“‘Getting Up Cows,’ that’s what it’s called, ‘Getting Up Cows,” William Adams said. “An old fella played that. He was a cracker-jack old fiddler, though, I don’t believe he could beat me….”
Mike Seeger hadn’t come to the neighborhood to record Adams initially, but now he wanted to hear any tune the Black fiddler could remember, even if he forgot it halfway through or couldn’t remember the name.
“I forget how that goes, though, I haven’t played that since a long time ago,” the 72 year-old Adams continued before he put the bow on the fiddle’s strings and hesitantly pulled the tune from deep in his memory. In the end, it sounded like he might have just last played it a week or a year ago, not some 20-odd years earlier.
This field recording wasn’t taken in some rural hamlet or deep holler, it was less than five miles from Seeger’s home in the well-to-do suburb of Chevy Chase outside Washington, D.C. And yet in 1953, when Seeger stepped into Adams’s neighborhood of KenGar, segregation left this community so separate from the white towns and neighborhoods surrounding it, a white person might drive by without even knowing it was there.
Come in, the stacks are open.
Away from prying eyes, damaging light, and pilfering hands, the most special collections are kept in closed stacks. You need an appointment to view the objects, letters, and books that open a door to the past.