Podcasts about recorded sound collections

Folksongs of Another America: Field Recordings from the Upper Midwest, 1937–1946 (University of Wisconsin Press) first appeared in 2015 when it comprised of a hardback book, five CDs, and one DVD. It went on to win the “Best Historical Research in Folk or World Music” award from the Association for Recorded Sound Collections, was nominated for a Grammy for “Best Album Notes,” received universally superlative reviews, and sold out within a year. The project has now been re-issued as a paperback, albeit without any accompanying discs; instead the related tracks and film footage are now available for online access care of the University of Wisconsin-Madison Library. It's not hard to fathom why this monumental work received so much acclaim. A groundbreaking multimedia endeavor, Folksongs of Another America is the product of decades of work by the distinguished folklorist, James P. Leary. Leary is, amongst other things, Professor Emeritus of Folklore and Scandinavian Studies and Cofounder of the Center for the Study of Upper Midwestern Cultures at the University of Wisconsin–Madison, a former editor of the Journal of American Folklore, and a native of rural Wisconsin, which is one of the three states – along with Michigan and Minnesota – whose rich musical bounty is explored in this study. Leary sifted through over 2,000 field recordings, made by fieldworkers Sidney Robertson, Alan Lomax, and Helene Stratman-Thomas during the 1930s and 40s, to select the 187 tunes and songs that feature here. Together the chosen pieces create the impression of a region populated by immigrants from a host of different lands, as well as by Native Americans, all with their own musical traditions. For every track, Leary offers extensive documentation, information about the performers, and full lyrics (including in the original language with English translation as necessary which, given that the collection includes twenty-five languages, is often the case). The recordings themselves, which have been wonderfully restored and remastered, provide vivid aural experiences. Folksongs of Another America is, as noted by a reviewer for Deutschlandradio Kultur, “an exceptional achievement that demonstrates for the first time the full worth and cultural wealth of the Upper Midwest for music listeners.” Rachel Hopkin is a UK born, US based folklorist and radio producer and is currently a PhD candidate at the Ohio State University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

In this KEEN ON show, the music historian Sheryl Kaskowitz, author of A CHANCE TO HARMONIZE, narrates how FDR and his team of New Dealers saved America from the Great Depression - one folk song at a time. And she explains that there would have been on popular American folk music - no Pete Seeger, Woody Guthrie, Joan Baez or Bob Dillon - without FDR's Hidden Music Unit and its radical ambition to reinvent American communities in the depths of the 1930s. Sheryl Kaskowitz is a writer, editor, and audio storyteller based in Berkeley, California. Her new book, A Chance to Harmonize: How FDR's Hidden Music Unit Tried to Save America from the Great Depression—One Song at a Time, comes out in April 2024 from Pegasus Books. Since earning her PhD from Harvard, Sheryl has written extensively about music in American culture in the twentieth and twenty-first centuries and the role that music can play in civic life. Her first book, God Bless America: The Surprising History of an Iconic Song, was published in 2013 to positive reviews (including pieces in The Washington Post and The Christian Science Monitor) and won an ASCAP Deems Taylor Book Award for music writing. Her writing has been published in The New York Times, Slate, Humanities, and The Avid Listener. She appeared in the BBC audio documentary “Government Song Woman” and has been interviewed on NPR's “All Things Considered,” WNYC's “The Takeaway,” the Washington Post's “Can He Do That?” podcast, the ABC News podcast “Start Here,” and the public radio news show “The Texas Standard.” Sheryl has received the Anne Firor Scott Mid-Career Fellowship from the Southern Association for Women Historians (2022), a Public Scholars Fellowship from the National Endowment for the Humanities (2018), a Kluge Fellowship from the Library of Congress (2016), and research grants and awards from the American Musicological Society, Association for Recorded Sound Collections, Franklin & Eleanor Roosevelt Institute, Music Library Association, and Society for American Music.Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting KEEN ON, he is the host of the long-running How To Fix Democracy show. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children.Keen On is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

