Podcasts about smithsonian folkways recordings

  Joe Crookston Fall Down As the Rain Fall Down As the Rain 2004 Milagrito Records 5:01 Meredith Moon Sapphire Blue Sapphire Blue - Single 2025 Compass Records 4:12 The Brother Brothers Lonesome The January Album 2024 Stumbling Rose Records 3:31 Helene Cronin Copperhill Maybe New Mexico 2025 Helene Cronin 3:44 Kora Feder Orange Tree Some Kind of Truth 2025 Kora Feder 3:17 Jessye DeSilva Proud and Lonely Renovations 2023 1186047 Records DK 3:48 Avery Hill Walk Through the Door The One Who Remembers 2024 Avery Hill 4:21 Rhiannon Giddens & Justin Robinson Marching Jaybird What Did the Blackbird Say to the Crow 2025 Nonesuch Records Inc. 2:17 Dom Flemons Nobody Wrote It Down Traveling Wildfire 2023 Smithsonian Folkways Recordings 3:55 The Coal Porters Closing Time Genius Durango 2010 Cherry Red Records Ltd 3:38 Kaia Kater In Montreal (feat. Allison Russell) Strange Medicine 2024 Kaia Kater/Free Dirt Records 3:33 Mark Erelli Blindsided (Live in Rockport) Live in Rockport: Mark Erelli + His String Quintet 2025 Mark Erelli 3:36 Lissa Schneckenburger Bedlam Blues Bedlam Blues - Single 2021 Lissa Schneckenburger 2:56 Peter Mulvey Early Summer of '21 (Acoustic) [Live] More Notes From Elsewhere 2024 Peter Mulvey 2:57

Ella Jenkins, the celebrated musician who brought children's songs like “I've Been Working on the Railroad” to life, passed away at 100 on Nov. 9. Her death was confirmed by Smithsonian Folkways Recordings, where she was a pioneering artist. Born in St. Louis in 1924 and raised on Chicago's South Side, Jenkins grew up surrounded by gospel, blues, and the lively music of the Regal Theater. Influenced by Cab Calloway, she developed a call-and-response style to engage children in learning through song. After graduating from San Francisco State University, Jenkins used music as a teaching tool in Chicago community centers, releasing her debut album Call-And-Response: Rhythmic Group Singing in 1957. Her legacy endures in songs like “You'll Sing a Song and I'll Sing a Song,” preserved in the Library of Congress. Learn more about your ad choices. Visit megaphone.fm/adchoices

No matter where you are in your career, you'll benefit from listening to 3Q. 3Q provides a window into the careers of some of the best in the music business. Every episode is an insider's view of the realities of life as a music executive. Topics include issues of empowerment, uncertainty, trust, finances, etc; issues that will impact you both personally and professionally. The executives we interview represent every aspect of the industry including but not limited to A&R, Marketing, Music Supervision, Artist Management, Promotion, and more. About Richard: President and CEO for the American Association of Independent Music (A2IM), Dr. Richard James Burgess MBE has produced, recorded, and performed on many gold, platinum, and multi-platinum albums. He was previously head of business at Smithsonian Folkways Recordings where he produced Jazz: The Smithsonian Anthology, chronicling the history of jazz and The Smithsonian Anthology of Hip-Hop and Rap. His career path includes studio musician, touring musician, recording artist, producer, manager, and label owner. He is known for his pioneering work with synthesizers, computers, sampling, EDM, New Romantics, early house music, as the inventor of the SDSV drum synthesizer and for coining the music genre terms EDM and New Romantic. His latest books are, The Art of Music Production: The Theory and Practice, 4th Edition and The History of Music Production (Oxford University Press). Burgess has been listed multiple times as a Power Player and an Independent Power Player by Billboard and has received awards from Music Week, the British Arts Council, the Greater London Arts Association, the Park Lane Group, and the British Council for Education. He was awarded an MBE (Member of the Order of the British Empire) in the Queen's New Year's Honors list 2022.

