Folklife Today Podcast

This episode examines the story of La Llorona, the Weeping Woman of Mexican and Latin American ghostlore. Hosts Stephen Winick and John Fenn discuss Winick’s research into the legend for the Folklife Today blog, and interview three guests. Camille Acosta, who wrote a thesis about the Llorona legend, talks about her research and the meanings the story has for kids and adults. Allina Migoni, the Latinx subject specialist for the American Folklife Center, talks about the importance of the La Llorona story for Mexican and Mexican American identity, as well as the connections between La Llorona and La Malinche, the enslaved Indigenous woman whose work as a translator helped Hernán Cortés conquer Mexico. Juan Dies speaks about La Llorona songs, as well as the figure of La Llorona in Mexican pop culture. More information on the songs as well as photos of some the singers and links to all the archival sources, can be found at https://blogs.loc.gov/folklife.

This episode looks back at the 2021 Homegrown at Home Concert series. Hosts John Fenn and Stephen Winick interview the series producer Theadocia Austen and folklife interns Kennedi Johnson and Camille Acosta. The participants talk about the series as a whole, and each picks one or two songs for us to hear. The episode contains songs from Neli Andreeva (Bulgarian traditional song), Brother Arnold Hadd and Radiance Choir (Shaker hymn), Martin Carthy (English ballad with guitar), harbanger (turntable septet hip-hop composition), Samite (Ugandan song with African lyre or litungu), Hubby Jenkins (Blues with guitar), and Mamselle Ruiz (traditional Mexican song with small ensemble). More information on the songs as well as photos of some the singers and links to all the archival sources, can be found at https://blogs.loc.gov/folklife.

This episode continues our look at songs about summer, from the amorous adventures of young lovers to the backbreaking work done by convicts in the sun. Hosts John Fenn and Stephen Winick, along with guest Jennifer Cutting, present their favorite summer songs. Songs include the English “Sweet Primroses;” the Trinidadian “One Fine Summer’s Morning” and “June Come, You No Marry;” the Tuvan “In Summer Pastures;” the African American work song “Worked All Summer Long;” and the Basque “When the Sun Shines Everywhere, How Good the Shade is!” More information on the songs as well as photos of some the singers and links to all the archival sources, can be found at https://blogs.loc.gov/folklife.

This episode looks at songs about summer, from the amorous adventures of young lovers to the backbreaking work done by convicts in the sun. Hosts John Fenn and Stephen Winick, along with guests Nicki Saylor and Jennifer Cutting, present their favorite summer songs. Songs include the Finnish “Kesa Ilta,” the Tuvan “Let The Sun Shine On My Verdant Summer,” the African American work song “Long Hot Summer Day,” the Appalachian nonsense song “On a Bright and Summer’s Morning,” the Anglo-Canadian lament “As I Walked Out One Fine Summer’s Evening,” and the Irish love song “Wild Mountain Thyme.” More information on the songs as well as videos of some of the performances, photos of some the singers, and links to all the archival sources, can be found at https://blogs.loc.gov/folklife.

This episode looks at a “Hidden Folklorist” renowned as a poet and playwright: Langston Hughes. It includes interviews with folklorist Langston Collin Wilkins and Hughes scholar Sophie Abramowitz. Wilkins and Abramowitz show us how Langston Hughes’s folklore work was grounded in song collecting and vernacular expression, and committed to the visionary futurity of Black folkloric creativity. We also explore Hughes’s connections to the American Folklife Center archive, especially correspondence between Hughes and Alan Lomax that preserves perhaps the only known copies of some of Hughes’s collected songs, right here in the Library of Congress.

This episode looks at three “Hidden Folklorists” from Louisiana with special guest Joshua Clegg Caffery from the Center for Louisiana Studies at the University of Louisiana Lafayette. The Hidden Folklorists are Becky Elzy and Alberta Bradford, two spiritual singers who had been born in slavery, but who years later sang over a hundred spirituals for collectors; and E.A. McIlhenny, the head of the Tabasco Sauce company, who first collected their spirituals into a book. We recount details of how a microfilm of unique, unpublished manuscript spirituals by Bradford and Elzy came to be part of the American Folklife Center archive, and how Bradford and Elzy came to be recorded on audio discs for the Library of Congress by Alan Lomax in 1934, with the resulting recordings also coming to the AFC Archive. It’s an amusing story in which the 19-year-old Alan Lomax is forced to leave his father, the seasoned collector John A. Lomax “by the side of the road” and drive 40 miles with the 73 year old Bradford to try to find the 82 year old Elzy so they can sing together for the Library’s recording machine. The episode also presents several of their spirituals, and ends with the very moving recording of two women who had been born in slavery singing “Free at last, free at last, thank God almighty, got free at last!”