Featured Co-host: Francesca Royster Guest:Willa Taylor Francesca's Black Country Music: Listening for Revolutions and Choosing Family: The Shifting Image of an Icon are the newest books and are referenced later in this rundown, Francesca T. Royster is a Professor of the English at DePaul University in Chicago, and received her PhD from University of California, Berkeley in English Literature in 1995. At DePaul she teaches courses on African American Literature, Queer Writers of Color and Writing About Music. She's written scholarly work on Shakespeare, Black Lesbian Country music fans, Prince, and Fela Kuti on Broadway among other topics. Her recent special issue of the Journal of Popular Music Studies, on the futures of Country Music, Uncharted Country,” co-edited with Nadine Hubbs, won the 2021 Ruth Solie Award from the American Musicological Society. Her creative work has appeared in Feminist Studies, Slag Glass City, LA Review of Books, The Huffington Post, The Windy City Times, Chicago Literati and The Oxford American. Her books include Becoming Cleopatra: The Shifting Image of an Icon (Palgrave MacMillan, 2003), Sounding Like a No-No: Queer Sounds and Eccentric Acts in the Post-Soul Era (University of Michigan Press, 2013), Black Country Music: Listening for Revolutions (University of Texas Press, 2022), and Choosing Family: A Memoir of Queer Motherhood and Black Resistance (Abrams/ Overlook Press, 2023). Her book, Black Country Music: Listening for Revolutions was recently awarded the 2023 Ralph J. Gleason Music Book Award, from the Rock & Roll Hall of Fame, the 2023 ARSC Awards for Excellence in Historical Recorded Sound Research from the Association for Recorded Sound Collections and the 2023 Judy Tsou Critical Race Studies Award, from The American Musicological Society. Her newest book in process is Listening for My Mother: Travels in Music from Chicago to Bahia, a combination of memoir, travel writing and cultural history about mourning and healing in Women's Music in the Black Diaspora

I had the pleasure on speaking with my friend, Bob Marovich. I met Bob about ten years ago on a Vee Jay Records site. Bob is the expert on Vee Jay – The Gospel Years. So, this is Bob !!! He has been a writer since he was old enough to spell, is a grantwriter, fundraising professional, and serves as the editor of the GlobeTrade monthly "Borderbuster" e-newsletter. Bob launched JGM on the tenth anniversary of its predecessor website, The Black Gospel Blog, which he founded July 28, 2004, as the first blog to cover African American gospel music. Bob is a gospel music historian, author, and radio host. Since 2001, he has produced “Gospel Memories.” The show features classic gospel, spiritual, and jubilee music, and interviews with gospel legends. It airs Saturday mornings on Chicago's WLUW-FM and throughout the week on several Internet and low-power FM radio stations throughout the U.S., Canada, and Europe. Bob has been interviewed about gospel for television, radio, and newspapers, and was featured on a BBC Radio 2 documentary on the life of Sister Rosetta Tharpe. He is also the gospel editor for ChicagoMusic.org. Bob's work has been published in the Encyclopedia of American Gospel Music (Routledge 2005), Encyclopedia of African American Music (Greenwood Publishing 2010), and in the ARSC Journal of the Association of Recorded Sound Collections. He has presented and participated in panel discussions on gospel music at the Gospel Music Workshop of America, National and Independent Gospel Music Association Industry Summit, Blues and the Spirit Conference at Dominican University (River Forest, Illinois), the American Library Association, and the Association of Recorded Sound Collections annual convention. Formerly second vice president of the Chicago Area Gospel Announcers Guild (Gospel Music Workshop of America), Bob is on the board of the Chicago Gospel Music Heritage Museum, the Rhythm of Gospel Awards, Blackburn College, and Tree House Humane Society. He is a member of the Stellar Awards Gospel Music Academy, the National Independent Gospel Music Association, the Recording Academy, the Center for Black Music Research, and the Association of Recorded Sound Collections. Bob's collection of historic gospel recordings exceeds 5,000 vinyl discs that contain more than 19,000 individual tracks, and thousands of gospel CDs. His collection of gospel music memorabilia includes sheet music, song folios, photographs, signatures, anniversary programs, tickets, posters, and other promotional material. Bob holds a bachelor's degree in American Studies from the University of Notre Dame and an MBA from the Lake Forest Graduate School of Management. His first book, Shout Troubles Over: The Birth of Gospel Music in Chicago, published in March 2015 by the University of Illinois Press as part of its Music in American Life Series. Bob lives in Chicago with his wife, author Laurel Delaney, and their two cats. Bob's wife, Laurel, has a podcast for women entrepreneurs. Bob gives the podcast name towards the end of our podcast. I will be listening to it! He can be contacted by email at journalofgospelmusic.com and gospelmemories.com. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/michelemarotta/support

Current exhibition, The Bakersfield Sound: Roll Out the Red Carpet explores the major figures and stylings of the country music sub-genre with a celebratory display of local history that features costumes, guitars, and posters from the era. In this week's episode we talk with author, newspaper columnist, and television journalist Robert Price who collaborated with BMoA to bring the exhibition to life. Price is the author of "The Bakersfield Sound: How a Generation of Displaced Okies Revolutionized American Music," which was the winner of the Association for Recorded Sound Collections' 2019 book prize for best country or folk history. He is a native of Sonoma County, California.  Further Links: To purchase Robert Price's book: www.bmoa.org/gift-shop-store/the-bakersfield-sound-by-robert-e-price Online Exhibit: www.bmoa.org/current    

