{"links":{"self":"https://arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=African+American+musicians","last":"https://arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=African+American+musicians\u0026page=1"},"meta":{"pages":{"current_page":1,"next_page":null,"prev_page":null,"total_pages":1,"limit_value":10,"offset_value":0,"total_count":2,"first_page?":true,"last_page?":true}},"data":[{"id":"viu_repositories_3_resources_1780","type":"collection","attributes":{"title":"165th Depot Brigade Band photograph","creator":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1780#creator","type":"document_value","attributes":{"value":"United States. Army. Depot Brigade, 165th","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1780#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis collection contains a black and white photograph of Black army musicians of the 165 Depot Brigade, Camp Travis, Texas. A typed caption pasted on the back of the photo reads, \"#263 Negro Band, Frist [sic] Group, 165 Depot Brigade, Camp Travis, Texas. Taken just outside Army Y.M.C.A. Building No. 1, devoted exclusively to negro troops. (Negro Secretaries in charge.)\" Publicity Bureau National War Work Council, Y.M.C.A. Northeastern Dept. 352 Little Bldg. Boston, Mass is stamped in ink on the back. The picture depicts twenty-one men seated and two standing in uniform outside the Y.M.C.A building. The men hold their instruments, which include trumpets, French horns, saxophones, clarinets, trombones, tuba, and drums. The role of Depot Brigades was to receive and organize recruits, provide them with uniforms, equipment, and initial military training, and then send them to France to fight on the front lines. 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The depot brigades also received soldiers returning home at the end of the war and completed their demobilization. There were seventeen major U.S. depot brigades organized for  World War I  that remained active until after post-war demobilizationactive, eight of which were in the south and included the 165th at Camp Travis, Texas.","While Latinos and Native Americans were intermixed with the white soldiers, the African American soldiers at Camp Travis were segregated, being assigned to the camp depot brigade. The 165th Depot Brigade at Camp Travis was an all African American brigade. Because of systemic racism and discrimination, most African American troops were assigned to support roles and did not participate in combat.","The 165th Depot Brigade included a band which was known at the time as \"the First Group Colored Minstrel 165 Depot Brigade\". 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Northeastern Dept. 352 Little Bldg. Boston, Mass is stamped in ink on the back. The picture depicts twenty-one men seated and two standing in uniform outside the Y.M.C.A building. The men hold their instruments, which include trumpets, French horns, saxophones, clarinets, trombones, tuba, and drums. The role of Depot Brigades was to receive and organize recruits, provide them with uniforms, equipment, and initial military training, and then send them to France to fight on the front lines. The depot brigades also received soldiers returning home at the war's end and completed their outprocessing and discharges.","This collection is in the public domain. Visit our Permissions and Publishing page (https://www.library.virginia.edu/special-collections/services/publishing) for more information about use of Special Collections materials. The library can provide copyright information upon request, but users are responsible for making their own determination about lawful use of collections materials.","Albert and Shirley Small Special Collections Library","United States. Army. Depot Brigade, 165th","Camp Travis (Tex.)","English"],"unitid_tesim":["MSS 16896","Archival Resource Key","/repositories/3/resources/1780"],"normalized_title_ssm":["165th Depot Brigade Band photograph"],"collection_title_tesim":["165th Depot Brigade Band photograph"],"collection_ssim":["165th Depot Brigade Band photograph"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_ssm":["United States. Army. Depot Brigade, 165th"],"creator_ssim":["United States. Army. Depot Brigade, 165th"],"creator_corpname_ssim":["United States. Army. Depot Brigade, 165th"],"creators_ssim":["United States. Army. 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The purpose of this note is to give users the opportunity to decide whether they need or want to view these materials, or at least, to mentally or emotionally prepare themselves to view the materials."],"prefercite_html_tesm":["\u003cp\u003eMSS 16896, 165th Depot Brigade Band photograph, Albert and Shirley Small Special Collections Library, University of Virginia.\u003c/p\u003e"],"prefercite_tesim":["MSS 16896, 165th Depot Brigade Band photograph, Albert and Shirley Small Special Collections Library, University of Virginia."],"relatedmaterial_html_tesm":["\u003cp\u003eThe same print is found in the University of Minnesota Libraries in a collection of images of the Y.M.C.A. building.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The same print is found in the University of Minnesota Libraries in a collection of images of the Y.M.C.A. building."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains a black and white photograph of Black army musicians of the 165 Depot Brigade, Camp Travis, Texas. A typed caption pasted on the back of the photo reads, \"#263 Negro Band, Frist [sic] Group, 165 Depot Brigade, Camp Travis, Texas. Taken just outside Army Y.M.C.A. Building No. 1, devoted exclusively to negro troops. (Negro Secretaries in charge.)\" Publicity Bureau National War Work Council, Y.M.C.A. Northeastern Dept. 352 Little Bldg. Boston, Mass is stamped in ink on the back. The picture depicts twenty-one men seated and two standing in uniform outside the Y.M.C.A building. The men hold their instruments, which include trumpets, French horns, saxophones, clarinets, trombones, tuba, and drums. The role of Depot Brigades was to receive and organize recruits, provide them with uniforms, equipment, and initial military training, and then send them to France to fight on the front lines. The depot brigades also received soldiers returning home at the war's end and completed their outprocessing and discharges.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection contains a black and white photograph of Black army musicians of the 165 Depot Brigade, Camp Travis, Texas. A typed caption pasted on the back of the photo reads, \"#263 Negro Band, Frist [sic] Group, 165 Depot Brigade, Camp Travis, Texas. Taken just outside Army Y.M.C.A. Building No. 1, devoted exclusively to negro troops. (Negro Secretaries in charge.)\" Publicity Bureau National War Work Council, Y.M.C.A. Northeastern Dept. 352 Little Bldg. Boston, Mass is stamped in ink on the back. The picture depicts twenty-one men seated and two standing in uniform outside the Y.M.C.A building. The men hold their instruments, which include trumpets, French horns, saxophones, clarinets, trombones, tuba, and drums. 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Northeastern Dept. 352 Little Bldg. Boston, Mass is stamped in ink on the back. The picture depicts twenty-one men seated and two standing in uniform outside the Y.M.C.A building. The men hold their instruments, which include trumpets, French horns, saxophones, clarinets, trombones, tuba, and drums. The role of Depot Brigades was to receive and organize recruits, provide them with uniforms, equipment, and initial military training, and then send them to France to fight on the front lines. The depot brigades also received soldiers returning home at the war's end and completed their outprocessing and discharges.","This collection is in the public domain. Visit our Permissions and Publishing page (https://www.library.virginia.edu/special-collections/services/publishing) for more information about use of Special Collections materials. 