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Southern Spaces

A journal about real and imagined spaces and places of the US South and their global connections

Envisioning Faulkner and Southern Literature

...was born of a thirteen-year-old mother who had been thrown out of her family's home in Baltimore for being unmarried and pregnant. Kept by family in Baltimore during her early...

Transcript of "When I Say 'Steal,' Who Do You Think Of?": Part Three

...at the crossroads of the railroad and U.S. 11, just off the highway, a place where the growing number of mexicano workers can send envios of money home. I grew...

The Joneses: Home Made in Mississippi

...with the cost of flights and the initial recovery period in a hotel, it was cheaper to do so there than in the United States. Hearing her story, Ash insisted...

Ungesund: Yellow Fever, the Antebellum Gulf South, and German Immigration

...1850 and 1860 provide population statistics by nation of origin, providing the total number of German-born in each state. Compiled from the Original Returns of the Eighth U.S. Census 1860a-04,...

Returning Home, Saxon Mills

...carrying her clothes, my unborn sister, nothing left of marriage but the cheap ring. There was her father, Lonnie, the house painter, in Lantana. Lonnie, always drinking, laughing at poverty....

Transcript of "When I Say 'Steal,'Who Do You Think Of?": Part One

...are interested in opening up the U.S. to their cars—and are getting a boost from the falling dollar, since they can sell cars produced in the U.S. cheaper than they...

Crossing Over: Sustainability, New Urbanism, and Gentrification in Austin, Texas

...hastened neighborhood change. A number of scholars have criticized New Urbanism's complicity with capital in creating exclusionary spaces and "geographies of otherness," which reinforce or replicate spatial divisions.17K. Till, "Neotraditional...

"Closest to Everlastin'": Ozark Agricultural Biodiversity and Subsistence Traditions

Introduction This here tale begins in the summer of that year, whatever year it was . . . The year don't matter. The national situation don't even matter, because even...

Whole Cloth Chintz Wedding Quilt [ca 1850]

...flowers achieved with a limited number of colors and characteristic dotted backgrounds in black or blue." More expensive than everyday fabrics, the choice of an imported chintz for a wedding...

John Cohen in Eastern Kentucky: Documentary Expression and the Image of Roscoe Halcomb During the Folk Revival

...High Lonesome," Folkstreams, http://www.folkstreams.net/context,92, 2-3. Roscoe Halcomb allowed Cohen to visit him at home on a number of occasions to record, photograph, and film him. Cohen produced a remarkable documentary, The...

