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Contact information: https://hdl.loc.gov/loc.mbrsrs/mbrsrs.contact
Catalog Record: https://lccn.loc.gov/2011622950
Collection materials are in English
The following terms have been used to index the description of this collection in the LC Catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically.
The collection was purchased from Joey Kent of Shreveport, Louisiana, in
No further accruals are expected.
The collection was processed by Jeremy Bartczak in 2010.
Restrictions may exist on copying, quoting, or publishing materials included in the collection. For additional information, contact a reference librarian in the Recorded Sound Research Center, Library of Congress, Washington, DC, 20540-4690; (202) 707-7833.
Textual and graphic materials in the
The 203 sound recordings and 37 videocassettes that are also included in the collection are not yet available to researchers. Following preservation duplication and cataloging, the materials will be accessible through this finding guide and through the Library of Congress Online Catalog.
Researchers wishing to cite this collection should include the following information: [Container number, eg., Box 3], or [Audio tape number, eg., RYB 2480], Louisiana Hayride Collection, National Audio-Visual Conservation Center, Library of Congress.
The history of KWKH radio begins in 1922, when Shreveport, Louisiana, businessman William Kennon Henderson purchased a share of a small radio station from one of his employees, W.C. Patterson. The station initially was assigned the call numbers WGAQ and operated out of a studio in the Youree Hotel in Shreveport. In 1925 Henderson purchased a majority stake in WGAQ and relocated the station to his summer home, called Kennonwood, outside of Shreveport. Henderson also changed the call numbers to KWKH.
With KWKH up and running in Kennonwood, Henderson was eager to broadcast to a larger listening audience and began lobbying federal authorities for a more favorable wavelength and increased wattage. After these requests were denied in 1925, Henderson took matters into his own hands and increased KWKH's wattage without legal permission. This led to an investigation by Department of Commerce inspectors amid complaints from radio listeners across the country that KWKH was blocking reception of other programming.
During this time, Henderson began to use KWKH as a personal soapbox and gained a reputation for intensity and abrasiveness as he lambasted critics and accused the federal government of discriminating against the South. Behind the scenes, Henderson and his old partner, W.C. Patterson, sent out flurries of correspondence to U.S. senators, judges, the supervisor of radio in New Orleans, and even President Calvin Coolidge, continually requesting fair representation on the airwaves. Their crusade came to a crescendo in 1927 when, amid press coverage and a massive letter campaign, Henderson travelled to Washington to testify before the Federal Radio Commission. By the end of the decade, Henderson had secured his request to increase KWKH's power to 10,000 watts and successfully waged a legal campaign against an Oklahoma radio station, KVOO, that coveted KWKH's wavelength.
When Henderson wasn't waging legal battles, he was playing phonograph recordings and recruiting local talent to perform for his listeners. Eager to put a regional stamp on his broadcasts and support local music trends, he frequently played the "hillbilly" music that was popular in the area at the time. Henderson sold KWKH in 1932, but the seeds had been sown for the station to continue its support for the regional music that would so greatly influence the country and rockabilly genres.
The
Regular
Hosted through the years by Horace Logan, Frank Page, and Norm Bale, the
The collection predominantly covers early radio and television history in Shreveport, Louisiana; KWKH radio in the W.K. Henderson era; and the
The KWKH Radio and W.K. Henderson series provides significant insight into early KWKH radio history and Henderson's personality and legal battles, as well as his financial struggles during the Great Depression. Several 78 rpm discs also document Henderson's original radio broadcasts. Ephemera relating to the Henderson Iron Works and early KWKH radio is of particular interest.
The KWKH Radio and the
A separate series related to Elvis Presley's time at the
Three additional series feature collection documentation prepared by the donor; a list of periodicals relating to radio enthusiasts, country music, and Shreveport life; and a group of songbooks and sheet music.
The collection is arranged in 7 series:
Catalog Record: https://lccn.loc.gov/2011622950
Series 1 includes correspondence, licenses, listener verification requests, and ephemera from various early Shreveport, Louisiana, radio and television stations (KTSL, KGDX, WDAN, KWEA, and W5XA). Also included are handwritten research timelines and notations as well as photocopies of various publications relevant to the period. The material especially emphasizes the work of Paul Carriger and William E. Antony, early radio and television broadcasters in Shreveport.