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There were seventeen major U.S. depot brigades organized for  World War I  that remained active until after post-war demobilizationactive, eight of which were in the south and included the 165th at Camp Travis, Texas.","While Latinos and Native Americans were intermixed with the white soldiers, the African American soldiers at Camp Travis were segregated, being assigned to the camp depot brigade. The 165th Depot Brigade at Camp Travis was an all African American brigade. Because of systemic racism and discrimination, most African American troops were assigned to support roles and did not participate in combat.","The 165th Depot Brigade included a band which was known at the time as \"the First Group Colored Minstrel 165 Depot Brigade\". While this band was meant to be devoted exclusively to African-American troops, other photographs exist in which several members of the group appear in blackface.","\nReference List:","E. O. (Eugene Omar) Goldbeck Papers and Photography Collection: Banquet Negatives and Prints finding aid. (2016). E. O. (Eugene Omar) Goldbeck: An Inventory of His Banquet Negatives and Prints at the Harry Ransom Center. Harry Ransom Center.  https://norman.hrc.utexas.edu/fasearch/findingAid.cfm?eadid=01136","Fahey-Flynn, A. (2015). Patriotic Labor: America during World War I, African American Soldiers. Digital Public Library of America.  https://dp.la/exhibitions/america-world-war-i/building-army/african-american-soldiers","White, L.J. (2020). Camp Travis: A Historical Overview of Its Role in World War I. Texas State Historical Association.  https://www.tshaonline.org/handbook/entries/camp-travis","162d Depot Brigade (United States). (2024). Wikipedia.  https://en.wikipedia.org/wiki/162d_Depot_Brigade_(United_States)"],"odd_html_tesm":["\u003cp\u003eThis material may contain offensive or harmful language or imagery. This material contains references to outdated terminology for African Americans. The purpose of this note is to give users the opportunity to decide whether they need or want to view these materials, or at least, to mentally or emotionally prepare themselves to view the materials.\u003c/p\u003e"],"odd_heading_ssm":["Content Warning"],"odd_tesim":["This material may contain offensive or harmful language or imagery. This material contains references to outdated terminology for African Americans. The purpose of this note is to give users the opportunity to decide whether they need or want to view these materials, or at least, to mentally or emotionally prepare themselves to view the materials."],"prefercite_html_tesm":["\u003cp\u003eMSS 16896, 165th Depot Brigade Band photograph, Albert and Shirley Small Special Collections Library, University of Virginia.\u003c/p\u003e"],"prefercite_tesim":["MSS 16896, 165th Depot Brigade Band photograph, Albert and Shirley Small Special Collections Library, University of Virginia."],"relatedmaterial_html_tesm":["\u003cp\u003eThe same print is found in the University of Minnesota Libraries in a collection of images of the Y.M.C.A. building.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The same print is found in the University of Minnesota Libraries in a collection of images of the Y.M.C.A. building."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains a black and white photograph of Black army musicians of the 165 Depot Brigade, Camp Travis, Texas. A typed caption pasted on the back of the photo reads, \"#263 Negro Band, Frist [sic] Group, 165 Depot Brigade, Camp Travis, Texas. Taken just outside Army Y.M.C.A. Building No. 1, devoted exclusively to negro troops. (Negro Secretaries in charge.)\" Publicity Bureau National War Work Council, Y.M.C.A. Northeastern Dept. 352 Little Bldg. Boston, Mass is stamped in ink on the back. The picture depicts twenty-one men seated and two standing in uniform outside the Y.M.C.A building. The men hold their instruments, which include trumpets, French horns, saxophones, clarinets, trombones, tuba, and drums. The role of Depot Brigades was to receive and organize recruits, provide them with uniforms, equipment, and initial military training, and then send them to France to fight on the front lines. The depot brigades also received soldiers returning home at the war's end and completed their outprocessing and discharges.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection contains a black and white photograph of Black army musicians of the 165 Depot Brigade, Camp Travis, Texas. A typed caption pasted on the back of the photo reads, \"#263 Negro Band, Frist [sic] Group, 165 Depot Brigade, Camp Travis, Texas. Taken just outside Army Y.M.C.A. Building No. 1, devoted exclusively to negro troops. (Negro Secretaries in charge.)\" Publicity Bureau National War Work Council, Y.M.C.A. Northeastern Dept. 352 Little Bldg. Boston, Mass is stamped in ink on the back. The picture depicts twenty-one men seated and two standing in uniform outside the Y.M.C.A building. The men hold their instruments, which include trumpets, French horns, saxophones, clarinets, trombones, tuba, and drums. The role of Depot Brigades was to receive and organize recruits, provide them with uniforms, equipment, and initial military training, and then send them to France to fight on the front lines. The depot brigades also received soldiers returning home at the war's end and completed their outprocessing and discharges."],"userestrict_html_tesm":["\u003cp\u003eThis collection is in the public domain. Visit our Permissions and Publishing page (https://www.library.virginia.edu/special-collections/services/publishing) for more information about use of Special Collections materials. The library can provide copyright information upon request, but users are responsible for making their own determination about lawful use of collections materials.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["This collection is in the public domain. Visit our Permissions and Publishing page (https://www.library.virginia.edu/special-collections/services/publishing) for more information about use of Special Collections materials. The library can provide copyright information upon request, but users are responsible for making their own determination about lawful use of collections materials."],"names_coll_ssim":["Camp Travis (Tex.)","United States. Army. Depot Brigade, 165th"],"names_ssim":["Albert and Shirley Small Special Collections Library","United States. Army. Depot Brigade, 165th","Camp Travis (Tex.)"],"corpname_ssim":["Albert and Shirley Small Special Collections Library","United States. Army. Depot Brigade, 165th","Camp Travis (Tex.)"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-20T23:34:46.863Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1780"}},{"id":"viu_repositories_3_resources_1737","type":"collection","attributes":{"title":"Benjamin Boblett Photographs of John Jackson","creator":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1737#creator","type":"document_value","attributes":{"value":"Boblett, Benjamin, M.D.","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1737#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis collection contains three black and white photographs of musician John Jackson taken by physician and photographerBenjamin Boblett. John Jackson (1924–2002) was an American Piedmont Blues Musician. Jackson played an important role in highlighting the Appalachian musical traditions. The photographs are annotated and signed by the artist. Two studio photographs (16\"X20\") were taken in approximately 1983. The other performance photograph (8.5\"X11\") was taken at the Woodlawwn High School performance in 1975, and printed in 1976.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1737#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viu_repositories_3_resources_1737","ead_ssi":"viu_repositories_3_resources_1737","_root_":"viu_repositories_3_resources_1737","_nest_parent_":"viu_repositories_3_resources_1737","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1737.