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References
1.	Ronald Cohen, ed. "Wasn't That a Time!": Firsthand Accounts of the Folk Music Revival(Metuchen, NJ: Scarecrow Press, 1995): 38.
2.	John Cohen, interview by the author, Putnam Valley, New York, September 1-2, 2006. Hereafter cited as Cohen Interview.
3.	Halcomb's name appears as "Roscoe Holcomb" on the Folkways records he recorded for John Cohen. I learned of another spelling of his name while visiting Halcomb's friends and relatives in his native Perry County, Kentucky during the summer of 2006. His nephew took me to his gravesite where I saw his name spelled "Rosco Halcomb" on his tombstone. In his letters to John Cohen, Halcomb would also spell his name "Roscoe" or "Rascal." The variety of spellings is due in part to Halcomb's handwriting. The spelling of his correct last nam — Halcomb —is not in question. The Halcomb name is prevalent in that part of Kentucky. In the 1920 census, when he would have been seven years old, he is listed as Rossie Halcomb. Cohen kept his last name as Holcomb for presentation purposes, believing that Roscoe Holcomb looked and sounded better than Roscoe Halcomb. Throughout this essay, I will refer to Halcomb in the way that he most often addressed his letters to Cohen: Roscoe Halcomb.
4.	Tom Davenport and Barry Dornfeld, Remembering the High Lonesome (2003), film from Folkstreams, http://www.folkstreams.net/film,42; "Transcript to Remembering the High Lonesome," Folkstreams, http://www.folkstreams.net/context,92, 2-3.
5.	Michael Harrington, The Other America: Poverty in the United States (New York: Macmillan, 1962); Harry M. Caudill, Night Comes to the Cumberlands: A Biography of a Depressed Area (Boston: Little, Brown, 1963); John Cohen liner notes in Roscoe Holcomb: An Untamed Sense of Control (Smithsonian Folkways CD 41044, 2003): 8-9.
6.	When I use the word "romantic" or "romanticism" in this essay, I am taking my definition from Michael Lowy and Robert Sayre who argue in Romanticism Against the Tide of Modernity, that "Romanticism represents a critique of modernity, that is, of modern capitalist civilization, in the name of values and ideals drawn from the past (the precapitalist, premodern past)." Romanticism in their view represents a "modern critique of modernity." The implication is that "even as Romantics rebel against modernity, they cannot fail to be profoundly shaped by their time. . . . Far from conveying an outsider's view, far from being a critique rooted in some elsewhere, the Romantic view constitutes modernity's self-criticism." Further, romanticism means "to flee bourgeois society," to leave cities or modern conveniences or jobs behind for the seeming purity of rural areas, trading the modern for the "exotic," "abandoning the centers of capitalist development for some 'elsewhere' that keeps a more primitive past alive in the present." Romanticism also represents an effort to patch together the "modern fragmentation" of folk cultures. The documentary form, whether in writing, photography, film, or sound recording provides a way to preserve aspects and images of folk culture before they disappear. Consequently, documentary expression in the South has, at times, resembled an ethnographic salvage project that tries to give coherence and meaning to a way of life constantly on the brink of extinction. See Michael Lowy and Robert Sayre, translated by Catherine Porter, Romanticism Against the Tide of Modernity (Durham: Duke University Press, 2001), 17-24.
