Lightnin' Hopkins_ His Life and Blues - Alan Govenar [169]
7. Chris Strachwitz, interview by Alan Govenar, July 12, 2009.
8. Ibid.
9. Charters, Folkways LP 3822.
10. Samuel B. Charters, The Country Blues (New York: Da Capo, 1975), pp. 254–261.
11. Carlin, pp. 111–133.
12. Sam Charters, March 13, 2008.
13. Ibid.
14. Ibid.
15. Ibid.
16. Ibid.
17. Undated correspondence from Sam Charters to Moses Asch. Moses and Frances Asch Collection, Smithsonian Center for Folklife and Cultural Heritage, Lightning Hopkins file.
18. Sam Charters, interview by Alan Govenar, March 13, 2008.
19. Strachwitz, July 12, 2009.
20. Mack McCormick, in Chris Strachwitz’s, “Lightnin’ Hopkins Discography, Pt. 2,” Jazz Monthly, no.10 (December 1959), p. 14.
21. Strachwitz, July 12, 2009.
22. Ibid.
23. In the early twentieth century, hootenanny referred to things whose names were forgotten or unknown and was synonymous with thingamajig or whatchamacallit. It was also an old-country word for party. In various interviews, Seeger said that he first heard the word hootenanny in the late 1930s in Seattle, Washington, where Hugh DeLacy’s New Deal political club used it as a name for their monthly music fundraisers. In New York City, Seeger and the Almanac Singers (1940–41) adopted the word hootenanny to describe their folk music events, as did other groups focused on traditional music, including People’s Songs (1946–1949), People’s Artists (1949–1956), and Sing Out! magazine (1957).
24. Kyla Bynum, interview by Alan Govenar, August 30, 2008.
25. Ibid.
26. Mack McCormick, Liner notes to The Rooster Crowed in England, 77 (UK) LP 12/1.
27. Ibid.
28. Timothy O’Brien, MA thesis, p. 64.
29. This show was in the original Alley Theatre location that only held about two hundred people, not the existing Alley Theatre, built in 1968, which seats eight hundred.
30. Interview with McCormick, Timothy O’Brien, MA thesis, p. 65.
31. “Hootenanny Scores Hit,” Houston Post. Arhoolie Records clipping file.
32. Bill Byers, “‘Hootenanny’ Singers Win Applause at Alley Program,” Houston Chronicle, July 21, 1959.
33. Mack McCormick, undated letter to John Lomax Jr. papers. Op cited. Box 3D folder 318.
34. John S. Wilson, “Lightnin’ Hopkins Rediscovered,” New York Times, August 23, 1959.
35. Kyla Bynum, interview by Alan Govenar August 30, 2008.
36. Charlotte Phelan, “Song Maker,” Houston Post, August 23, 1959.
37. Mack McCormick, liner notes to Lightnin’ Hopkins, Country Blues, Tradition LP 1035. What McCormick apparently didn’t understand at the time was that a good portion of Lightnin’s repertoire was probably gleaned from phonograph records.
38. Mack McCormick, liner notes to Lightnin’ Hopkins, Country Blues, Tradition LP 1035.
39. Patrick B. Mullen, The Man Who Adores the Negro: Race and American Folklore (Champaign, IL: University of Illinois Press, 2008), p. 122.
40. Benjamin Filene, p. 116.
41. Sam Charters, The Country Blues, New York: Da Capo Press, 1975, p. 266.
42. Mack McCormick, “Lightnin’ Hopkins: Blues,” The Jazz Review, Vol. 3, no. 1 (January, 1960). Reprinted in Jazz Panorama: From the Pages of Jazz Review, edited by Martin Williams, New York: Crowell-Collier Press, 1962, p. 313.
43. Isabelle Ganz, interview by Alan Govenar, August 28, 2008.
44. Kyla Bynum, interview by Alan Govenar, August 30, 2008.
45. For more information on Sweatt v. Painter, see Robert D. Bullard, Invisible Houston: The Black Experience in Boom and Bust (College Station, TX: Texas A&M University Press, 1986), pp. 126–129.
46. Benny Joseph, interview by Alan Govenar, 16, 1989. For more information, see Houston Post, March 9, 1960, Section 1, p. 1, Houston Post, March 17, 1960, and Houston Informer, March 19, 1960.
47. Jim Mousner, “Houston Negroes: Despite Problems Their Life is Sunnier,” Houston Post, April 24, 1960.
48. For more information, see Alwyn Barr, Black Texans: A History of Negroes in Texas, 1528–1971 (Austin: Jenkins, 1973). Howard Beeth and Cary D. Wintz, eds., Black Dixie: Afro-Texan History and Culture in Houston (College Station, TX: Texas A&M University