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/212824","title_filing_ssi":"Boblett, Benjamin Photographs of John Jackson","title_ssm":["Benjamin Boblett Photographs of John Jackson"],"title_tesim":["Benjamin Boblett Photographs of John Jackson"],"unitdate_ssm":["1975-1976","circa 1983"],"unitdate_inclusive_ssm":["1975-1976"],"unitdate_other_ssim":["circa 1983"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 16873","Archival Resource Key","/repositories/3/resources/1737"],"text":["MSS 16873","Archival Resource Key","/repositories/3/resources/1737","Benjamin Boblett Photographs of John Jackson","Blues musicians - Virginia","African American musicians","Blues musicians","Black-and-white photographs","Good","This collections is open for research use.","Blues  artist , songster, and storyteller,  John Jackson  (February 25, 1924 – January 20, 2002) was the most important black Appalachian musician to come to broad public attention during the mid-1960s. He was born on  February 25, 1924 , the seventh of fourteen children, in Rappahannock County, VA. His father and mother were tenant farmers, whose children grew up helping out with the farming, cutting timber, herding cows, and doing whatever was needed to support their family. ","\nJackson's parents and siblings all played some combinations of guitar, banjo, ukulele, mandolin, harmonica, accordion, autoharp, and even homemade penny whistles. Jackson's father was well known in the area and traveled around the county to parties and dances, playing the blues, old mountain songs, and other regional music. His mother played and sang spiritual songs. ","Jackson  began playing his father's guitar when he was four. He learned how to play from his father, by watching the other musicians he saw performing at local gatherings, and from a man known as Happy, in a month-long series of guitar lessons. Jackson's older sister purchased a guitar for him when he was nine years old. He also learned from phonograph records. He was fond of the music of  Blind Lemon Jefferson ,  Blind Blake ,  Blind Boy Fuller ,  Jimmie Rodgers , and  Ernest Tubb , as well as a wide range of gospel, ragtime, and country hymns. ","\nLike his father, Jackson performed at house parties, although music was something reserved for evenings and weekends, as he had multiple jobs including working as a  cook ,  butler ,  chauffeur , general  caretaker , and even a  gravedigger . Jackson already had a young wife and a family of his own when he left his parents' farm at 25 years old. He moved with his wife and children to  Fairfax, Virginia , where he worked on another farm, other occasional jobs such as chopping and hauling firewood and digging graves. ","\nCircumstances led Jackson to give up the house party circuit and retire from public performances for nearly 20 years. But Jackson began his return to playing music in  1962  when he played for children that were playing in his yard, and later when he agreed to giving guitar lessons to his mailman. It was during one of these lessons that took place at the gas station where the mailman worked at night that professor of folklore and  English  at the  University of Virginia ,  Charles Perdue  heard Jackson playing after stopping for gas and asked him to play for him. ","\nPerdue, who was involved with the  Folklore Society of Greater Washington , the  National Council for the Traditional Arts , and the effort to record and preserve folk music across Virginia introduced Jackson to other blues and folk musicians in the region and across the country. Perdue championed Jackson's playing to help establish him as a professional  musician , and help him become thoroughly successful on the folk circuit both at home and around the world ","\nFor the next thirty-plus years he was the Virginia/ Washington, D.C.  area's most prominent traditional artist. He was a festival favorite who also hosted the musical house parties in the region. Jackson toured widely across the United States and abroad, making numerous recordings, playing his distinctive Piedmont guitar blues, and also performing on the banjo. He is one of the few African American musicians to play the blues on the banjo, which he learned growing up in the rural  Piedmont region . ","\nJackson drew attention to the rich musical traditions of Appalachia and advocated for the quantity and quality of local Virginia artists. However, although Jackson recalled a thriving blues guitar tradition in his home community, few black Virginians were recorded. During the 1920s and 1930s only three musicians produced a significant body of recordings. ","\nJohn Jackson received the National Heritage Fellowship in  1986  from the  National Endowment for the Arts  for his role as a teacher and traditional artist, which is America's highest honor in the folk music world. Jackson performed for Presidents  Jimmy Carter  and  Ronald Reagan , the US Congress, many European heads of state, and in Carnegie and Royal Albert Hall. He played with famous musicians such as  B.B. King ,  Eric Clapton ,  Bob Dylan ,  Bonnie Raitt , and  Ricky Scaggs .","\nJackson survived his wife,  Cora , who died in  October 1990 , three sons, and one daughter. He performed his last show on New Year's Eve 2002 and died on  January 20, 2002 . ","\nReference list:","Remembering John Jackson. (2025). Eldon Farms. https://eldonfarms.com/john-jackson/ ","John Jackson, African-American Songster/Guitarist. (n.d.) National Endowment for the Arts. https://www.arts.gov/honors/heritage/john-jackson ","Pearson, B.L. (2024). Rappahannock Blues: John Jackson. Smithsonian Folkways Magazine. https://folkways.si.edu/magazine-summer-2010-rappahannock-blues-john-jackson/african-american-music/article/smithsonian ","Bernstein, A. (2002, January 21). Bluesman John Jackson Dies, Gained World Fame. The Washington Post. https://www.washingtonpost.com/archive/local/2002/01/22/bluesman-john-jackson-dies/d67f1f35-a38c-4794-aa1c-a0847ddf1e84/ ","Pareles, J. (2002, January 29). John Jackson, 77, Guitarist and Singer in Piedmont Style. The New York Times. https://www.nytimes.com/2002/01/29/arts/john-jackson-77-guitarist-and-singer-in-piedmont-style.html","Photographs are in protective sleeves. If they need to be removed, latex or nitrile gloves are required for care and handling.","This collection contains three black and white photographs of musician  John Jackson  taken by  physician  and  photographer Benjamin Boblett . John Jackson ( 1924 – 2002 ) was an American Piedmont Blues Musician. Jackson played an important role in highlighting the Appalachian musical traditions. The photographs are annotated and signed by the artist. Two studio photographs (16\"X20\") were taken in approximately 1983. The other performance photograph (8.5\"X11\") was taken at the  Woodlawwn High School  performance in  1975 , and printed in  1976 .","This collection contains some in-copyright material. Visit our Permissions and Publishing page (https://www.library.virginia.edu/special-collections/services/publishing) for more information about use of Special Collections materials. The library can provide copyright information upon request, but users are responsible for making their own determination about lawful use of collections materials.","Albert and Shirley Small Special Collections Library","Woodlawwn High School","University of Virginia","Folklore Society of Greater Washington","National Council for the Traditional Arts","National Endowment for the Arts","Jackson","Cora","Boblett, Benjamin, M.D.","John Jackson","Benjamin Boblett","Blind Lemon Jefferson","Blind Blake","Blind Boy Fuller","Jimmie Rodgers","Ernest Tubb","Charles Perdue","Jimmy Carter","Ronald Reagan","B.B. King","Eric Clapton","Bob Dylan","Bonnie Raitt","Ricky Scaggs","Jackson, John, 1924-2002","English"],"unitid_tesim":["MSS 16873","Archival Resource Key","/repositories/3/resources/1737"],"normalized_title_ssm":["Benjamin Boblett Photographs of John Jackson"],"collection_title_tesim":["Benjamin Boblett Photographs of John Jackson"],"collection_ssim":["Benjamin Boblett Photographs of John Jackson"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"geogname_ssm":["Blues musicians - Virginia"],"geogname_ssim":["Blues musicians - Virginia"],"creator_ssm":["Boblett, Benjamin, M.D."],"creator_ssim":["Boblett, Benjamin, M.D."],"creator_persname_ssim":["Boblett, Benjamin, M.D."],"creators_ssim":["Boblett, Benjamin, M.D."],"places_ssim":["Blues musicians - Virginia"],"access_terms_ssm":["This collection contains some in-copyright material. Visit our Permissions and Publishing page (https://www.library.virginia.edu/special-collections/services/publishing) for more information about use of Special Collections materials. The library can provide copyright information upon request, but users are responsible for making their own determination about lawful use of collections materials."],"acqinfo_ssim":["The Benjamin Boblett Photographs of John Jackson was gifted from Benjamin Boblett and accepted by Krystal Appiah on September 07, 2023. It was accessioned by the Albert and Shirley Small Special Collections Library on December 14, 2023."],"access_subjects_ssim":["African American musicians","Blues musicians","Black-and-white photographs"],"access_subjects_ssm":["African American musicians","Blues musicians","Black-and-white photographs"],"has_online_content_ssim":["false"],"physdesc_tesim":["Good"],"extent_ssm":[".13 Cubic Feet 1  oversized folder"],"extent_tesim":[".13 Cubic Feet 1  oversized folder"],"genreform_ssim":["Black-and-white photographs"],"date_range_isim":[1975,1976,1983],"accessrestrict_html_tesm":["\u003cp\u003eThis collections is open for research use.