7.	The creation of Roscoe Halcomb's image provides a perfect example of what historian Benjamin Filene refers to as the "cult of authenticity" surrounding roots musicians during the twentieth century; see Benjamin Filene, Romancing the Folk: Public Memory and American Roots Music (Chapel Hill: University of North Carolina Press, 2000). As the title suggests, Filene's book is about how a diverse cross-section of folklorists, musicians, record executives, and other Americans remembered the country's musical past, how they transmitted these memories, and the role they played in American cultural life. Though he does not address Cohen or Halcomb, his chapter on the relationship between Leadbelly and John and Alan Lomax provides an interesting comparison with valuable insights. The Lomaxes, according to Filene, promoted Leadbelly as a symbol of "actual folk," and created a "cult of authenticity" and a "web of criteria for determining what a 'true' folk singer looked and sounded like and a set of assumptions about the importance of being a 'true' folk singer." (49). Though not directly influenced by the Lomaxes, Cohen's own promotion of Halcomb fits into the broader cultural trend identified by Filene. As "isolated cultures became harder to define and locate in industrialized America, the notions of musical purity and primitivism took on enhanced value . . ." (3). One thing that distinguishes Cohen from the Lomaxes is Cohen's independence from any institutional affiliation like the Library of Congress. He always worked as an independent artist or musician and conducted documentary work on his own terms, even though he promoted Halcomb by getting him record deals with Folkways Records, which then circulated his image and music to consumers.
8.	According to W.K. McNeil, Will Wallace Harney's 1873 article, "A Strange Land and a Peculiar People," is significant "not so much for the material he reports but in his characterization of Appalachia as a place in, but not of, America." William Goodell Frost's 1899 article for the Atlantic Monthly titled "Our Contemporary Ancestors in the Southern Mountains," reinforced the idea of Appalachian distinctiveness and homogeneity for a new generation. Frost believed Appalachia had finally awoken from a "Rip Van Winkle sleep" and needed the guidance of northern missionaries to bring progress to the region while sustaining unique cultural customs. Both articles are collected in W.K. McNeil, Appalachian Images in Folk and Popular Culture (Knoxville: University of Tennessee Press, 1995). For more on the construction of the image of the Appalachian folk during the nineteenth and twentieth centuries see Henry Shapiro, Appalachia on Our Mind: The Southern Mountains and Mountaineers in the America Consciousness, 1870–1920 (Chapel Hill: University of North Carolina Press, 1978); David Whisnant, All That Is Native and Fine: The Politics of Culture in an American Region (Chapel Hill: University of North Carolina Press, 1983); Allen W. Batteau, The Invention of Appalachia (Tucson: University of Arizona Press, 1990); Jane S. Becker, Selling Tradition: Appalachia and the Construction of an American Folk, 1930-1940(University of North Carolina Press, 1998).
9.	For more on the "folk" and authenticity see Regina Bendix, In Search of Authenticity: The Formation of Folklore Studies (Madison: University of Wisconsin Press, 1997); Gene Bluestein, Poplore: Folk and Pop in American Culture(Amherst: University of Massachusetts Press, 1994); Filene, Romancing the Folk; Becker, Shared Traditions.
10.	The myth of Appalachia as an isolated region in America has deep roots that reach back into the nineteenth century. Henry Shapiro and Allen Batteau among others have demonstrated how fiction writers beginning in the 1870s created the enduring myth of isolation and "otherness." As Shapiro notes, isolation was never just a "descriptive characteristic" but also a way to refer to "a state of mind, an undesirable provincialism resulting from a lack of contact between mountaineers and outsiders" (77). Other Appalachian historians have in recent years produced probing histories that undermine ideas of the region's social and economic isolation from the rest of America. Ronald L. Lewis has reviewed recent scholarship on Appalachian history and