headed up. He is obviously based on Cecil Sharp.

It was seeing Songcatcher that rekindled our interest in someone we felt should be better known. It may be that she was rather sidelined simply because she was a woman carrying out studies at a time when men were seen as more ‘serious’ academics. It’s certainly interesting how difficult finding information about her song collecting can be. Internet searches divert to information about her husband or Sharp. She does have a page on Wikipedia, but once again it’s mostly about the men in her life.

When we make musical presentations, we like to point out that most tradition bearers are women, in music and song as well as in story and dance. Women are frequently the sources of the ballads, the stories, the recipes, the remedies, etc. How often has an archived recording of home visits featured a male source breaking down in the middle of a ballad, only for the sister, wife or mother to shout the next line from the kitchen where she is preparing food for the guests who have come to record the singer?

The series of books that we lent to the museum for its current exhibition, The Appalachian Photographs of Cecil Sharp, span 1700–1950. All are published by men, although their song and ballad sources are mostly women. Sir Walter Scott got the majority of his ballads from ‘Mrs Brown of Falkland’ – a clergyman’s wife, who was famously scathing in her condemnation of his alterations to her texts. She was an educated intelligent woman but she didn’t have the connections or reputation that Scott had. Like Olive, she became a footnote and an amusing story to tell about how charming source behavior can sometimes be.

That being said, we don’t condemn the many fine male folk-song collectors and scholars within this field, from David Herd to Bertrand Bronson. They produced important collections during times when women weren’t expected – nor allowed the opportunities – to do other than shout the next line from the kitchen. And when we think about that, perhaps Olive Dame Campbell actually did blaze a trail by getting her name with Cecil Sharp’s on the title page of the first edition of English Folk Songs from the Southern Appalachians.

What’s sad for us is that her truly pioneering work, which predated Sharp by years, seems to have often been systematically sidelined. Sharp on his collecting travels throughout Appalachia was accompanied by his “secretary” Maud Karpeles, who in these more enlightened times has come to be recognized as more important than Olive Dame Campbell. Olive has faded, a ghost whose power and influence are as yet unsung. We have hope and confidence that future scholars will fill out her life and recognize her contributions to preserving and perpetuating the songs we still sing today.

Thank you to our guest bloggers Jack Beck and Wendy Welch, who wrote this blog post about Olive Dame Campbell, the perfect post to accompany our current special exhibit, on display through May 31, 2018.

Jack was born in Dunfermline, Scotland, and lived most of his life there. A founding member of Heritage, one of the seminal traditional Scottish bands of the 1970s and 1980s, he was also the musical partner of Barbara Dickson. Awarded an honorary lifetime membership in the Traditional Music and Song Association for his services to Scottish traditional music, he spent five years as external examiner in Scots Traditional song at the Royal Scottish Conservatoire in Glasgow. Jack has lived for the last twelve years in Big Stone Gap, Virginia with his wife Wendy Welch, in the heart of Appalachia and old-time mountain music. Wendy is the author of four books, the most recent Fall or Fly detailing effects of the opioid crisis on foster care. She has a PhD in Folklore, is book editor for the Journal of Appalachian Studies, and was founding director of a storytelling non-profit in Scotland. Together they run a bookstore – Tales of the Lonesome Pine – the subject of Wendy’s memoir The Little Bookstore of Big Stone Gap from St. Martin’s Press.

Sometimes it ain’t easy living with a musician. Amps and instruments are your furniture. There are long, late nights of waiting at home or holding up a bar stool while he/she is out practicing with the band or playing a gig. Music will always be their first love, so you’re always a little jealous when it takes time away from you. Though, of course, there is also the bonus of strangers telling you how awesome your musician is – which is actually pretty cool. And I can attest to all of the above because I am Chuck Tipton’s kid.

Growing up, the duality of Dad’s daytime profession as a sought-after commercial videographer/photographer was only slightly eclipsed by his nighttime side-hustle as a renowned guitarist, studio musician, and luthier. (For those who don’t know, a luthier is a maker of stringed instruments.) On any given day I am blessed to receive accolades for my Dad’s work from people who know him from both worlds, so to see him honored by having two of his Tipton Custom Guitars on display in the current special exhibit at the Birthplace of Country Music Museum – The Luthier’s Craft: Instrument Making Traditions of the Blue Ridge – alongside some of the best instrument makers in our region means a great deal to me.

Sometime in the late 1980s Dad declared: “If I can’t fix my own guitar, then I shouldn’t play one!” So he read everything he could get his hands on about the craft, converted my parents’ garage into a workshop, and never sent another guitar off for repair again. Soon he was doing repairs for friends and taking in work from local music stores. Around that time he also started building guitars, both acoustic and electric, and electric basses as well. Dad is among the elite few to achieve certification from C. F. Martin & Co. to service their guitars; he is also an authorized Fender repair technician. (And by the way, he does an awesome Tele replica!)