Materials in this series are predominantly reproductions.
Materials were arranged chronologically within content groupings when dates were available.
Includes an original 1931 W5XA postcard showing Giddens Castle, a Shreveport, Louisiana, landmark, built by Tandy Key Giddens, that housed early Shreveport radio and television stations. Also included are reproductions documenting program information, broadcast and frequency information, first-hand accounts of Paul Carriger's and William E. Antony's early radio and television broadcasting experiences, and a description of Giddens Castle.
Includes numerous newspaper article photocopies from 1922 and several pages from the December 1931 issue of
Includes handwritten timelines and notations documenting call letters, frequencies, wattage allotments, sale and purchase information, and radio equipment for early radio stations in the Shreveport, Louisiana, area.
Series 2 includes licenses, broadcast transcripts, newspaper and magazine articles, and ephemera relating to KWKH radio from the time of its founding by W.C. Patterson to its subsequent ownership by W.K. Henderson. Correspondence, articles and publications, and newspaper photocopies provide a vivid account of the legal disputes that highlighted Henderson's career as KWKH owner and broadcaster. These relate especially to the crusade to increase the station's wattage and wavelength frequency. Anti-chain store publications reflect Henderson's strong support of locally owned businesses in Shreveport, Louisiana. Materials in the correspondence files; congressional and Federal Radio Commission records; legal documentation; and files containing licenses, transcripts, chain store booklets, and newspaper articles are predominantly reproductions.
Materials were arranged chronologically within content groupings when dates were available.
Includes clippings, advertisements, programs, logs, and other assorted material related to KWKH during the W.K. Henderson era. Notable materials include original W.K. Henderson commentaries and transcripts printed in local newspapers, a miniature pilot's log of the KWKH airplane, an illustration showing Chief Kiutus Tecumseh, a map and published images of the Henderson Iron Works, and official advertisements for KWKH radio on local programs and publications. All items are originals.
Includes an issue of
Series 3 documents the
Materials were arranged chronologically within content groupings when dates were available.
Some programs include performer autographs.
Includes KWKH administrative documentation, memorabilia, and an assortment of peripheral material associated with the radio station and its history. Notable items include a KWKH listener appreciation concert ticket stub, a group of official KWKH EKKO radio reception stamps, and a small notebook with autographs of several early
Photocopies.
Photographs predominantly show performers and hosts from the
Publicity photographs, snapshots, and performance images.
Autographed.
One of the photographs is credited to Graham's Studio, Shreveport.
Autographed.
Handwritten on back of photographic print: "The band Sonny and I played with when we were in the army."
Duplicate of original photographic print with handwriting on front: "His car he was killed in, November 5th, 1960."
This image appears on the cover of Horton's album
Autographed on front of photograph (quoting the song "Done Rovin'" from the Horton single (Cormac 1193, 1951) and album of the same title): "To Mom and Dad, I'm 'Done Rovin' down that lonesome road. Love & kisses, Johnny Horton."
Autographed on front by James Burton: "To Joey [Kent]. Peace & [illegible]. God bless."
Attached to the KWKH
Two of the photographic prints are duplicates.
Caption on front of photograph: "VE Day program transcription, Barksdale Field, LA."
Autographed.
Autographed, with handwritten message on front: "Good luck to everyone connected with the Hayride."
Handwritten on back of photograph: "Mrs. Logan, Slim Whitman."
One of the photographs is credited to Langston McEachern.
Most of the photographs show Norm Bale with
The child appears to have drawn a sweepstakes ticket from a revolving drum to which a Holsum bread advertisement is attached.
Handwritten message on front of photograph: "To Evelyn: In this business I meet a host of people. Some I remember, some I forget. I remember those because of good things others have said about them. You are one that I remember. In friendship, Jeff."
Photographs are predominantly promotional images of performers from the
Publicity photographs, snapshots, and performance images.
Autographed: "Mr. Dave, Thanks for a shot. Love, A.T. & Georgia."
Autographed: "To Hayride - U.S.A.! Thanks for all the help & my best to you. Looking forward to our 1st visit. Sincerely, Jim Ed Brown."