In Listening for Africa: Freedom, Modernity, and the Logic of Black Music’s African Origins (Duke University Press, 2017), David García reminds us that how culture is understood and interpreted not only reflects the political and social discourses of the day, but also shapes those discussions. Drawing on figures as diverse as academics like Melville Herskovitz, performers such as Duke Ellington, and those like dancer/anthropologist Katherine Dunham who filled multiple roles, García lays bare the ways that people in the Americas from the 1930s until the 1950s understood the African origins of black music and dance. He is particularly interested in how the discourse about African retentions in black diasporic culture intensified cultural, political, and social dichotomies: primal vs. civilized, science vs. magic, black vs. white, and most importantly, modernity vs. primitivity. García argues these concepts were defined in terms of each other through the discourse he analyzes, with the politically dominant groups reinforcing positive connotations with the ideas they identified with themselves. Proceeding in broadly chronological order, García begins with a critique of the intellectual foundations of the discipline that we now call ethnomusicology and explores how the approaches taken to African retentions in black music and dance by some of the field’s prominent figures were fundamentally influenced by scientific principles and Freudian psychology. Moving from academia to performance, García expands his argument by considering the rhetoric around black music and dance in the United States, the Caribbean, and Mexico as well as analyzing individual works and performances by Katherine Dunham, Asadata Dafora, Modupe Paris, Duke Ellington, and others. The book ends with a close reading of the cultural and political implications of the mambo, which was a transnational dance phenomenon in the early 1950s. Listening for Africa provides a dense, theoretically rigorous accounting of how the forces that shaped the production and analysis of black music and dance in the mid twentieth century also reinforced political and cultural oppression. David F. García is an Associate Professor in Ethnomusicology at the University of North Carolina at Chapel Hill. His research on black and Latin music in the United States has been published in MUSICultures, Journal of the Society for American Music and other journals. His first monograph, Arsenio Rodríguez and the Transnational Flows of Latin Popular Music received a Certificate of Merit from the Association for Recorded Sound Collections. He was awarded a National Endowment for the Humanities fellowship in 2014 and is also a Visiting Scholar at the Cristobal Díaz Ayala Collection of Cuban and Latin American Popular Music by the Cuban Research Institute at Florida International University. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In Listening for Africa: Freedom, Modernity, and the Logic of Black Music's African Origins (Duke University Press, 2017), David García reminds us that how culture is understood and interpreted not only reflects the political and social discourses of the day, but also shapes those discussions. Drawing on figures as diverse as academics like Melville Herskovitz, performers such as Duke Ellington, and those like dancer/anthropologist Katherine Dunham who filled multiple roles, García lays bare the ways that people in the Americas from the 1930s until the 1950s understood the African origins of black music and dance. He is particularly interested in how the discourse about African retentions in black diasporic culture intensified cultural, political, and social dichotomies: primal vs. civilized, science vs. magic, black vs. white, and most importantly, modernity vs. primitivity. García argues these concepts were defined in terms of each other through the discourse he analyzes, with the politically dominant groups reinforcing positive connotations with the ideas they identified with themselves. Proceeding in broadly chronological order, García begins with a critique of the intellectual foundations of the discipline that we now call ethnomusicology and explores how the approaches taken to African retentions in black music and dance by some of the field's prominent figures were fundamentally influenced by scientific principles and Freudian psychology. Moving from academia to performance, García expands his argument by considering the rhetoric around black music and dance in the United States, the Caribbean, and Mexico as well as analyzing individual works and performances by Katherine Dunham, Asadata Dafora, Modupe Paris, Duke Ellington, and others. The book ends with a close reading of the cultural and political implications of the mambo, which was a transnational dance phenomenon in the early 1950s. Listening for Africa provides a dense, theoretically rigorous accounting of how the forces that shaped the production and analysis of black music and dance in the mid twentieth century also reinforced political and cultural oppression. David F. García is an Associate Professor in Ethnomusicology at the University of North Carolina at Chapel Hill. His research on black and Latin music in the United States has been published in MUSICultures, Journal of the Society for American Music and other journals. His first monograph, Arsenio Rodríguez and the Transnational Flows of Latin Popular Music received a Certificate of Merit from the Association for Recorded Sound Collections. He was awarded a National Endowment for the Humanities fellowship in 2014 and is also a Visiting Scholar at the Cristobal Díaz Ayala Collection of Cuban and Latin American Popular Music by the Cuban Research Institute at Florida International University. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections.   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