This episode Presents the poem “Colorado Morton’s Ride,” also known as “Colorado Morton’s Last Ride.” It’s a ten-minute narrative poem recited by Fred Soule at the Farm Security Administration (FSA) camp in Visalia, California on September 2, 1941. The poem was recorded on an instantaneous disc by Charles Todd and Robert Sonkin, two fieldworkers collecting folksongs for the Library of Congress. It was written by Pulitzer-Prize-winning poet Leonard Bacon and Montana Cowboy Rivers Browne. It’s a great, colorful example of cowboy poetry, and we hope you enjoy it.

This episode looks at folk poetry, with discussions of four poetry-themed collections in the American Folklife Center. Guest Anne Holmes of the Library of Congress Literary Initiatives Division discusses “Living Nations, Living Words,” the signature project of the Poet Laureate Joy Harjo. Harjo, the first Native American Poet Laureate, has curated a collection of poetry by Native American poets, which includes recordings of the poets reading their work. The recordings are part of the American Folklife Center archive. The Literary Initiatives division has also created a Story Map to place the poets and poems in a geographic context. The poet M.L. Smoker reads her work “The Book of the Missing, Murdered, and Indigenous—Chapter 1.” Guest Michelle Stefano of the American Folklife Center discusses “Rhyming the Archive,” an event in which members of the poetry slam team Split This Rock wrote poems inspired by materials in the archive and performed them at an event at the Library of Congress. The poet Marjan Naderi reads her work “The Lessons My Mother Taught Me While Preparing Dinner.” Guest Kerry Ward of the Veterans History Project introduces VHP and discusses VHP’s November, 2019, Occupational Poetry Panel, which brought together four Veteran poets to perform their work. Meezie Hermansen performs her work “Tools of the Trade.” Stephen Winick and John Fenn discuss a poem in the American Folklife Center’s archive called “Colorado Morton’s Last Ride.” It’s a ten-minute narrative poem recited by a man named Fred Soule at the Farm Security Administration (FSA) camp in Visalia, California on September 2, 1941. The poem was recorded on an instantaneous disc by Charles Todd and Robert Sonkin, two fieldworkers collecting folksongs for the Library of Congress. Winick discusses the research that led him to discover that the poem, whose original title was “Colorado Morton’s Ride,” was written by Pulitzer-Prize-winner Leonard Bacon and Montana cowboy Rivers Browne. He also reveals the identity of Soule, a public information officer for the FSA. We hear Soule read an excerpt of the poem, and Winick and Fenn promise to release the full poem as a bonus episode.

This episode presents an interview with Candacy Taylor, whose latest project is documenting sites associated with the Negro Motorist Green Book, a travel guide for African Americans during the Jim Crow era. Taylor discusses the dangers inherent in travel for Black people during an era where racial discrimination was legal and open racism was common. She fills us in on the origins of the Green Book. We discuss sites such as Dooky Chase’s restaurant in New Orleans, where owner Leah Chase slapped the hand of President Barack Obama for adding hot sauce to her famous gumbo, and where she fed a young Michael Jackson her signature sweet potato pies. We also discuss the Historic Hampton House, a Jewish-owned hotel in Miami, where a young boxer named Cassius Clay met Malcolm X and changed his name to Muhammad Ali, and where Martin Luther King, Jr. practiced his most famous speech. We hear parts of interviews with Enid Pinkney, who restored the Hampton House; Jerry Markowitz, whose parents owned the Hampton House; Leah Chase of Dooky Chase’s; and Nelson Malden, Dr. King’s barber in Montgomery, Alabama.

This episode presents an introduction to sea shanties, including a discussion of the word “shanty” or “chantey;” a discussion of the roots of shanties; the history of shanties; the subtypes of short-haul shanties, halyard shanties, and capstan shanties; the importance of the African American and Afro-Caribbean communities to shanties; and the prevalence of women singing shanties. The episode presents six shanties, “Pay Me My Money Down” by the Georgia Sea Island Singers, “Haul the Bowline” by Richard Maitland, “Dead Horse” or “Poor Old Man” by Leighton Robinson, “The Amsterdam Maid” by Charles J. Finger,” “We All Going Ashore” by a group of women from Anguilla, and “Blow the Man Down” by Ship’s Company Chanteymen.