Handwritten on the back of the two larger photographs: "Catfish. May 17, 1975, Hayride U.S.A.!"
Autographed on front: "God bless you. Jerry Clower."
Included are publicity photographs, images of Fuhrman performing on stage with one or more backup musicians or with other vocalists, and group photos with musicians and
Images show Micki Fuhrman and David Kent with other unidentified individuals, possibly including other members of the Nashville Sound Trio.
Includes individual and group images of Micki Fuhrman in performance and posing for portrait photographs.
One of the contact sheets, and one of the partial contact sheets (a strip of six frames cut from a contact sheet) also include images of Noel Odom playing guitar.
Autographed on front: "To Hayride U.S.A. Enjoyed much. Jeanne Pruett."
Autographed: "[Carla?], Great meeting you. Bobby G. Rice."
Autographed: "To Hayride U.S.A., Love ya, David Rogers."
Autographed: "Yours truly, Eddy Sims."
Autographed: "Love ya! The Stonemasons."
Autographed: "Best of luck to Hayride U.S.A. Porter."
Autographed: "To Hayride U.S.A. Many thanks--Freddy Weller."
Autographed: "A mon ami, David. Justin Wilson."
Photographs show mostly performers who presumably were associated with the
Contact sheets were cut into strips and individual contact prints. These items do not currently have item IDs.
Primarily portrait photographs of
Two of the approximately 5 x 4-inch black and white prints are duplicates.
From left to right: Dennis Knutson, Margaret Jones, Gerry Teifer, Jay Remington Wilde, Byron Hill, Jean Williams, Jim Rushing, Rick Schulman, Eddie Burton, and Micki Fuhrman.
Two of the photographs are nearly exact duplicates (in different sizes), while the third copy shows only Kent and Teifer.
Photographic prints show the
Two of the photographic prints are duplicates.
Exterior and interior views of the Sound Lab recording studio in Nashville, Tennessee.
Negatives and corresponding contact sheet.
Includes images of musicians who performed at the
Musicians shown include Buddy Attaway and Claude King, 1952 (autographed); the Bailes Brothers (Johnnie and Walter) (autographed); Cousin Wilbur and Blondie Brooks, 1949 (autographed); Sonny Harville, Bob Murphy, Tex Grimsley, Don Davis, and Ray Belcher performing at the
Negatives show Micki Fuhrman alone; singing; speaking and standing with [David Kent?] and other individuals; and standing on stage [at the Ryman Auditorium?].
Handwritten on original negative sleeve: "Micki at the Opry."
Negatives show Micki Fuhrman alone and with [David Kent?] in what appears to be an office setting.
Two unidentified male instrumentalists perform at the
Series 4 includes ephemera, photographs, and newspaper articles regarding Elvis Presley's performances at the
Reproduction of an original
Program for a commemorative concert.
Includes a photocopied article from
From left to right: Scotty Moore, Elvis Presley, D.J. Fontana, Bill Black, Norm Bale, unidentified man, Frank Page.
Handwritten on back of photographic print: "Norm Bale, Frank Page, Elvis Presley, Scotty Moore (guitar), Bill Black (bass), D.J. Fontana (drums)."
Handwritten on reverse: "To Gentry: From Claudia. El at Louisiana Hayride about 1958."
Written on reverse, in a different hand: "12-15-56."
Sheet contains three images, each about 5 x 3 3/4 inches, including the image that corresponds to Ben Kinel 10 x 8-inch print (RS 13857 P145).
Sheet contains three images, each about 3 3/4 x 5 inches.
Photographs show various performers on stage and individuals assembled backstage. Included are longtime
The photographs were in an envelope labeled: "E.P. 50th." The specific date
written on the back of some of the photographs is
Series 5 includes various radio, music, and local Louisiana periodicals. The country and rock and roll music periodicals and the local Louisiana periodicals feature articles related to the history of the
All materials were arranged alphabetically and chronologically within groupings.
Series 6 includes collections of sheet music for various country music and gospel songs.
Materials were arranged alphabetically by title.
Additional playlists from the David Kent shows. These lists document radio program numbers 852, 854, 856-858, 860, 863-865.