In Listening for Africa: Freedom, Modernity, and the Logic of Black Music’s African Origins (Duke University Press, 2017), David García reminds us that how culture is understood and interpreted not only reflects the political and social discourses of the day, but also shapes those discussions. Drawing on figures as diverse as academics like Melville Herskovitz, performers such as Duke Ellington, and those like dancer/anthropologist Katherine Dunham who filled multiple roles, García lays bare the ways that people in the Americas from the 1930s until the 1950s understood the African origins of black music and dance. He is particularly interested in how the discourse about African retentions in black diasporic culture intensified cultural, political, and social dichotomies: primal vs. civilized, science vs. magic, black vs. white, and most importantly, modernity vs. primitivity. García argues these concepts were defined in terms of each other through the discourse he analyzes, with the politically dominant groups reinforcing positive connotations with the ideas they identified with themselves. Proceeding in broadly chronological order, García begins with a critique of the intellectual foundations of the discipline that we now call ethnomusicology and explores how the approaches taken to African retentions in black music and dance by some of the field’s prominent figures were fundamentally influenced by scientific principles and Freudian psychology. Moving from academia to performance, García expands his argument by considering the rhetoric around black music and dance in the United States, the Caribbean, and Mexico as well as analyzing individual works and performances by Katherine Dunham, Asadata Dafora, Modupe Paris, Duke Ellington, and others. The book ends with a close reading of the cultural and political implications of the mambo, which was a transnational dance phenomenon in the early 1950s. Listening for Africa provides a dense, theoretically rigorous accounting of how the forces that shaped the production and analysis of black music and dance in the mid twentieth century also reinforced political and cultural oppression. David F. García is an Associate Professor in Ethnomusicology at the University of North Carolina at Chapel Hill. His research on black and Latin music in the United States has been published in MUSICultures, Journal of the Society for American Music and other journals. His first monograph, Arsenio Rodríguez and the Transnational Flows of Latin Popular Music received a Certificate of Merit from the Association for Recorded Sound Collections. He was awarded a National Endowment for the Humanities fellowship in 2014 and is also a Visiting Scholar at the Cristobal Díaz Ayala Collection of Cuban and Latin American Popular Music by the Cuban Research Institute at Florida International University. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In Listening for Africa: Freedom, Modernity, and the Logic of Black Music’s African Origins (Duke University Press, 2017), David García reminds us that how culture is understood and interpreted not only reflects the political and social discourses of the day, but also shapes those discussions. Drawing on figures as diverse as academics like Melville Herskovitz, performers such as Duke Ellington, and those like dancer/anthropologist Katherine Dunham who filled multiple roles, García lays bare the ways that people in the Americas from the 1930s until the 1950s understood the African origins of black music and dance. He is particularly interested in how the discourse about African retentions in black diasporic culture intensified cultural, political, and social dichotomies: primal vs. civilized, science vs. magic, black vs. white, and most importantly, modernity vs. primitivity. García argues these concepts were defined in terms of each other through the discourse he analyzes, with the politically dominant groups reinforcing positive connotations with the ideas they identified with themselves. Proceeding in broadly chronological order, García begins with a critique of the intellectual foundations of the discipline that we now call ethnomusicology and explores how the approaches taken to African retentions in black music and dance by some of the field’s prominent figures were fundamentally influenced by scientific principles and Freudian psychology. Moving from academia to performance, García expands his argument by considering the rhetoric around black music and dance in the United States, the Caribbean, and Mexico as well as analyzing individual works and performances by Katherine Dunham, Asadata Dafora, Modupe Paris, Duke Ellington, and others. The book ends with a close reading of the cultural and political implications of the mambo, which was a transnational dance phenomenon in the early 1950s. Listening for Africa provides a dense, theoretically rigorous accounting of how the forces that shaped the production and analysis of black music and dance in the mid twentieth century also reinforced political and cultural oppression. David F. García is an Associate Professor in Ethnomusicology at the University of North Carolina at Chapel Hill. His research on black and Latin music in the United States has been published in MUSICultures, Journal of the Society for American Music and other journals. His first monograph, Arsenio Rodríguez and the Transnational Flows of Latin Popular Music received a Certificate of Merit from the Association for Recorded Sound Collections. He was awarded a National Endowment for the Humanities fellowship in 2014 and is also a Visiting Scholar at the Cristobal Díaz Ayala Collection of Cuban and Latin American Popular Music by the Cuban Research Institute at Florida International University. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In Listening for Africa: Freedom, Modernity, and the Logic of Black Music’s African Origins (Duke University Press, 2017), David García reminds us that how culture is understood and interpreted not only reflects the political and social discourses of the day, but also shapes those discussions. Drawing on figures as diverse as academics like Melville Herskovitz, performers such as Duke Ellington, and those like dancer/anthropologist Katherine Dunham who filled multiple roles, García lays bare the ways that people in the Americas from the 1930s until the 1950s understood the African origins of black music and dance. He is particularly interested in how the discourse about African retentions in black diasporic culture intensified cultural, political, and social dichotomies: primal vs. civilized, science vs. magic, black vs. white, and most importantly, modernity vs. primitivity. García argues these concepts were defined in terms of each other through the discourse he analyzes, with the politically dominant groups reinforcing positive connotations with the ideas they identified with themselves. Proceeding in broadly chronological order, García begins with a critique of the intellectual foundations of the discipline that we now call ethnomusicology and explores how the approaches taken to African retentions in black music and dance by some of the field’s prominent figures were fundamentally influenced by scientific principles and Freudian psychology. Moving from academia to performance, García expands his argument by considering the rhetoric around black music and dance in the United States, the Caribbean, and Mexico as well as analyzing individual works and performances by Katherine Dunham, Asadata Dafora, Modupe Paris, Duke Ellington, and others. The book ends with a close reading of the cultural and political implications of the mambo, which was a transnational dance phenomenon in the early 1950s. Listening for Africa provides a dense, theoretically rigorous accounting of how the forces that shaped the production and analysis of black music and dance in the mid twentieth century also reinforced political and cultural oppression. David F. García is an Associate Professor in Ethnomusicology at the University of North Carolina at Chapel Hill. His research on black and Latin music in the United States has been published in MUSICultures, Journal of the Society for American Music and other journals. His first monograph, Arsenio Rodríguez and the Transnational Flows of Latin Popular Music received a Certificate of Merit from the Association for Recorded Sound Collections. He was awarded a National Endowment for the Humanities fellowship in 2014 and is also a Visiting Scholar at the Cristobal Díaz Ayala Collection of Cuban and Latin American Popular Music by the Cuban Research Institute at Florida International University. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Folksongs of Another America: Field Recordings from the Upper Midwest, 1937–1946 (University of Wisconsin Press) first appeared in 2015 when it comprised of a hardback book, five CDs, and one DVD. It went on to win the “Best Historical Research in Folk or World Music” award from the Association for Recorded Sound Collections, was nominated for a Grammy for “Best Album Notes,” received universally superlative reviews, and sold out within a year.  The project has now been re-issued as a paperback, albeit without any accompanying discs; instead the related tracks and film footage are now available for online access care of the University of Wisconsin-Madison Library. It’s not hard to fathom why this monumental work received so much acclaim. A groundbreaking multimedia endeavor, Folksongs of Another America is the product of decades of work by the distinguished folklorist, James P. Leary.  Leary is, amongst other things, Professor Emeritus of Folklore and Scandinavian Studies and Cofounder of the Center for the Study of Upper Midwestern Cultures at the University of Wisconsin–Madison, a former editor of the Journal of American Folklore, and a native of rural Wisconsin, which is one of the three states – along with Michigan and Minnesota – whose rich musical bounty is explored in this study. Leary sifted through over 2,000 field recordings, made by fieldworkers Sidney Robertson, Alan Lomax, and Helene Stratman-Thomas during the 1930s and 40s, to select the 187 tunes and songs that feature here. Together the chosen pieces create the impression of a region populated by immigrants from a host of different lands, as well as by Native Americans, all with their own musical traditions. For every track, Leary offers extensive documentation, information about the performers, and full lyrics (including in the original language with English translation as necessary which, given that the collection includes twenty-five languages, is often the case).  The recordings themselves, which have been wonderfully restored and remastered, provide vivid aural experiences. Folksongs of Another America is, as noted by a reviewer for Deutschlandradio Kultur, “an exceptional achievement that demonstrates for the first time the full worth and cultural wealth of the Upper Midwest for music listeners.” Rachel Hopkin is a UK born, US based folklorist and radio producer and is currently a PhD candidate at the Ohio State University. Learn more about your ad choices. Visit megaphone.fm/adchoices