discovered "little empirical evidence for the proposition that Appalachian culture was the product of continuing frontier isolation." See Ronald L. Lewis, "Beyond Isolation and Homogeneity: Diversity and the History of Appalachia," in Dwight B. Billings, et al, eds., Back Talk from Appalachia: Confronting Stereotypes (Lexington: University Press of Kentucky, 1999), 21-43; Dwight B. Billings, Mary Beth Pudup, and Altina L. Waller, "Taking Exception with Exceptionalism: The Emergence and Transformation of Historical Studies of Appalachia," in Appalachia in the Making: The Mountain South in the Nineteenth Century, ed. Mary Beth Pudup, Dwight B. Billings, and Altina Waller (Chapel Hill: University of North Carolina Press, 1995), 3. For the cultural and literary origins of the myth of isolation see, Shapiro, Appalachia on Our Mind; Whisnant, All That Is Native and Fine; Batteau, The Invention of Appalachia; McNeill, ed., Appalachian Images in Folk and Popular Culture.
11.	John Cohen, There Is No Eye: John Cohen Photographs (New York: Powerhouse Books, 2001): 15.
12.	Cohen interview; Cohen, There Is No Eye, 22.
13.	Cohen interview.
14.	Cohen interview; John Cohen, "A Visitor's Recollections," in Allen Tullos, ed., Long Journey Home: Folklife in the South (Southern Exposure, Vol. 5, Nos. 2-3, 1977): 115; Cohen, There Is No Eye, 24.
15.	Susan Montgomery, "The Folk Furor," Mademoiselle (December 1960): 100.
16.	Cohen interview; Cohen, There Is No Eye, 82.
17.	Cohen interview; Cohen, There Is No Eye, 82-83. For the distinction between Frank and FSA photographer Walker Evans, see William Stott, "Walker Evans, Robert Frank, and the Landscape of Disassociation," Arts Canada 31 (December 1974) and Leslie Baier, "Visions of Fascination and Despair: The Relationship Between Walker Evans and Robert Frank," Art Journal Vol. 41, No. 1 (Spring 1981): 55-63; Tod Papageorge, Walker Evans and Robert Frank: An Essay on Influence (New Haven: Yale University Art Gallery, 1981); John Bromfield, "The Americans' and the Americans," Afterimage Vol. 8, No. 1/2 (Summer 1980): 8-15.
18.	Cohen interview; Cohen, There Is No Eye, 106.
19.	Cohen, There Is No Eye, 82 and 118; Cohen interview; Blake Eskin, "His Worst Critic Proved Wrong," New York Times, November 18, 2001: 38.
20.	Jon Pankake, "The New Lost City Ramblers: The Early Years, 1958-1962," liner notes to The Early Years, 1958-1962, perf. The New Lost City Ramblers (Smithsonian Folkways CD SFW 40036, 1991).
21.	Gura, "Southern Roots and Branches," 62-63; Goldsmith, Making People's Music, 259. For more on popular and critical reception of Harry Smith's Anthology of American Folk Music during its release in 1952 and its reissue in 1997, see, Katherine Skinner, "'Must Be Born Again': Resurrecting the Anthology of American Folk Music," Popular Music, Vol. 25, No.1 (2006): 57-75.
22.	John Cohen, "The Revival," part of a symposium titled "Folk Music Today," Sing Out!, vol. 11, no. 1 (Feb – March 1961): 23.
23.	John Cohen, "In Defense of City Folksingers," Sing Out! vol. 9, no. 1 (Summer 1959): 32-33.
24.	For more on the different contexts, politics and aesthetics of twentieth century folk music revivals in America, see Robert Cantwell, "When We Were Good: Class and Culture in the Folk Revival," in Transforming Tradition: Folk Music Revivals Examined, Neil Rosenberg, ed. (Urbana: University of Illinois Press, 1993); Ron Eyerman and Scott Baretta, "From the 30s to the 60s: The Folk Music Revival in the United States," Theory and Society Vol. 25, No. 4 (August 1996): 521-522. For more on twentieth century folk revivals in the United States see Robert Cantwell, When We Were Good: The Folk Revival (Cambridge: Harvard University Press, 1997); Ronald D. Cohen, Rainbow Quest: The Folk Music Revival and America Society, 1940-1970 (Amherst: University of Massachusetts Press, 2002); Ron Eyerman and Andrew Jamison, Music and Social Movements: Mobilizing