I början av 1900-talet skrev en liten flicka från North Carolina en låt som 50 år senare stals och gjorde stor succé. Det här är berättelsen om vad som faktiskt hände och vem Elizabeth Libba Cotten verkligen var. Lyssna på alla avsnitt i Sveriges Radio Play. Berättelsen om folkgitarristen Elizabeth “Libba” Cottens (1893–1987) liv och öde har gått under den kommersiella radarn i flera decennier, trots hennes stora avtryck på den internationella musikscenen.Libba var vänsterhänt och som barn lärde hon sig därför att spela gitarr upp och ner. Men hon blev tvungen att lägga musicerandet på hyllan tillsammans med en handfull egenkomponerade låtar – däribland den tongivande folkklassikern “Freight Train”. Musik som enligt alla odds torde stanna på Libbas hemort Chapel Hill i sydöstra USA.Men ett halvt sekel senare tappar en flicka bort sin mamma mitt i julrushen på ett varuhus – något som ska komma att få oanade konsekvenser.Hösten 2023 gav sig musikern och dokumentärmakaren Catharina Jaunviksna av till USA för att resa i Libbas fotspår och ta reda på vem hon verkligen var, medan det ännu finns människor kvar i livet som kände henne.Medverkande:Alice Gerrard - musiker, folklorist och vän till Libba. Peggy Seeger - musiker, folklorist och vän till Libba. Brenda Evans - Libbas barnbarnsbarn. Yasmin Williams - musiker och fan. Dom Flemons - musiker, fan och folklorist. Jeff Place - senior archivist, Smithsonian Folkways Recordings. Robert Searing - historiker och curator, Onondaga Historical Association Museum. En dokumentär från 2024 skapad, producerad och mixad av Catharina Jaunviksna, produktionsbolaget RITE.Arkivmaterial från: Southern Folklife Collection - University of North Carolina at Chapel Hill, Smithsonian Folkways Recordings, “Me & Stella” (33mm film by Geri Ashur, 1978), Library of Congress, Seattle Folklore Society, Incl. the Ralph Rinzler & Alan Lomax archives.

Smithsonian Folkways Recordings was founded in New York City in May 1948, and has since sought to record "people's music" and archive sounds of all kinds from the United States and around the world. As part of its 75th anniversary celebrations, the label has organized various programs and efforts, including curating a line-up for the Brooklyn Folk Festival and releasing an album exclusively of North American frog sounds. Director and curator Maureen Loughran joins us to discuss the anniversary alongside Jake Blount, a musician signed to the label.

Ghislaine Comeau is a PhD student in the English department at Concordia University. Her SSHRC funded doctoral project, inspired by the recent Global Middle Ages movement, focuses on re-examining texts from the early medieval period to further investigate direct references and allusions to “Saracens.” In addition to her more “traditional” approaches to scholarly work, she has recently discovered that she has a great appreciation for and desire to consume and produce research-creation projects that can serve a wider audience – popular or pedagogical.Works Cited / Featured Audio Creed, Robert Payson. “The Ruin (Modern English).” YouTube, uploaded by YouTube and provided by Smithsonian Folkways Recordings, 30 May 2015. https://www.youtube.com/watch?v=1CSWnfuyzyM .Cronan, Dennis. “Cædmon's Audience.” Studies in Philology, vol. 109, no. 4, 2012, p 336. DOI: https://doi.org/10.1353/sip.2012.0028.The Fyrdsman. “Anglo-Saxon Poetry: The Ruin (Reading).” YouTube, uploaded by thefyrdsman9590, 9 Nov. 2022, https://www.youtube.com/watch?v=8FRRny7oyLg&t=318s .Hammill, Peter. “Imperial Walls (2006 Digital Remaster).” YouTube, uploaded by YouTube and provided by Universal Music Group, 24 Aug. 2018, https://www.youtube.com/watch?v=W0KW9CMFC_E .Magennis, Hugh. “Chapter 1 Approaching Anglo-Saxon Literature.” The Cambridge Introduction to Anglo-Saxon Literature, Cambridge UP, 2011, pp. 1-35.Raffel, Burton. “The Ruin (Old English).” YouTube, uploaded by YouTube and provided by Smithsonian Folkways Recordings, 30 May 2015. https://www.youtube.com/watch?v=M-dtP_73WTs&t=110s .Smith, Mark M. “Echo.” Keywords in Sound, edited by David Novak and Matt Sakakeeny, Duke UP, 2015, pp. 55-64.Silence is Leaden. “The Ruin: An Anglo-Saxon Poem.” YouTube, uploaded by silenceisleaden188, 20 Jan. 2021, https://www.youtube.com/watch?v=D68n9F8Yozc&t=25s .Staniforth, Daniel (aka Luna Trick). “The Ruin.” YouTube, uploaded by lunatrick7098, 28 Jun. 2010, https://www.youtube.com/watch?v=-IIoZfOR5MQ .