Folksongs of Another America: Field Recordings from the Upper Midwest, 1937–1946 (University of Wisconsin Press) first appeared in 2015 when it comprised of a hardback book, five CDs, and one DVD. It went on to win the “Best Historical Research in Folk or World Music” award from the Association for Recorded Sound Collections, was nominated for a Grammy for “Best Album Notes,” received universally superlative reviews, and sold out within a year.  The project has now been re-issued as a paperback, albeit without any accompanying discs; instead the related tracks and film footage are now available for online access care of the University of Wisconsin-Madison Library. It’s not hard to fathom why this monumental work received so much acclaim. A groundbreaking multimedia endeavor, Folksongs of Another America is the product of decades of work by the distinguished folklorist, James P. Leary.  Leary is, amongst other things, Professor Emeritus of Folklore and Scandinavian Studies and Cofounder of the Center for the Study of Upper Midwestern Cultures at the University of Wisconsin–Madison, a former editor of the Journal of American Folklore, and a native of rural Wisconsin, which is one of the three states – along with Michigan and Minnesota – whose rich musical bounty is explored in this study. Leary sifted through over 2,000 field recordings, made by fieldworkers Sidney Robertson, Alan Lomax, and Helene Stratman-Thomas during the 1930s and 40s, to select the 187 tunes and songs that feature here. Together the chosen pieces create the impression of a region populated by immigrants from a host of different lands, as well as by Native Americans, all with their own musical traditions. For every track, Leary offers extensive documentation, information about the performers, and full lyrics (including in the original language with English translation as necessary which, given that the collection includes twenty-five languages, is often the case).  The recordings themselves, which have been wonderfully restored and remastered, provide vivid aural experiences. Folksongs of Another America is, as noted by a reviewer for Deutschlandradio Kultur, “an exceptional achievement that demonstrates for the first time the full worth and cultural wealth of the Upper Midwest for music listeners.” Rachel Hopkin is a UK born, US based folklorist and radio producer and is currently a PhD candidate at the Ohio State University. Learn more about your ad choices. Visit megaphone.fm/adchoices

Folksongs of Another America: Field Recordings from the Upper Midwest, 1937–1946 (University of Wisconsin Press) first appeared in 2015 when it comprised of a hardback book, five CDs, and one DVD. It went on to win the “Best Historical Research in Folk or World Music” award from the Association for Recorded Sound Collections, was nominated for a Grammy for “Best Album Notes,” received universally superlative reviews, and sold out within a year.  The project has now been re-issued as a paperback, albeit without any accompanying discs; instead the related tracks and film footage are now available for online access care of the University of Wisconsin-Madison Library. It’s not hard to fathom why this monumental work received so much acclaim. A groundbreaking multimedia endeavor, Folksongs of Another America is the product of decades of work by the distinguished folklorist, James P. Leary.  Leary is, amongst other things, Professor Emeritus of Folklore and Scandinavian Studies and Cofounder of the Center for the Study of Upper Midwestern Cultures at the University of Wisconsin–Madison, a former editor of the Journal of American Folklore, and a native of rural Wisconsin, which is one of the three states – along with Michigan and Minnesota – whose rich musical bounty is explored in this study. Leary sifted through over 2,000 field recordings, made by fieldworkers Sidney Robertson, Alan Lomax, and Helene Stratman-Thomas during the 1930s and 40s, to select the 187 tunes and songs that feature here. Together the chosen pieces create the impression of a region populated by immigrants from a host of different lands, as well as by Native Americans, all with their own musical traditions. For every track, Leary offers extensive documentation, information about the performers, and full lyrics (including in the original language with English translation as necessary which, given that the collection includes twenty-five languages, is often the case).  The recordings themselves, which have been wonderfully restored and remastered, provide vivid aural experiences. Folksongs of Another America is, as noted by a reviewer for Deutschlandradio Kultur, “an exceptional achievement that demonstrates for the first time the full worth and cultural wealth of the Upper Midwest for music listeners.” Rachel Hopkin is a UK born, US based folklorist and radio producer and is currently a PhD candidate at the Ohio State University. Learn more about your ad choices. Visit megaphone.fm/adchoices