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collections is open for research use."],"bioghist_html_tesm":["\u003cp\u003eBlues \u003coccupation\u003eartist\u003c/occupation\u003e, songster, and storyteller, \u003cpersname\u003eJohn Jackson\u003c/persname\u003e (February 25, 1924 – January 20, 2002) was the most important black Appalachian musician to come to broad public attention during the mid-1960s. He was born on \u003cdate\u003eFebruary 25, 1924\u003c/date\u003e, the seventh of fourteen children, in Rappahannock County, VA. His father and mother were tenant farmers, whose children grew up helping out with the farming, cutting timber, herding cows, and doing whatever was needed to support their family. \u003c/p\u003e\n","\u003cp\u003e\nJackson's parents and siblings all played some combinations of guitar, banjo, ukulele, mandolin, harmonica, accordion, autoharp, and even homemade penny whistles. Jackson's father was well known in the area and traveled around the county to parties and dances, playing the blues, old mountain songs, and other regional music. His mother played and sang spiritual songs. \u003c/p\u003e\n","\u003cp\u003e\n\u003cfamname\u003eJackson\u003c/famname\u003e began playing his father's guitar when he was four. He learned how to play from his father, by watching the other musicians he saw performing at local gatherings, and from a man known as Happy, in a month-long series of guitar lessons. Jackson's older sister purchased a guitar for him when he was nine years old. He also learned from phonograph records. He was fond of the music of \u003cpersname\u003eBlind Lemon Jefferson\u003c/persname\u003e, \u003cpersname\u003eBlind Blake\u003c/persname\u003e, \u003cpersname\u003eBlind Boy Fuller\u003c/persname\u003e, \u003cpersname\u003eJimmie Rodgers\u003c/persname\u003e, and \u003cpersname\u003eErnest Tubb\u003c/persname\u003e, as well as a wide range of gospel, ragtime, and country hymns. \u003c/p\u003e\n","\u003cp\u003e\nLike his father, Jackson performed at house parties, although music was something reserved for evenings and weekends, as he had multiple jobs including working as a \u003coccupation\u003ecook\u003c/occupation\u003e, \u003coccupation\u003ebutler\u003c/occupation\u003e, \u003coccupation\u003echauffeur\u003c/occupation\u003e, general \u003coccupation\u003ecaretaker\u003c/occupation\u003e, and even a \u003coccupation\u003egravedigger\u003c/occupation\u003e. Jackson already had a young wife and a family of his own when he left his parents' farm at 25 years old. He moved with his wife and children to \u003cgeogname\u003eFairfax, Virginia\u003c/geogname\u003e, where he worked on another farm, other occasional jobs such as chopping and hauling firewood and digging graves. \u003c/p\u003e\n","\u003cp\u003e\nCircumstances led Jackson to give up the house party circuit and retire from public performances for nearly 20 years. But Jackson began his return to playing music in \u003cdate\u003e1962\u003c/date\u003e when he played for children that were playing in his yard, and later when he agreed to giving guitar lessons to his mailman. It was during one of these lessons that took place at the gas station where the mailman worked at night that professor of folklore and \u003clanguage\u003eEnglish\u003c/language\u003e at the \u003ccorpname\u003eUniversity of Virginia\u003c/corpname\u003e, \u003cpersname\u003eCharles Perdue\u003c/persname\u003e heard Jackson playing after stopping for gas and asked him to play for him. \u003c/p\u003e\n","\u003cp\u003e\nPerdue, who was involved with the \u003ccorpname\u003eFolklore Society of Greater Washington\u003c/corpname\u003e, the \u003ccorpname\u003eNational Council for the Traditional Arts\u003c/corpname\u003e, and the effort to record and preserve folk music across Virginia introduced Jackson to other blues and folk musicians in the region and across the country. Perdue championed Jackson's playing to help establish him as a professional \u003coccupation\u003emusician\u003c/occupation\u003e, and help him become thoroughly successful on the folk circuit both at home and around the world \u003c/p\u003e\n","\u003cp\u003e\nFor the next thirty-plus years he was the Virginia/\u003cgeogname\u003eWashington, D.C.\u003c/geogname\u003e area's most prominent traditional artist. He was a festival favorite who also hosted the musical house parties in the region. Jackson toured widely across the United States and abroad, making numerous recordings, playing his distinctive Piedmont guitar blues, and also performing on the banjo. He is one of the few African American musicians to play the blues on the banjo, which he learned growing up in the rural \u003cgeogname\u003ePiedmont region\u003c/geogname\u003e. \u003c/p\u003e\n","\u003cp\u003e\nJackson drew attention to the rich musical traditions of Appalachia and advocated for the quantity and quality of local Virginia artists. However, although Jackson recalled a thriving blues guitar tradition in his home community, few black Virginians were recorded. During the 1920s and 1930s only three musicians produced a significant body of recordings. \u003c/p\u003e\n","\u003cp\u003e\nJohn Jackson received the National Heritage Fellowship in \u003cdate\u003e1986\u003c/date\u003e from the \u003ccorpname\u003eNational Endowment for the Arts\u003c/corpname\u003e for his role as a teacher and traditional artist, which is America's highest honor in the folk music world. Jackson performed for Presidents \u003cpersname\u003eJimmy Carter\u003c/persname\u003e and \u003cpersname\u003eRonald Reagan\u003c/persname\u003e, the US Congress, many European heads of state, and in Carnegie and Royal Albert Hall. He played with famous musicians such as \u003cpersname\u003eB.B. King\u003c/persname\u003e, \u003cpersname\u003eEric Clapton\u003c/persname\u003e, \u003cpersname\u003eBob Dylan\u003c/persname\u003e, \u003cpersname\u003eBonnie Raitt\u003c/persname\u003e, and \u003cpersname\u003eRicky Scaggs\u003c/persname\u003e.\u003c/p\u003e\n","\u003cp\u003e\nJackson survived his wife, \u003cname\u003eCora\u003c/name\u003e, who died in \u003cdate\u003eOctober 1990\u003c/date\u003e, three sons, and one daughter. He performed his last show on New Year's Eve 2002 and died on \u003cdate\u003eJanuary 20, 2002\u003c/date\u003e. \u003c/p\u003e\n","\u003cp\u003e\nReference list:\u003c/p\u003e\n","\u003cp\u003eRemembering John Jackson. (2025). Eldon Farms. https://eldonfarms.com/john-jackson/ \u003c/p\u003e\n","\u003cp\u003eJohn Jackson, African-American Songster/Guitarist. (n.d.) National Endowment for the Arts. https://www.arts.gov/honors/heritage/john-jackson \u003c/p\u003e\n","\u003cp\u003ePearson, B.L. (2024). Rappahannock Blues: John Jackson. Smithsonian Folkways Magazine. https://folkways.si.edu/magazine-summer-2010-rappahannock-blues-john-jackson/african-american-music/article/smithsonian \u003c/p\u003e\n","\u003cp\u003eBernstein, A. (2002, January 21). Bluesman John Jackson Dies, Gained World Fame. The Washington Post. https://www.washingtonpost.com/archive/local/2002/01/22/bluesman-john-jackson-dies/d67f1f35-a38c-4794-aa1c-a0847ddf1e84/ \u003c/p\u003e\n","\u003cp\u003ePareles, J. (2002, January 29). John Jackson, 77, Guitarist and Singer in Piedmont Style. The New York Times. https://www.nytimes.com/2002/01/29/arts/john-jackson-77-guitarist-and-singer-in-piedmont-style.html\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Blues  artist , songster, and storyteller,  John Jackson  (February 25, 1924 – January 20, 2002) was the most important black Appalachian musician to come to broad public attention during the mid-1960s. He was born on  February 25, 1924 , the seventh of fourteen children, in Rappahannock County, VA. His father and mother were tenant farmers, whose children grew up helping out with the farming, cutting