Traditions in the Twentieth Century (Cambridge: Cambridge University Press, 1998); Benjamin Filene, Romancing the Folk: Public Memory and American Roots Music (Chapel Hill: University of North Carolina Press, 2000); Philip F. Gura, "Southern Roots and Branches: Forty Years of the New Lost City Ramblers," Southern Cultures vol. 6, no. 4 (Winter 2000); Ray Lankford, Folk Music U.S.A.: The Changing Voice of Protest (Schirmer Books, 2005); Robbie Lieberman, My Song Is My Weapon: People's Songs, American Communism, and the Politics of Culture (Urbana: University of Illinois Press, 2005); Neil Rosenberg, ed. Transforming Tradition: Folk Music Revivals Examined (Urbana: University of Illinois Press, 1993); Dick Weissman, Which Side Are You On?: The Inside History of the Folk Revival in America (Continuum, 2005).
25.	Cohen, "In Defense of City Folksingers," 32-33. On romanticism's rejection of universal truths and absolutes see Isaiah Berlin, The Roots of Romanticism (Princeton: Princeton University Press, 1999): 138, 140, 146-147. "What Romanticism did," according to Berlin, "was to undermine the notion that in matters of value, politics, morals, aesthetics there are such things as objective criteria which operate between human beings. . . . The notion that there are many values, and that they are incompatible; the whole notion of plurality, of inexhaustibility, of the imperfection of all human answers and arrangements; the notion that no single answer which claims to be perfect and true, whether in art or in life, can in principle be perfect or true – all this we owe to the romantics" (140,146).
26.	Jens Lund and R. Serge Denisoff, "The Folk Music Revival and the Counter Culture: Contributions and Contradictions," Journal of American Folklore, vol. 84, no. 334 (Oct. – Dec., 1971): 400. Robert Cantwell, a historian of the folk revival, has placed its participants in historical context, showing how their yearnings and cultural expressions sprang from the particular "psychosocial and economic setting of postwar America." Folk revivalists, those born towards the end of the depression to around the late 1940s (Cohen is on the older end of this time frame), "grew up in a reality perplexingly divided by the intermingling of an emerging mass society and a decaying industrial culture." New technologies, new familial structures, new networks of communication, new neighborhoods, and new forms of entertainment erased the world in which their parents had grown up where, for many, a sense of community and belonging revolved around ethnic identity, work, or small town and rural life. The 1930s and the Depression seemed like another country, a more authentic place, a place where the struggle for survival sharpened experience. The behemoths of bureaucratization, conformity, and consumerism threatened to crush the search for an unmediated life. Robert Cantwell, "When We Were Good: Class and Culture in the Folk Revival," 45-47; see also Robert Cantwell, When We Were Good: The Folk Revival (Cambridge: Harvard University Press, 1996): 328-337.
27.	Montgomery, "Folk Furor," 99 and 118. For more on this generation's search for authenticity and an experience to break through the confines of contemporary middle class culture see Doug Rossinow's study of the New Left and the Civil Rights Movement, The Politics of Authenticity (New York: Columbia University Press, 1998).
28.	John Cohen, "Field-Trip – Kentucky," Sing Out!, vol. 10, no. 2 (Summer 1960): 13.
29.	Cohen, "A Visitor's Recollections," 116.
30.	Cohen interview.
31.	See for example, Josephine McGill, Folk Songs of the Kentucky Mountains: Twenty Traditional Ballads and Other English Folk-Songs (New York: Boosey & Co., 1917); Loraine Wyman and Howard Brockway, Twenty Kentucky Mountain Songs (Boston: Oliver Ditson, Co., 1920); Cecil Sharp and Maud Karpeles, English Folk Songs of the Southern Appalachians (London: Oxford University Press, 1932. For a historical overview of these early collectors see Whisnant, All That Is Native and Fine and Henry D. Shapiro, Appalachia on Our Mind: The Southern Mountains and the Mountaineers in the American Consciousness, 1870–1920 (Chapel Hill: University of North Carolina Press, 1978).