Folksongs of Another America: Field Recordings from the Upper Midwest, 1937–1946 (University of Wisconsin Press) first appeared in 2015 when it comprised of a hardback book, five CDs, and one DVD. It went on to win the “Best Historical Research in Folk or World Music” award from the Association for Recorded Sound Collections, was nominated for a Grammy for “Best Album Notes,” received universally superlative reviews, and sold out within a year.  The project has now been re-issued as a paperback, albeit without any accompanying discs; instead the related tracks and film footage are now available for online access care of the University of Wisconsin-Madison Library. It’s not hard to fathom why this monumental work received so much acclaim. A groundbreaking multimedia endeavor, Folksongs of Another America is the product of decades of work by the distinguished folklorist, James P. Leary.  Leary is, amongst other things, Professor Emeritus of Folklore and Scandinavian Studies and Cofounder of the Center for the Study of Upper Midwestern Cultures at the University of Wisconsin–Madison, a former editor of the Journal of American Folklore, and a native of rural Wisconsin, which is one of the three states – along with Michigan and Minnesota – whose rich musical bounty is explored in this study. Leary sifted through over 2,000 field recordings, made by fieldworkers Sidney Robertson, Alan Lomax, and Helene Stratman-Thomas during the 1930s and 40s, to select the 187 tunes and songs that feature here. Together the chosen pieces create the impression of a region populated by immigrants from a host of different lands, as well as by Native Americans, all with their own musical traditions. For every track, Leary offers extensive documentation, information about the performers, and full lyrics (including in the original language with English translation as necessary which, given that the collection includes twenty-five languages, is often the case).  The recordings themselves, which have been wonderfully restored and remastered, provide vivid aural experiences. Folksongs of Another America is, as noted by a reviewer for Deutschlandradio Kultur, “an exceptional achievement that demonstrates for the first time the full worth and cultural wealth of the Upper Midwest for music listeners.” Rachel Hopkin is a UK born, US based folklorist and radio producer and is currently a PhD candidate at the Ohio State University. Learn more about your ad choices. Visit megaphone.fm/adchoices

Folksongs of Another America: Field Recordings from the Upper Midwest, 1937–1946 (University of Wisconsin Press) first appeared in 2015 when it comprised of a hardback book, five CDs, and one DVD. It went on to win the “Best Historical Research in Folk or World Music” award from the Association for Recorded Sound Collections, was nominated for a Grammy for “Best Album Notes,” received universally superlative reviews, and sold out within a year.  The project has now been re-issued as a paperback, albeit without any accompanying discs; instead the related tracks and film footage are now available for online access care of the University of Wisconsin-Madison Library. It’s not hard to fathom why this monumental work received so much acclaim. A groundbreaking multimedia endeavor, Folksongs of Another America is the product of decades of work by the distinguished folklorist, James P. Leary.  Leary is, amongst other things, Professor Emeritus of Folklore and Scandinavian Studies and Cofounder of the Center for the Study of Upper Midwestern Cultures at the University of Wisconsin–Madison, a former editor of the Journal of American Folklore, and a native of rural Wisconsin, which is one of the three states – along with Michigan and Minnesota – whose rich musical bounty is explored in this study. Leary sifted through over 2,000 field recordings, made by fieldworkers Sidney Robertson, Alan Lomax, and Helene Stratman-Thomas during the 1930s and 40s, to select the 187 tunes and songs that feature here. Together the chosen pieces create the impression of a region populated by immigrants from a host of different lands, as well as by Native Americans, all with their own musical traditions. For every track, Leary offers extensive documentation, information about the performers, and full lyrics (including in the original language with English translation as necessary which, given that the collection includes twenty-five languages, is often the case).  The recordings themselves, which have been wonderfully restored and remastered, provide vivid aural experiences. Folksongs of Another America is, as noted by a reviewer for Deutschlandradio Kultur, “an exceptional achievement that demonstrates for the first time the full worth and cultural wealth of the Upper Midwest for music listeners.” Rachel Hopkin is a UK born, US based folklorist and radio producer and is currently a PhD candidate at the Ohio State University. Learn more about your ad choices. Visit megaphone.fm/adchoices

Folksongs of Another America: Field Recordings from the Upper Midwest, 1937–1946 (University of Wisconsin Press) first appeared in 2015 when it comprised of a hardback book, five CDs, and one DVD. It went on to win the “Best Historical Research in Folk or World Music” award from the Association for Recorded Sound Collections, was nominated for a Grammy for “Best Album Notes,” received universally superlative reviews, and sold out within a year.  The project has now been re-issued as a paperback, albeit without any accompanying discs; instead the related tracks and film footage are now available for online access care of the University of Wisconsin-Madison Library. It’s not hard to fathom why this monumental work received so much acclaim. A groundbreaking multimedia endeavor, Folksongs of Another America is the product of decades of work by the distinguished folklorist, James P. Leary.  