timber, herding cows, and doing whatever was needed to support their family. ","\nJackson's parents and siblings all played some combinations of guitar, banjo, ukulele, mandolin, harmonica, accordion, autoharp, and even homemade penny whistles. Jackson's father was well known in the area and traveled around the county to parties and dances, playing the blues, old mountain songs, and other regional music. His mother played and sang spiritual songs. ","Jackson  began playing his father's guitar when he was four. He learned how to play from his father, by watching the other musicians he saw performing at local gatherings, and from a man known as Happy, in a month-long series of guitar lessons. Jackson's older sister purchased a guitar for him when he was nine years old. He also learned from phonograph records. He was fond of the music of  Blind Lemon Jefferson ,  Blind Blake ,  Blind Boy Fuller ,  Jimmie Rodgers , and  Ernest Tubb , as well as a wide range of gospel, ragtime, and country hymns. ","\nLike his father, Jackson performed at house parties, although music was something reserved for evenings and weekends, as he had multiple jobs including working as a  cook ,  butler ,  chauffeur , general  caretaker , and even a  gravedigger . Jackson already had a young wife and a family of his own when he left his parents' farm at 25 years old. He moved with his wife and children to  Fairfax, Virginia , where he worked on another farm, other occasional jobs such as chopping and hauling firewood and digging graves. ","\nCircumstances led Jackson to give up the house party circuit and retire from public performances for nearly 20 years. But Jackson began his return to playing music in  1962  when he played for children that were playing in his yard, and later when he agreed to giving guitar lessons to his mailman. It was during one of these lessons that took place at the gas station where the mailman worked at night that professor of folklore and  English  at the  University of Virginia ,  Charles Perdue  heard Jackson playing after stopping for gas and asked him to play for him. ","\nPerdue, who was involved with the  Folklore Society of Greater Washington , the  National Council for the Traditional Arts , and the effort to record and preserve folk music across Virginia introduced Jackson to other blues and folk musicians in the region and across the country. Perdue championed Jackson's playing to help establish him as a professional  musician , and help him become thoroughly successful on the folk circuit both at home and around the world ","\nFor the next thirty-plus years he was the Virginia/ Washington, D.C.  area's most prominent traditional artist. He was a festival favorite who also hosted the musical house parties in the region. Jackson toured widely across the United States and abroad, making numerous recordings, playing his distinctive Piedmont guitar blues, and also performing on the banjo. He is one of the few African American musicians to play the blues on the banjo, which he learned growing up in the rural  Piedmont region . ","\nJackson drew attention to the rich musical traditions of Appalachia and advocated for the quantity and quality of local Virginia artists. However, although Jackson recalled a thriving blues guitar tradition in his home community, few black Virginians were recorded. During the 1920s and 1930s only three musicians produced a significant body of recordings. ","\nJohn Jackson received the National Heritage Fellowship in  1986  from the  National Endowment for the Arts  for his role as a teacher and traditional artist, which is America's highest honor in the folk music world. Jackson performed for Presidents  Jimmy Carter  and  Ronald Reagan , the US Congress, many European heads of state, and in Carnegie and Royal Albert Hall. He played with famous musicians such as  B.B. King ,  Eric Clapton ,  Bob Dylan ,  Bonnie Raitt , and  Ricky Scaggs .","\nJackson survived his wife,  Cora , who died in  October 1990 , three sons, and one daughter. He performed his last show on New Year's Eve 2002 and died on  January 20, 2002 . ","\nReference list:","Remembering John Jackson. (2025). Eldon Farms. https://eldonfarms.com/john-jackson/ ","John Jackson, African-American Songster/Guitarist. (n.d.) National Endowment for the Arts. https://www.arts.gov/honors/heritage/john-jackson ","Pearson, B.L. (2024). Rappahannock Blues: John Jackson. Smithsonian Folkways Magazine. https://folkways.si.edu/magazine-summer-2010-rappahannock-blues-john-jackson/african-american-music/article/smithsonian ","Bernstein, A. (2002, January 21). Bluesman John Jackson Dies, Gained World Fame. The Washington Post. https://www.washingtonpost.com/archive/local/2002/01/22/bluesman-john-jackson-dies/d67f1f35-a38c-4794-aa1c-a0847ddf1e84/ ","Pareles, J. (2002, January 29). John Jackson, 77, Guitarist and Singer in Piedmont Style. The New York Times. https://www.nytimes.com/2002/01/29/arts/john-jackson-77-guitarist-and-singer-in-piedmont-style.html"],"odd_html_tesm":["\u003cp\u003ePhotographs are in protective sleeves. If they need to be removed, latex or nitrile gloves are required for care and handling.\u003c/p\u003e"],"odd_heading_ssm":["Conservation - Handling and Care"],"odd_tesim":["Photographs are in protective sleeves. If they need to be removed, latex or nitrile gloves are required for care and handling."],"prefercite_html_tesm":["\u003cp\u003eMSS 16873, Benjamin Boblett Photographs of John Jackson, Albert and Shirley Small Special Collections Library, University of Virginia.\u003c/p\u003e"],"prefercite_tesim":["MSS 16873, Benjamin Boblett Photographs of John Jackson, Albert and Shirley Small Special Collections Library, University of Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains three black and white photographs of musician \u003cpersname\u003eJohn Jackson\u003c/persname\u003e taken by \u003coccupation\u003ephysician\u003c/occupation\u003e and \u003coccupation\u003ephotographer\u003c/occupation\u003e \u003cpersname\u003eBenjamin Boblett\u003c/persname\u003e. John Jackson (\u003cdate\u003e1924\u003c/date\u003e–\u003cdate\u003e2002\u003c/date\u003e) was an American Piedmont Blues Musician. Jackson played an important role in highlighting the Appalachian musical traditions. The photographs are annotated and signed by the artist. Two studio photographs (16\"X20\") were taken in approximately 1983. The other performance photograph (8.5\"X11\") was taken at the \u003ccorpname\u003eWoodlawwn High School\u003c/corpname\u003e performance in \u003cdate\u003e1975\u003c/date\u003e, and printed in \u003cdate\u003e1976\u003c/date\u003e.\u003c/p\u003e"],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["This collection contains three black and white photographs of musician  John Jackson  taken by  physician  and  photographer Benjamin Boblett . John Jackson ( 1924 – 2002 ) was an American Piedmont Blues Musician. Jackson played an important role in highlighting the Appalachian musical traditions. The photographs are annotated and signed by the artist. Two studio photographs (16\"X20\") were taken in approximately 1983. The other performance photograph (8.5\"X11\") was taken at the  Woodlawwn High School  performance in  1975 , and printed in  1976 ."],"userestrict_html_tesm":["\u003cp\u003eThis collection contains some in-copyright material. Visit our Permissions and Publishing page (https://www.library.virginia.edu/special-collections/services/publishing) for more information about use of Special Collections materials. The library can provide copyright information upon request, but users are responsible for making their own determination about lawful use of collections materials.