The Winding Stream: The Carters, the Cashes and the Course of Country Music by Beth Harrington (review)
Bibliographic record
Abstract
The Winding Stream: The Carters, Cashes and Course of Country Music. 2014. by beth harrington. 90 min. DVD format, color. (beth harrington productions, Vancouver, Washington.)Like an archaeologist (and genealogist), beth harrington digs deeply into lives of original carter Family, excavating and explicating their lives, as seen and retold by friends, two generations of their kin, a few scholars, and a who's who of Americana musicians. The film is decidedly a tribute to family, their descendants, and their legacies-by blood, marriage, and music. The Winding Stream launched officially at Austin, texas, famed SXSW in 2014, toured vigorously across united States at prestigious film festivals, and has been reviewed in Rolling Stone, Variety, and The Hollywood Reporter, as well as newspapers, electronic forums, and blogs.This reviewer was fortunate to view film three times, including a public screening on April 9, 2015, at twenty-first annual Delta Symposium, in partnership with inaugural Delta Flix Film and media Festival, at Arkansas State university in Jonesboro. harrington was keynote speaker; symposium organizers tied her film to university's recent acquisition, restoration, and public opening of Johnny cash's childhood home in Dyess, Arkansas. cash, his daughter rosanne, and son John carter are key contributors to film's content, each sitting for substantive interviews and providing some insight into original carter Family trio. The cashes are named in film title and are integral to story about the course of country music, insomuch as they were influenced by, and related to, carters. Fully half of film covers childhoods, courtships, and unexpected musical career of trio. harrington explores headwaters of stream-the story, or stories, of A.p., Sara, and maybelle. even when harrington introduces family members into narrative, they are named in captions with notations about their places in clan and their relationships to members of trio: daughters, sons, grandsons, granddaughters, and nieces. For instance, Johnny cash, who likely needs least introduction to most audiences, is identified as son-in-law.Harrington has provided a carter Family primer in film, one easily accessible to twentyfirst-century viewers, including students of folklore, oral history, documentary studies, and ethnomusicology. Additionally, she avoids downfall of many a documentary film by telling story in under two hours. For such a seemingly brief documentary, film weaves interviews with 12 family members, and another dozen or so musicians (whose testimonials are often accompanied by a verse or more of a carter classic). on whole, musicians, who span two or three generations themselves, put A.p., Sara, and maybelle on a pedestal. Family members flesh out their elders' humanity, recounting broken hearts, broken promises, unfulfilled dreams, unfulfilled fortunes, and rich lives. in a key segment, audience learns about A.p.'s role as songcatcher, including his travels with co-collector lesley riddle. harrington's interviews with musician and traditional music aficionado Dom Flemons and carter family member rita Forrester unpack some complexities of A.p.'s friendship and business partnership with riddle, as well as moving songs from oral tradition to songwriting credit and commercial recording.A handful of scholars, including folklorists peggy bulger, charles Wolfe, and mike Seeger, help harrington wade more fully into cul- tural significance of original carters. Wolfe, for instance, narrates much of fateful story of ralph peer, A.p., Sara, and maybelle's first and subsequent recording sessions in bristol, tennessee. later, Seeger frames re-launch of maybelle's career as a beloved guitar innovator who tours country, performing at American universities and folk revival festivals for audiences of hippies, who were known to stand uncharacteristically in reverence when she entered stage. …
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How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.001 | 0.003 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.000 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one teacher head, not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".