Dad’s expertise has brought some wonderful guitars into his workshop over the years. Chad Weaver, a family friend, was a local musician who moved on to work for many years as Brad Paisley’s guitar tech. Chad once trusted Dad to do some work on Brad’s famous 1968 Fender Pink Paisley Telecaster. Dale Jett, grandson of A. P. and Sara Carter, is another family friend and a customer of Dad’s. Dale inherited A. P.’s 1935 C. F. Martin & Co. 000-28 and has brought it over to Dad’s shop for work in the past. Dad loves working on instruments that have some history, and A. P.’s Martin was put on display and included in the programming for The Carter Family: Lives and Legacies, the first special exhibit curated by the Birthplace of Country Music Museum back in 2014.

Musician Webb Wilder has made a stop or two in Dad’s workshop, and country music singer/songwriter Terri Clark owns an electric Tipton Custom Guitar, as does award-winning blues guitarist Deborah Coleman. And both Clark and Coleman listed Tipton Custom Guitars in their album liner notes – Clark’s Pain to Kill and Coleman’s Soft Place to Fall.

Dad is also a studio musician, and I’ve been told that Dad has likely a thousand album credits to his name. A thousand! He learned to play by ear at a very young age, and he’s played on a ton of records, primarily gospel and country. He once told me that he had to teach himself how to read and write music so he could lead recording sessions – whatever that entails. Sadly, the availability and affordability of DIY recording technology has rendered recording studios across the country an endangered species.

Dad doesn’t do much, if any, studio work these days, and a few of the shops Dad recorded in have either changed hands or no longer exist. He did a lot of work for Joe Deaton, owner of Tandem Records in Bristol, Virginia, in the studio that became Classic Recording Studio when Deaton retired. I remember napping in a chair while Dad laid down tracks during a marathon recording session there. Thankfully Classic is still in operation, though it has changed hands a few times.

I also recall my brother Matt and I playing with the gooey chunks of vinyl that had dripped to the floor from the old record press they had at Tri-State Recording Studio in Kingsport, Tennessee. Tri-State no longer exists, but I did find them listed on Discogs.com, along with a number of records the company produced on their label. Lasting Sounds is another local studio that Dad spent a lot of time in over the years.

Outside the Tri-Cities he recorded at The Loft in Boone, North Carolina, Mark Five Recording Studios in Greenville, South Carolina, The Sounding Board in Easley, South Carolina, Church House Studios in Middlesboro, Kentucky, and Dawn Recording Studio in Ashville, North Carolina, where he played on the original recording of “Sweet Beuhlah Land” by Squire Parsons.

I was usually the first person to grab the phone when it rang in our house, and Dad got lots of calls from people like Charlie Maggard of Maggard Sound Studios and Joe Morrell of Morrell Music. They were always very nice to me and sometimes made small talk while we waited for Dad to pick up. I didn’t think much of it then, but looking back I see what a big chunk of this area’s music history I was witnessing without even realizing how significant it was. Sadly, neither Charlie nor Joe is still with us, but those men left a great legacy to the music culture of this region. Thinking about it now, perhaps some of these studios and their owners deserve blog posts of their own in the future!

From music to camera work, my Dad has maintained the ability to eke out a living through his hobbies, and he is always finding a way to enjoy them too. Last year he even built a one-inch scale model steam traction engine that actually works! The truth is I’ve never known anyone with more ingenuity and determination. From his eye for lighting and shot composition to his keen ear for music, every skill Chuck Tipton has gained has been self-taught. I only feel shortchanged by the fact that I inherited ZERO of his genetic guitar genius or concentration; my younger brother got all that – he’s an amazing picker in his own right.

Dad is a man of few words and tends to shy away from the spotlight. He rarely talks about his accomplishments, so I didn’t appreciate the full scope of his work until I was older. And at the opening reception for The Luthier’s Craft special exhibit, I noticed the other luthiers who were there had the same quiet nature as my Dad until you got them talking about their work. I suppose they feel most at ease in the solitude of their workshops as opposed to big parties in their honor – which may explain why none of them were smiling in the photo I took at the reception!

Rob Nicar and Doug Sims are the proud owners of the two Tipton Custom Guitars displayed in The Luthier’s Craft special exhibit. One of them – called “Redneck” – is the first guitar he ever built from scratch. When asked by the museum if they would loan the instruments for a while, both were anxious to know how long they would have to part with them. Doug said his only regret about having his guitar behind glass is that people won’t be able to hear how good Dad’s guitar sounds!

To say that I’m proud of my Dad would be an understatement. And though he would never say so, I know that being part of this special exhibit at the museum means a great deal to him. It’s the culmination of all the hard work he has done over the past three decades. He told me he has built around 90 instruments since he built his first guitar from a kit, though he doesn’t own a single one. He doesn’t do builds anymore – he says the repair work at the shop keeps him too busy – but I’m hoping being in this exhibit may inspire him to build at least one more for himself so that someday his grandkids will have a piece of this wonderful legacy, made with his own hands!

The Luthier’s Craft exhibit, produced by the Mount Airy Museum of Regional History, is open through March 4, 2018, in our Special Exhibits Gallery. Be sure to take the time to come see Chuck Tipton’s guitars, along with instruments from a host of wonderful local and regional luthiers!