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["This collection contains some in-copyright material. Visit our Permissions and Publishing page (https://www.library.virginia.edu/special-collections/services/publishing) for more information about use of Special Collections materials. The library can provide copyright information upon request, but users are responsible for making their own determination about lawful use of collections materials."],"names_ssim":["Albert and Shirley Small Special Collections Library","Woodlawwn High School","University of Virginia","Folklore Society of Greater Washington","National Council for the Traditional Arts","National Endowment for the Arts","Jackson","Cora","Boblett, Benjamin, M.D.","John Jackson","Benjamin Boblett","Blind Lemon Jefferson","Blind Blake","Blind Boy Fuller","Jimmie Rodgers","Ernest Tubb","Charles Perdue","Jimmy Carter","Ronald Reagan","B.B. King","Eric Clapton","Bob Dylan","Bonnie Raitt","Ricky Scaggs","Jackson, John, 1924-2002"],"corpname_ssim":["Albert and Shirley Small Special Collections Library","Woodlawwn High School","University of Virginia","Folklore Society of Greater Washington","National Council for the Traditional Arts","National Endowment for the Arts"],"famname_ssim":["Jackson"],"name_ssim":["Cora"],"names_coll_ssim":["Jackson, John, 1924-2002"],"persname_ssim":["Boblett, Benjamin, M.D.","John Jackson","Benjamin Boblett","Blind Lemon Jefferson","Blind Blake","Blind Boy Fuller","Jimmie Rodgers","Ernest Tubb","Charles Perdue","Jimmy Carter","Ronald Reagan","B.B. King","Eric Clapton","Bob Dylan","Bonnie Raitt","Ricky Scaggs","Jackson, John, 1924-2002"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-20T23:25:52.359Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_repositories_3_resources_1737","ead_ssi":"viu_repositories_3_resources_1737","_root_":"viu_repositories_3_resources_1737","_nest_parent_":"viu_repositories_3_resources_1737","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1737.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/212824","title_filing_ssi":"Boblett, Benjamin Photographs of John Jackson","title_ssm":["Benjamin Boblett Photographs of John Jackson"],"title_tesim":["Benjamin Boblett Photographs of John Jackson"],"unitdate_ssm":["1975-1976","circa 1983"],"unitdate_inclusive_ssm":["1975-1976"],"unitdate_other_ssim":["circa 1983"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 16873","Archival Resource Key","/repositories/3/resources/1737"],"text":["MSS 16873","Archival Resource Key","/repositories/3/resources/1737","Benjamin Boblett Photographs of John Jackson","Blues musicians - Virginia","African American musicians","Blues musicians","Black-and-white photographs","Good","This collections is open for research use.","Blues  artist , songster, and storyteller,  John Jackson  (February 25, 1924 – January 20, 2002) was the most important black Appalachian musician to come to broad public attention during the mid-1960s. He was born on  February 25, 1924 , the seventh of fourteen children, in Rappahannock County, VA. His father and mother were tenant farmers, whose children grew up helping out with the farming, cutting timber, herding cows, and doing whatever was needed to support their family. ","\nJackson's parents and siblings all played some combinations of guitar, banjo, ukulele, mandolin, harmonica, accordion, autoharp, and even homemade penny whistles. Jackson's father was well known in the area and traveled around the county to parties and dances, playing the blues, old mountain songs, and other regional music. His mother played and sang spiritual songs. ","Jackson  began playing his father's guitar when he was four. He learned how to play from his father, by watching the other musicians he saw performing at local gatherings, and from a man known as Happy, in a month-long series of guitar lessons. Jackson's older sister purchased a guitar for him when he was nine years old. He also learned from phonograph records. He was fond of the music of  Blind Lemon Jefferson ,  Blind Blake ,  Blind Boy Fuller ,  Jimmie Rodgers , and  Ernest Tubb , as well as a wide range of gospel, ragtime, and country hymns. ","\nLike his father, Jackson performed at house parties, although music was something reserved for evenings and weekends, as he had multiple jobs including working as a  cook ,  butler ,  chauffeur , general  caretaker , and even a  gravedigger . Jackson already had a young wife and a family of his own when he left his parents' farm at 25 years old. He moved with his wife and children to  Fairfax, Virginia , where he worked on another farm, other occasional jobs such as chopping and hauling firewood and digging graves. ","\nCircumstances led Jackson to give up the house party circuit and retire from public performances for nearly 20 years. But Jackson began his return to playing music in  1962  when he played for children that were playing in his yard, and later when he agreed to giving guitar lessons to his mailman. It was during one of these lessons that took place at the gas station where the mailman worked at night that professor of folklore and  English  at the  University of Virginia ,  Charles Perdue  heard Jackson playing after stopping for gas and asked him to play for him. ","\nPerdue, who was involved with the  Folklore Society of Greater Washington , the  National Council for the Traditional Arts , and the effort to record and preserve folk music across Virginia introduced Jackson to other blues and folk musicians in the region and across the country. Perdue championed Jackson's playing to help establish him as a professional  musician , and help him become thoroughly successful on the folk circuit both at home and around the world ","\nFor the next thirty-plus years he was the Virginia/ Washington, D.C.  area's most prominent traditional artist. He was a festival favorite who also hosted the musical house parties in the region. Jackson toured widely across the United States and abroad, making numerous recordings, playing his distinctive Piedmont guitar blues, and also performing on the banjo. He is one of the few African American musicians to play the blues on the banjo, which he learned growing up in the rural  Piedmont region . ","\nJackson drew attention to the rich musical traditions of Appalachia and advocated for the quantity and quality of local Virginia artists. However, although Jackson recalled a thriving blues guitar tradition in his home community, few black Virginians were recorded. During the 1920s and 1930s only three musicians produced a significant body of recordings. ","\nJohn Jackson received the National Heritage Fellowship in  1986  from the  National Endowment for the Arts  for his role as a teacher and traditional artist, which is America's highest honor in the folk music world. Jackson performed for Presidents  Jimmy Carter  and  Ronald Reagan , the US Congress, many European heads of state, and in Carnegie and Royal Albert Hall. He played with famous musicians such as  B.B. King ,  Eric Clapton ,  Bob Dylan ,  Bonnie Raitt , and  Ricky Scaggs .","\nJackson survived his wife,  Cora , who died in  October 1990 , three sons, and one daughter. He performed his last show on New Year's Eve 2002 and died on  January 20, 2002 . ","\nReference list:","Remembering John Jackson. (2025). Eldon Farms. https://eldonfarms.com/john-jackson/ ","John Jackson, African-American Songster/Guitarist. (n.d.) National Endowment for the Arts. https://www.arts.gov/honors/heritage/john-jackson ","Pearson, B.L. (2024). Rappahannock Blues: John Jackson. Smithsonian Folkways Magazine. https://folkways.si.edu/magazine-summer-2010-rappahannock-blues-john-jackson/african-american-music/article/smithsonian ","Bernstein, A. (2002, January 21). Bluesman John Jackson Dies, Gained World Fame. The Washington Post. https://www.washingtonpost.com/archive/local/2002/01/22/bluesman-john-jackson-dies/d67f1f35-a38c-4794-aa1c-a0847ddf1e84/ ","Pareles, J. (2002, January 29). John Jackson, 77, Guitarist and Singer in Piedmont Style. The New York Times. https://www.nytimes.com/2002/01/29/arts/john-jackson-77-guitarist-and-singer-in-piedmont-style.html","Photographs are in protective sleeves. If they need to be removed, latex or nitrile gloves are required for care and handling.","This collection contains three black and white photographs of musician  John Jackson  taken by  physician  and  photographer Benjamin Boblett . John Jackson ( 1924 – 2002 ) was an American Piedmont Blues Musician. Jackson played an important role in highlighting the Appalachian musical traditions. The photographs are annotated and signed by the artist. Two studio photographs (16\"X20\") were taken in approximately 1983. The other performance photograph (8.5\"X11\") was taken at the  Woodlawwn High School  performance in  1975 , and printed in  1976 .","This collection contains some in-copyright material. Visit our Permissions and Publishing page (https://www.library.virginia.edu/special-collections/services/publishing) for more information about use of Special Collections