32.	Cohen, There Is No Eye, 120; Cohen, ed., "Wasn't That a Time!", 26; Cohen, "Field Trip — Kentucky," 13.
33.	Robert Shelton, "From Old Kentucky," New York Times, February 1, 1959: X17.
34.	Cohen interview; Jean Ritchie, e-mail correspondence with the author, October 19, 2006. For an overview of Kentucky's folk and country music history see Charles K. Wolfe, Kentucky Country: Folk and Country Music of Kentucky (Lexington: University Press of Kentucky, 1982).
35.	Cohen interview; Allen W. Batteau, The Invention of Appalachia (Tucson: University of Arizona Press, 1990), 175-176. Batteau says a "trip to Pikeville, Kentucky, in 1959 was an expedition into the heart of darkest Appalachia." Leaving from Huntington, West Virginia, a traveler passed "ramshackle cabins, swinging footbridges extending to similar cabins on the other side, abandoned carcasses of Fords and Chevrolets, piles of garbage on the riverbank, and black-faced coal-diggers crawling out of dog-hole mines. . . ." (176) His source for this description is unclear.
36.	Cohen interview; Henry C. Mayer, "Coal Mining," in John E. Kleber, ed. The Kentucky Encyclopedia (Lexington: University Press of Kentucky, 1992), 210.
37.	John Cohen to Ross Grosman, June 1959. Letter in John Cohen's possession, photocopy made by author, January 2008.
38.	Cohen interview; Cohen to Ross Grosman; Cohen, "Field Trip — Kentucky," 13; Cohen, liner notes to Mountain Music of Kentucky (Smithsonian Folkways CD 40077, 1996), 24.
39.	John Cohen, "The Lost Recordings of Banjo Bill Cornett," liner notes to The Lost Recordings of Banjo Bill Cornett (2005), Field Recorders' Collective, http://www.fieldrecorder.com/docs/notes/cornett_cohen.htm; Cohen, liner notes, Mountain Music of Kentucky, 26.
40.	Cohen, "Field Trip — Kentucky," 13.
41.	John Cohen to Ross Grosman, second letter, June 1959. Letter in John Cohen's posession, copy provided for author.
42.	Cohen to Grosman, second letter; Cohen interview.
43.	Cohen, liner notes to Mountain Music of Kentucky CD, 29; John Cohen, liner notes to Roscoe Holcomb: The High Lonesome Sound (Smithsonian Folkways CD 40079, 1998), 2.
44.	Cohen, liner notes to Roscoe Holcomb: The High Lonesome Sound CD, 3-4 and 10; "Interview with Roscoe by John Cohen," taped in 1962 in Daisy, Kentucky. Transcript appears with the Folkways LP, Roscoe Holcomb: The High Lonesome Sound (Folkways Records, Album No. FA 2368, 1965).
45.	Cohen, liner notes to Roscoe Holcomb: The High Lonesome Sound CD, 3, 4, 6; "Interview with Roscoe Holcomb," 1.
46.	Cohen, liner notes to Roscoe Holcomb: The High Lonesome Sound CD, 1; Cohen, "Field Trip — Kentucky," 13, 16.
47.	Anthony Harkin, Hillbilly: A Cultural History of an American Icon (New York: Oxford University Press, 2004), 4 and 171-176. See also, J.W. Williamson, Hillbillyland: What the Movies Did to the Mountains and What the Mountains Did to the Movies (Chapel Hill: University of North Carolina Press, 1995); Kathleen M. Blee and Dwight B. Billings, "Where 'Bloodshed Is a Pastime': Mountain Feuds and Appalachian Stereotyping" and Sandra L. Ballard, "Where Did Hillbillies Come From? Tracing Sources of Comic Hillbilly Fool Literature," in Back Talk from Appalachia, 119-137 and 138-149; Horace Newcomb, "Appalachia on Television: Region as Symbol in American Popular Culture," Appalachian Journal 7 (Autumn-Winter 1979-80): 155-164.
48.	D.K.Wilgus, "On the Record," Kentucky Folklore Record, Vol. 6, No. 3 (July – September 1960): 96; Mountain Life and Work: Magazine of the Southern Mountains, Vol. 36, No. 3 (Fall 1960): 51.
49.	Cohen, liner notes to Mountain Music of Kentucky (Folkways Records Album FA 2317, 1960), 1-4.