Leary is, amongst other things, Professor Emeritus of Folklore and Scandinavian Studies and Cofounder of the Center for the Study of Upper Midwestern Cultures at the University of Wisconsin–Madison, a former editor of the Journal of American Folklore, and a native of rural Wisconsin, which is one of the three states – along with Michigan and Minnesota – whose rich musical bounty is explored in this study. Leary sifted through over 2,000 field recordings, made by fieldworkers Sidney Robertson, Alan Lomax, and Helene Stratman-Thomas during the 1930s and 40s, to select the 187 tunes and songs that feature here. Together the chosen pieces create the impression of a region populated by immigrants from a host of different lands, as well as by Native Americans, all with their own musical traditions. For every track, Leary offers extensive documentation, information about the performers, and full lyrics (including in the original language with English translation as necessary which, given that the collection includes twenty-five languages, is often the case).  The recordings themselves, which have been wonderfully restored and remastered, provide vivid aural experiences. Folksongs of Another America is, as noted by a reviewer for Deutschlandradio Kultur, “an exceptional achievement that demonstrates for the first time the full worth and cultural wealth of the Upper Midwest for music listeners.” Rachel Hopkin is a UK born, US based folklorist and radio producer and is currently a PhD candidate at the Ohio State University. Learn more about your ad choices. Visit megaphone.fm/adchoices

Working Class Audio #184 with Joe Tessone!!! Joe Tessone is the owner and lead audio engineer at Mystery Street Recording Company. He is a graduate of Columbia College Chicago’s famed school of Audio Arts and Acoustics, with a degree specializing in Audio Design and Production. Since 2007, he has been an audio archiving consultant and mastering engineer for the Old Town School of Folk Music where he has helped preserve over 30,000 songs from recordings that date as far back as 1956. He is a member of the Association for Recorded Sound Collections, the Audio Engineering Society, and is a voting member of The Recording Academy (Grammys). His work has been featured on Chicago Radio Stations such as Q101, WXRT,  WGCI, WPNA, WGN, WLUW and more. He has also been highlighted multiple audio publications, including Live Sound International, Pro Audio Review, and Mix Magazine. Joe worked as an engineer for the “127 Songs Live From the Old Town School of Folk Music” project, during which he mastered tracks by world renowned artists including Pete Seeger, Jeff Tweedy, Mahalia Jackson, Donovan, Andrew Bird, and more. Since 2012, Joe has been a consultant for Sensaphonics, advising touring engineers and artists (including Steven Tyler, The Decemberists, My Morning Jacket, Lisa Loeb, Wayne Kramer (MC5), John Feldmann (Goldfinger), Chance the Rapper, Thom Yorke, The Lumineers, and David Crosby), and teaching students and doctors of audiology, the implementation of in-ear monitoring in live and studio environments. In 2014, he mixed and and mastered a live recording for Iron and Wine and he continues to work with dozens of Chicago’s favorite performers across all genres of music. Joe is also the Head of Audio for Sofar Sounds Chicago, were he produces dozens of live recordings year, including recent recordings of Jack Garrett, Shawnee Dez, CHAI, and Tank and the Bangaz. In addition to his accomplishments in the field of audio, he is a musician of sorts. His musical career spans over 15 years of experience, most recently as singer/songwriter for the socially conscious punk rock band‚ Behold!‚ and banjo/ukulele player for the Americana ensemble, The Rust Belt Ramblers. Joe also is a volunteer producer for the Punk Rock Karaoke Collective, a community fundraising organization and an advocate for Jail Guitar Doors, an organization dedicated to bringing music to the lives of those in prison. In his spare time, Joe enjoys playing with his two kids, skateboarding, vegan cooking, and birdwatching with this wife, Kristen. About this Interview: Joe joins me to talk about his multi-facetted studio Mystery Street Recording  which exemplifies the concept of diversification. The studio handles an array of  tasks including a traditional recording studio, format transfers, rehearsal space, Karaoke recording party's, video production, consulting and podcast recording. Enjoy! - Matt ________________________________ Show Notes and Links Universal Audio's "Half Yearly Sale": https://www.uaudio.com/half-yearly-sale Mystery Street Recording: https://www.mysterystreetrecording.com/

Tapping into newly unearthed material—including stories of family and career—Nadine Cohodas gives us a luminous portrait of the singer who was born Eunice Waymon in Tryon, North Carolina, in 1933, one of eight children in a proud black family. We see her as a prodigiously talented child who is trained in classical piano through the charitable auspices of a local white woman. We witness her devastating disappointment when she is rejected by the Curtis Institute of Music—a dream deferred that would forever shape her self-image as well as her music. Yet by 1959—now calling herself Nina Simone—she had sung New York City's venerable Town Hall and was on her way. Princess Noire is a fascinating story, well told and thoroughly documented with intimate photos—a treatment that captures the passions of Nina's life. Special Guest: Nadine Cohodas is the author of several books, most recently Queen: The Life and Music of Dinah Washington, which received an award for Excellence in Research in Recorded Jazz Music from the Association for Recorded Sound Collections.