materials. The library can provide copyright information upon request, but users are responsible for making their own determination about lawful use of collections materials.","Albert and Shirley Small Special Collections Library","Woodlawwn High School","University of Virginia","Folklore Society of Greater Washington","National Council for the Traditional Arts","National Endowment for the Arts","Jackson","Cora","Boblett, Benjamin, M.D.","John Jackson","Benjamin Boblett","Blind Lemon Jefferson","Blind Blake","Blind Boy Fuller","Jimmie Rodgers","Ernest Tubb","Charles Perdue","Jimmy Carter","Ronald Reagan","B.B. King","Eric Clapton","Bob Dylan","Bonnie Raitt","Ricky Scaggs","Jackson, John, 1924-2002","English"],"unitid_tesim":["MSS 16873","Archival Resource Key","/repositories/3/resources/1737"],"normalized_title_ssm":["Benjamin Boblett Photographs of John Jackson"],"collection_title_tesim":["Benjamin Boblett Photographs of John Jackson"],"collection_ssim":["Benjamin Boblett Photographs of John Jackson"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"geogname_ssm":["Blues musicians - Virginia"],"geogname_ssim":["Blues musicians - Virginia"],"creator_ssm":["Boblett, Benjamin, M.D."],"creator_ssim":["Boblett, Benjamin, M.D."],"creator_persname_ssim":["Boblett, Benjamin, M.D."],"creators_ssim":["Boblett, Benjamin, M.D."],"places_ssim":["Blues musicians - Virginia"],"access_terms_ssm":["This collection contains some in-copyright material. Visit our Permissions and Publishing page (https://www.library.virginia.edu/special-collections/services/publishing) for more information about use of Special Collections materials. The library can provide copyright information upon request, but users are responsible for making their own determination about lawful use of collections materials."],"acqinfo_ssim":["The Benjamin Boblett Photographs of John Jackson was gifted from Benjamin Boblett and accepted by Krystal Appiah on September 07, 2023. It was accessioned by the Albert and Shirley Small Special Collections Library on December 14, 2023."],"access_subjects_ssim":["African American musicians","Blues musicians","Black-and-white photographs"],"access_subjects_ssm":["African American musicians","Blues musicians","Black-and-white photographs"],"has_online_content_ssim":["false"],"physdesc_tesim":["Good"],"extent_ssm":[".13 Cubic Feet 1  oversized folder"],"extent_tesim":[".13 Cubic Feet 1  oversized folder"],"genreform_ssim":["Black-and-white photographs"],"date_range_isim":[1975,1976,1983],"accessrestrict_html_tesm":["\u003cp\u003eThis collections is open for research use.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collections is open for research use."],"bioghist_html_tesm":["\u003cp\u003eBlues \u003coccupation\u003eartist\u003c/occupation\u003e, songster, and storyteller, \u003cpersname\u003eJohn Jackson\u003c/persname\u003e (February 25, 1924 – January 20, 2002) was the most important black Appalachian musician to come to broad public attention during the mid-1960s. He was born on \u003cdate\u003eFebruary 25, 1924\u003c/date\u003e, the seventh of fourteen children, in Rappahannock County, VA. His father and mother were tenant farmers, whose children grew up helping out with the farming, cutting timber, herding cows, and doing whatever was needed to support their family. \u003c/p\u003e\n","\u003cp\u003e\nJackson's parents and siblings all played some combinations of guitar, banjo, ukulele, mandolin, harmonica, accordion, autoharp, and even homemade penny whistles. Jackson's father was well known in the area and traveled around the county to parties and dances, playing the blues, old mountain songs, and other regional music. His mother played and sang spiritual songs. \u003c/p\u003e\n","\u003cp\u003e\n\u003cfamname\u003eJackson\u003c/famname\u003e began playing his father's guitar when he was four. He learned how to play from his father, by watching the other musicians he saw performing at local gatherings, and from a man known as Happy, in a month-long series of guitar lessons. Jackson's older sister purchased a guitar for him when he was nine years old. He also learned from phonograph records. He was fond of the music of \u003cpersname\u003eBlind Lemon Jefferson\u003c/persname\u003e, \u003cpersname\u003eBlind Blake\u003c/persname\u003e, \u003cpersname\u003eBlind Boy Fuller\u003c/persname\u003e, \u003cpersname\u003eJimmie Rodgers\u003c/persname\u003e, and \u003cpersname\u003eErnest Tubb\u003c/persname\u003e, as well as a wide range of gospel, ragtime, and country hymns. \u003c/p\u003e\n","\u003cp\u003e\nLike his father, Jackson performed at house parties, although music was something reserved for evenings and weekends, as he had multiple jobs including working as a \u003coccupation\u003ecook\u003c/occupation\u003e, \u003coccupation\u003ebutler\u003c/occupation\u003e, \u003coccupation\u003echauffeur\u003c/occupation\u003e, general \u003coccupation\u003ecaretaker\u003c/occupation\u003e, and even a \u003coccupation\u003egravedigger\u003c/occupation\u003e. Jackson already had a young wife and a family of his own when he left his parents' farm at 25 years old. He moved with his wife and children to \u003cgeogname\u003eFairfax, Virginia\u003c/geogname\u003e, where he worked on another farm, other occasional jobs such as chopping and hauling firewood and digging graves. \u003c/p\u003e\n","\u003cp\u003e\nCircumstances led Jackson to give up the house party circuit and retire from public performances for nearly 20 years. But Jackson began his return to playing music in \u003cdate\u003e1962\u003c/date\u003e when he played for children that were playing in his yard, and later when he agreed to giving guitar lessons to his mailman. It was during one of these lessons that took place at the gas station where the mailman worked at night that professor of folklore and \u003clanguage\u003eEnglish\u003c/language\u003e at the \u003ccorpname\u003eUniversity of Virginia\u003c/corpname\u003e, \u003cpersname\u003eCharles Perdue\u003c/persname\u003e heard Jackson playing after stopping for gas and asked him to play for him. \u003c/p\u003e\n","\u003cp\u003e\nPerdue, who was involved with the \u003ccorpname\u003eFolklore Society of Greater Washington\u003c/corpname\u003e, the \u003ccorpname\u003eNational Council for the Traditional Arts\u003c/corpname\u003e, and the effort to record and preserve folk music across Virginia introduced Jackson to other blues and folk musicians in the region and across the country. Perdue championed Jackson's playing to help establish him as a professional \u003coccupation\u003emusician\u003c/occupation\u003e, and help him become thoroughly successful on the folk circuit both at home and around the world \u003c/p\u003e\n","\u003cp\u003e\nFor the next thirty-plus years he was the Virginia/\u003cgeogname\u003eWashington, D.C.\u003c/geogname\u003e area's most prominent traditional artist. He was a festival favorite who also hosted the musical house parties in the region. Jackson toured widely across the United States and abroad, making numerous recordings, playing his distinctive Piedmont guitar blues, and also performing on the banjo. He is one of the few African American musicians to play the blues on the banjo, which he learned growing up in the rural \u003cgeogname\u003ePiedmont region\u003c/geogname\u003e. \u003c/p\u003e\n","\u003cp\u003e\nJackson drew attention to the rich musical traditions of Appalachia and advocated for the quantity and quality of local Virginia artists. However, although Jackson recalled a thriving blues guitar tradition in his home community, few black Virginians were recorded. During the 1920s and 1930s only three musicians produced a significant body of recordings. \u003c/p\u003e\n","\u003cp\u003e\nJohn Jackson received the National Heritage Fellowship in \u003cdate\u003e1986\u003c/date\u003e from the \u003ccorpname\u003eNational Endowment for the Arts\u003c/corpname\u003e for his role as a teacher and traditional artist, which is America's highest honor in the folk music world. Jackson performed for Presidents \u003cpersname\u003eJimmy Carter\u003c/persname\u003e and \u003cpersname\u003eRonald Reagan\u003c/persname\u003e, the US Congress, many European heads of state, and in Carnegie and Royal Albert Hall. He played with famous musicians such as \u003cpersname\u003eB.B. King\u003c/persname\u003e, \u003cpersname\u003eEric Clapton\u003c/persname\u003e, \u003cpersname\u003eBob Dylan\u003c/persname\u003e, \u003cpersname\u003eBonnie Raitt\u003c/persname\u003e, and \u003cpersname\u003eRicky Scaggs\u003c/persname\u003e.