50.	Robert Shelton, "Art of Folk Song in Festival Form," New York Times, April 24, 1960: X14; Cohen, liner notes to Mountain Music of Kentucky CD, 34.
51.	Cohen interview; Cohen, ed., “Wasn't That A Time,” 38-39.
52.	Wilgus, "On the Record," 97.
53.	Cohen, liner notes to Roscoe Holcomb: The High Lonesome Sound CD, 8.
54.	"Interview with Roscoe Holcomb," by John Cohen, April 1964, printed and released with the Folkways LP, Roscoe Holcomb: The High Lonesome Sound LP, 2; Cohen, liner notes to Roscoe Holcomb: The High Lonesome Sound CD, 12.
55.	The culmination of a decade of controversy over outside representations of Appalachia and its poverty occurred in 1967 with the murder of Canadian documentary filmmaker Hugh O'Connor by Hobart Ison in Jeremiah, Kentucky — just down the road and one county over from Daisy. For more on the murder and its legacy see Calvin Trillin, "U.S. JOURNAL: JEREMIAH, KY. A STRANGER WITH A CAMERA.," New Yorker, April 12, 1969. The Hobart Ison case is also explored in more depth in a documentary film also titled Stranger With a Camera (2000) produced by Elizabeth Barrett of Appalshop. Another Appalshop film that addresses the historically negative or derogatory images outsiders have associated with Appalachia is, Strangers and Kin (1984) by Herb E. Smith.
56.	Shelton, "Art of Folk Song in Festival Form."
57.	Jacob Deshin, "The Shows Are On: Five One-Man Exhibits Among Season's First," New York Times, October 25, 1959: X21.
58.	John Cohen to Roscoe Halcomb. Letter in Cohen's possession, photocopy made by author, September 2006; Robert Shelton, "Students Import Folk Art to Chicago," New York Times, February 12, 1961: 11.
59.	Cohen, liner notes to Roscoe Holcomb: The High Lonesome Sound CD, 2.
60.	Quoted in Cohen, liner notes to Roscoe Holcomb: The High Lonesome Sound CD, 12.
61.	Robert Shelton, "Bountiful Area: Southern Highlands a Bottomless Well for Recordings of Folk Music," New York Times, June 2, 1963: I26.
62.	John Cohen, liner notes to Roscoe Holcomb and Wade Ward (Folkways Album No. 2363, 1962): 1 & 2.
63.	Robert Shelton, "Bountiful Area: Southern Highlands a Bottomless Well for Recordings of Folk Music."
64.	Cohen interview.; "A Transcript of Remembering the High Lonesome Sound"; Cohen, "A Visitor's Recollections," 117.
65.	Cohen interview.
66.	Cohen interview; Joel Agee, "Killing a Turtle," Doubletake 6 (Summer 1996): 64.
67.	Cohen interview; Joel Agee, interviewed by author, Brooklyn, New York, September 3, 2006; Cohen, liner notes to Mountain Music of Kentucky CD, 5; "A Transcription of Remembering the High Lonesome Sound," 5.
68.	Agee, "Killing a Turtle," 65-66.
69.	Cohen interview; Agee, "Killing a Turtle," 64. During their stay in eastern Kentucky during the late summer of 1962, a young man from Chicago named Mike Michaels, who knew Cohen from the folk scene, visited Cohen and Agee in Daisy. Michaels had driven with his cousin Mike Sigel to Appalachia to visit musicians he had met while attending folk festivals, including Hobart Smith of Virginia and Roscoe Halcomb. Michaels first heard Halcomb's music when he bought Mountain Music of Kentucky soon after Folkways released it. On the record, Halcomb "made [his guitar] drive and whine in a way I have never heard before or since," he remembers. Michaels ate dinner with Cohen and Agee at Halcomb's home and remembered the interior being "furnished with a few basics," the "rooms small and spare." Michaels returned to eastern Kentucky the following summer and got to know Halcomb a little better. "At one point while driving around," Michaels remembers, "I felt compelled to ask Roscoe some rather 'folkloristic' type questions about his background. Rather than saying anything directly insulting, Roscoe had the decency to talk about another northern visitor who asked these kind of questions, which he felt were so much hogwash. I got the point and put a lid on my attempt to become a 'scholar.'" See, Mike Michaels, "Stranger in a Strange Land," No Depression, No. 41 (September-October 2002): 101, 105-107.