On today's show, we'll hear an encore of a show from our archives that first aired in April. We'll be looking at the environmental impact of the rail industry and hear from people in two communities currently impacted by rail-related contamination. In February, a Suffolk Northern train carrying toxic chemicals derailed in East Palestine, Ohio, and residents are still recovering from the disaster over two months later. Residents like Jami Wallace and community organizations are fighting for relief. In Houston's Fifth Ward, residents have been living with the dire health effects of carcinogenic creosote used to treat railroad ties decades ago. Health officials have found cancer clusters in the neighborhood, where many have been devastated by the loss of friends, neighbors and loved ones. We'll hear a story from Living Downstream about the impacts to this close-knit community, where residents and organizers like Sandra Edwards continue to advocate for accountability and justice.  Like this program? Please show us the love. Click here: http://bit.ly/3LYyl0R and support our non-profit journalism. Thanks!   Featuring:  Jami Wallace, community organizer and East Palestine resident  Sandra Edwards, community organizer, member of Impact Fifth Ward and Impact Justice, and Fifth Ward resident  Making Contact Staff: Host: Lucy Kang Producers: Anita Johnson, Salima Hamirani, Amy Gastelum, and Lucy Kang Executive Director: Jina Chung Interim Senior Producer: Jessica Partnow Engineer: Jeff Emtman Living Downstream Staff: Story: Generations in Houston's 5th Ward Contend With Contamination, Cancer Clusters Story producer: Laura Isensee Story editor: Steve Mencher Living Downstream founding producer: Steve Mencher President and CEO of Northern California Public Media: Darren LaShelle Story music: Minimal Documentary by penguinmusic via Pixabay Documentary by The Mountain via Pixabay Lobo Loco and Nine Inch Nails, under Creative Commons licenses Smithsonian Folkways Recordings for the use of music by the late Texas blues artist, Lightnin' Hopkins    Learn More:  Making Contact Homepage: www.radioproject.org Unity Council for EP Train Derailment petition urging President Biden to issue a Major Disaster Declaration for the Norfolk Southern train derailment: https://only.one/act/east-palestine Impact Fifth Ward: https://www.facebook.com/cleanupthecreosote Texas Standard's story and interview with reporter Laura Isensee: https://www.texasstandard.org/stories/houstonians-living-in-neighborhoods-with-high-rates-of-cancer-say-rail-yards-cleanup-plans-fall-short/ Spotify link to Living Downstream series, including the story heard on this episode: https://open.spotify.com/show/1tPKsb6vtQkuJjNrn5MEij    Making Contact is a 29-minute weekly program committed to investigative journalism and in-depth critical analysis that goes beyond the breaking news. On the web at www.radioproject.org.

In 1948, Moses Asch set out with an ambitious project: to document the world's sounds! 75 years later, that project has grown into one of the world's most eclectic, iconic and LARGEST repositories of recorded sound… from American folk music, to sounds of everyday life, and even a serenade for turkeys. Folkways Recordings —as it's now known— lives on within the Smithsonian, connecting the past, present and future… through sounds. Guests: Michael Asch, anthropologist and son of Moses Asch  Jake Blount, musician and scholar of Black American music  Maureen Loughran, director and curator of Smithsonian Folkways Recordings Jeff Place, curator and senior archivist at Smithsonian Folkways Recordings  Anthony Seeger, curator and director emeritus of Smithsonian Folkways Recordings