\u003c/p\u003e\n","\u003cp\u003e\nJackson survived his wife, \u003cname\u003eCora\u003c/name\u003e, who died in \u003cdate\u003eOctober 1990\u003c/date\u003e, three sons, and one daughter. He performed his last show on New Year's Eve 2002 and died on \u003cdate\u003eJanuary 20, 2002\u003c/date\u003e. \u003c/p\u003e\n","\u003cp\u003e\nReference list:\u003c/p\u003e\n","\u003cp\u003eRemembering John Jackson. (2025). Eldon Farms. https://eldonfarms.com/john-jackson/ \u003c/p\u003e\n","\u003cp\u003eJohn Jackson, African-American Songster/Guitarist. (n.d.) National Endowment for the Arts. https://www.arts.gov/honors/heritage/john-jackson \u003c/p\u003e\n","\u003cp\u003ePearson, B.L. (2024). Rappahannock Blues: John Jackson. Smithsonian Folkways Magazine. https://folkways.si.edu/magazine-summer-2010-rappahannock-blues-john-jackson/african-american-music/article/smithsonian \u003c/p\u003e\n","\u003cp\u003eBernstein, A. (2002, January 21). Bluesman John Jackson Dies, Gained World Fame. The Washington Post. https://www.washingtonpost.com/archive/local/2002/01/22/bluesman-john-jackson-dies/d67f1f35-a38c-4794-aa1c-a0847ddf1e84/ \u003c/p\u003e\n","\u003cp\u003ePareles, J. (2002, January 29). John Jackson, 77, Guitarist and Singer in Piedmont Style. The New York Times. https://www.nytimes.com/2002/01/29/arts/john-jackson-77-guitarist-and-singer-in-piedmont-style.html\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Blues  artist , songster, and storyteller,  John Jackson  (February 25, 1924 – January 20, 2002) was the most important black Appalachian musician to come to broad public attention during the mid-1960s. He was born on  February 25, 1924 , the seventh of fourteen children, in Rappahannock County, VA. His father and mother were tenant farmers, whose children grew up helping out with the farming, cutting timber, herding cows, and doing whatever was needed to support their family. ","\nJackson's parents and siblings all played some combinations of guitar, banjo, ukulele, mandolin, harmonica, accordion, autoharp, and even homemade penny whistles. Jackson's father was well known in the area and traveled around the county to parties and dances, playing the blues, old mountain songs, and other regional music. His mother played and sang spiritual songs. ","Jackson  began playing his father's guitar when he was four. He learned how to play from his father, by watching the other musicians he saw performing at local gatherings, and from a man known as Happy, in a month-long series of guitar lessons. Jackson's older sister purchased a guitar for him when he was nine years old. He also learned from phonograph records. He was fond of the music of  Blind Lemon Jefferson ,  Blind Blake ,  Blind Boy Fuller ,  Jimmie Rodgers , and  Ernest Tubb , as well as a wide range of gospel, ragtime, and country hymns. ","\nLike his father, Jackson performed at house parties, although music was something reserved for evenings and weekends, as he had multiple jobs including working as a  cook ,  butler ,  chauffeur , general  caretaker , and even a  gravedigger . Jackson already had a young wife and a family of his own when he left his parents' farm at 25 years old. He moved with his wife and children to  Fairfax, Virginia , where he worked on another farm, other occasional jobs such as chopping and hauling firewood and digging graves. ","\nCircumstances led Jackson to give up the house party circuit and retire from public performances for nearly 20 years. But Jackson began his return to playing music in  1962  when he played for children that were playing in his yard, and later when he agreed to giving guitar lessons to his mailman. It was during one of these lessons that took place at the gas station where the mailman worked at night that professor of folklore and  English  at the  University of Virginia ,  Charles Perdue  heard Jackson playing after stopping for gas and asked him to play for him. ","\nPerdue, who was involved with the  Folklore Society of Greater Washington , the  National Council for the Traditional Arts , and the effort to record and preserve folk music across Virginia introduced Jackson to other blues and folk musicians in the region and across the country. Perdue championed Jackson's playing to help establish him as a professional  musician , and help him become thoroughly successful on the folk circuit both at home and around the world ","\nFor the next thirty-plus years he was the Virginia/ Washington, D.C.  area's most prominent traditional artist. He was a festival favorite who also hosted the musical house parties in the region. Jackson toured widely across the United States and abroad, making numerous recordings, playing his distinctive Piedmont guitar blues, and also performing on the banjo. He is one of the few African American musicians to play the blues on the banjo, which he learned growing up in the rural  Piedmont region . ","\nJackson drew attention to the rich musical traditions of Appalachia and advocated for the quantity and quality of local Virginia artists. However, although Jackson recalled a thriving blues guitar tradition in his home community, few black Virginians were recorded. During the 1920s and 1930s only three musicians produced a significant body of recordings. ","\nJohn Jackson received the National Heritage Fellowship in  1986  from the  National Endowment for the Arts  for his role as a teacher and traditional artist, which is America's highest honor in the folk music world. Jackson performed for Presidents  Jimmy Carter  and  Ronald Reagan , the US Congress, many European heads of state, and in Carnegie and Royal Albert Hall. He played with famous musicians such as  B.B. King ,  Eric Clapton ,  Bob Dylan ,  Bonnie Raitt , and  Ricky Scaggs .","\nJackson survived his wife,  Cora , who died in  October 1990 , three sons, and one daughter. He performed his last show on New Year's Eve 2002 and died on  January 20, 2002 . ","\nReference list:","Remembering John Jackson. (2025). Eldon Farms. https://eldonfarms.com/john-jackson/ ","John Jackson, African-American Songster/Guitarist. (n.d.) National Endowment for the Arts. https://www.arts.gov/honors/heritage/john-jackson ","Pearson, B.L. (2024). Rappahannock Blues: John Jackson. Smithsonian Folkways Magazine. https://folkways.si.edu/magazine-summer-2010-rappahannock-blues-john-jackson/african-american-music/article/smithsonian ","Bernstein, A. (2002, January 21). Bluesman John Jackson Dies, Gained World Fame. 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Jackson played an important role in highlighting the Appalachian musical traditions. The photographs are annotated and signed by the artist. Two studio photographs (16\"X20\") were taken in approximately 1983. The other performance photograph (8.5\"X11\") was taken at the \u003ccorpname\u003eWoodlawwn High School\u003c/corpname\u003e performance in \u003cdate\u003e1975\u003c/date\u003e, and printed in \u003cdate\u003e1976\u003c/date\u003e.\u003c/p\u003e"],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["This collection contains three black and white photographs of musician  John Jackson  taken by  physician  and  photographer Benjamin Boblett . John Jackson ( 1924 – 2002 ) was an American Piedmont Blues Musician. Jackson played an important role in highlighting the Appalachian musical traditions. The photographs are annotated and signed by the artist. Two studio photographs (16\"X20\") were taken in approximately 1983. 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The library can provide copyright information upon request, but users are responsible for making their own determination about lawful use of collections materials."],"names_ssim":["Albert and Shirley Small Special Collections Library","Woodlawwn High School","University of Virginia","Folklore Society of Greater Washington","National Council for the Traditional Arts","National Endowment for the Arts","Jackson","Cora","Boblett, Benjamin, M.D.","John Jackson","Benjamin Boblett","Blind Lemon Jefferson","Blind Blake","Blind Boy Fuller","Jimmie Rodgers","Ernest Tubb","Charles Perdue","Jimmy Carter","Ronald Reagan","B.B. 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