70.	Cohen interview; Cohen, "A Visitor's Recollections," 117.
71.	John Cohen interview with Roscoe Halcomb in liner notes to, Roscoe Holcomb: The High Lonesome Sound LP, 2. Though the liner notes indicate the interview was recorded in April of 1964, the interview itself took place between Cohen and Halcomb in Kentucky in the summer of 1962 and then appeared three years later in the liner notes to The High Lonesome Sound LP.
72.	In a 1968 interview John Cohen conducted with Bob Dylan in Sing Out!, Dylan referred to Halcomb as having an "untamed sense of control." This description later became the title of a CD of Halcomb's music released on Smithsonian Folkways and referred to throughout this article. John Cohen, "Conversations with Bob Dylan," Sing Out!, Vol. 18, No. 4 (October-November 1968): 6-23, 67.
73.	Cohen interview.
74.	"A Transcription of Remembering the High Lonesome Sound," 8; Cohen interview.
75.	Cohen interview.
76.	Cohen interview.
77.	Sharon R. Sherman, Documenting Ourselves: Film, Video, and Culture (Lexington: University Press of Kentucky, 1998), 232.
78.	Cohen interview.
79.	Homer Bigart, "Kentucky Miners: A Grim Winter," New York Times, October 20, 1963: 1.
80.	Quoted in Cohen, liner notes to Roscoe Holcomb: An Untamed Sense of Control (Smithsonian Folkways SF CD 40144, 2003): 10.
81.	Cohen interview; Judith Shulevitz, "Are These Movies On Their Way To Extinction?" New York Times, September 22, 1991, http://query.nytimes.com/gst/fullpage.html?res=9D0CEED61031F931A1575AC0A967958260
82.	Cohen, "A Visitor's Recollections," 117; Paul Nelson, "Folk Music Film-Making," Sing Out! An excerpt of Nelson's review can be found here: http://www.johncohenworks.com/films/reviews.html. I heard the story about Cohen's return visit to Hazard to show the film during a residency he spent at the University of Virginia during the spring 2007 semester and, specifically, at a screening of the The High Lonesome Sound at Vinegar Hill Theater in Charlottesville.
83.	Michael Goodwin, "Films," Rolling Stone, March 18, 1971.
84.	Keith K. Cunningham, "The High Lonesome Sound," Journal of American Folklore, Vol. 90, No. 356 (April-June, 1977): 250-251.
85.	Ibid, 251.
86.	Cohen interview; Roscoe Halcomb to John Cohen, second letter, December 11, 1964. Read to author by Cohen during first visit; photocopied by author during second visit.
87.	Cohen, liner notes to Roscoe Holcomb: The High Lonesome Sound LP, 5; Fred W. Luigart, Jr., "Roscoe Holcomb's Other World: Perry Folk Musician Finds Wide Audience," Louisville Courier-Journal, September 17, 1962.
88.	Rainbow Quest, Shanachie DVD 606, "Johnny Cash and Roscoe Holcomb." See also: http://shanachie.com/ and William R. Ferris, Michael K. Honey, and Pete Seeger, "Pete Seeger, San Francisco, 1989," Southern Cultures, vol. 13, no. 3 (Fall 2007): 7.
89.	Rainbow Quest, DVD 606.
90.	Cohen, "A Visitor's Recollections," 117.
91.	Quoted in Eyerman and Barretta, "From the 30s to the 60s," 501.
92.	Goldsmith, Making People's Music, 265-266.
93.	Quoted in Cohen, liner notes to Roscoe Holcomb: An Untamed Sense of Control, 8.
94.	Cohen interview. Letter in possession of John Cohen which he read to me during the interview.
95.	Cohen, liner notes to Roscoe Holcomb: An Untamed Sense of Control, 8.
96.	John Cohen, liner notes to Roscoe Holcomb: Close to Home (Folkways Album No. FA 2374, 1975): 1.
97.	Cohen interview; Cohen, liner notes to Roscoe Holcomb: The High Lonesome Sound CD, 8.
98.	John Cohen, "Roscoe Holcomb (1913 – 1981)," Sing Out!, Vol. 29, No. 1 (January/February 1983), 41.
99.	"Field Trip — Kentucky," 13.
100.	Cohen, liner notes to Mountain Music of Kentucky CD, 24 and 16; Cohen interview.
101.	"A Transcription of Remembering the High Lonesome Sound," 8-9.