Collins may not have looked like much of a rebel on the cover of that 1964 album, but she was. Five years earlier, she had crossed the Atlantic alone to visit prisons and remote Appalachian communities, meeting there with folklorist
Alan Lomax to collect folk songs. (Decades later, many of these same songs formed the Grammy-winning soundtrack of the Coen Brothers' film
O Brother, Where Art Thou?) Collins had already skipped home as a teenager to pursue a folk career, too, taking her lipstick to graffiti posters in folk clubs she found wanting, even getting threatened in one with a knife.
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