Today, we're hiking on the border of Tennessee and North Carolina, to the site of Fontana Dam. It's the tallest dam east of the Rocky Mountains. Constructed in the 1940s, the dam and its resulting reservoir flooded four towns and affected the daily lives and memories of many people. So, why was the dam built and what lies beneath the cool blue waters of Fontana Lake? Further Reading: “Fontana Dam, N.C.,” Appalachian Trail Conservancy “The History of Fontana Village,” Fontana Village Resort and Marina. “Interview with Commodore A. Casada, 11 November 2009,” interview by Rhydon T. Atzenhoffer, Oral Histories of Western North Carolina, Southern Appalachian Digital Collections. Archival Photographs of Fontana Village and Fontana Lake, Southern Appalachian Digital Collections. “Fontana,” Tennessee Valley Authority. “Tennessee Valley Authority Act (1933),” National Archives and Records Administration. Pete Seeger, "The TVA Song," Gazette, Vol. 1 (1958) Smithsonian Folkways Recordings https://folkways.si.edu/pete-seeger/gazette-vol-1/american-folk/music/album/smithsonian. 

We bring you a special episode from Sidedoor, a podcast about the treasures that fill the vaults of the Smithsonian. This story is inspired by “Big Band,” a defining work by the painter LeRoy Neiman.  Neiman was a character, a cultural gadfly and an omnipresent artist who sat for decades right at the nexus of professional success, cultural ubiquity, and critical disregard. What made him so popular? What made him so disdained? And what can we learn from how he resolved this dissonance?  Sidedoor is produced by the Smithsonian with PRX.  The Sidedoor podcast team is Justin O'Neill, James Morrison, Stephanie De Leon Tzic, Ann Conanan, Caitlin Shaffer, Tami O'Neill, Jess Sadeq, Lara Koch, and Sharon Bryant. The show is mixed by Tarek Fouda and the theme song and episode music are by Breakmaster Cylinder.  Decoder Ring is produced by Willa Paskin and Katie Shepherd. Derek John is Executive Producer of Narrative Podcasts. Merritt Jacob is our Technical Director. Special thanks to Joel Meyer, the LeRoy Neiman and Janet Byrne Neiman Foundation, especially Tara Zabor, Dan Duray, Heather Long, and Janet Neiman. Also thank you to the team at the Smithsonian's National Museum of American History: Stephanie Johnson, Ken Kimery, Theo Gonzalvez, Eric Jentsch, John Troutman, Krystal Klingenberg, Valeska Hilbig, and Laura Duff. Thank you to Smithsonian Folkways Recordings for contributing music for this episode, and also to the Smithsonian Jazz Masterworks Orchestra.  If you haven't yet, please subscribe and rate our feed in Apple Podcasts or wherever you get your podcasts. And even better, tell your friends. If you're a fan of the show, sign up for Slate Plus.  Slate Plus members get to listen to Decoder Ring without any ads. Their support is also crucial to our work. So please go to Slate.com/decoderplus to join Slate Plus today.  Decoder Ring is now available on YouTube. Listen here: http://y2u.be/D8cLqWAffJ8 Learn more about your ad choices. Visit megaphone.fm/adchoices

We bring you a special episode from Sidedoor, a podcast about the treasures that fill the vaults of the Smithsonian. This story is inspired by “Big Band,” a defining work by the painter LeRoy Neiman.  Neiman was a character, a cultural gadfly and an omnipresent artist who sat for decades right at the nexus of professional success, cultural ubiquity, and critical disregard. What made him so popular? What made him so disdained? And what can we learn from how he resolved this dissonance?  Sidedoor is produced by the Smithsonian with PRX.  This episode of Sidedoor was produced by Lizzie Peabody, Justin O'Neill, and James Morrison with help from Stefanie De Leon Tzic. The editorial team includes Ann Conanan, Caitlin Shaffer, Tami O'Neill, Jess Sadeq, Lara Koch, and Sharon Bryant. The show is mixed by Tarek Fouda and the theme song and episode music are by Breakmaster Cylinder. Decoder Ring is produced by Willa Paskin and Katie Shepherd. Derek John is Executive Producer of Narrative Podcasts. Merritt Jacob is our Technical Director. Special thanks to Joel Meyer, the LeRoy Neiman and Janet Byrne Neiman Foundation, especially Tara Zabor, Dan Duray, Heather Long, and Janet Neiman. Also thank you to the team at the Smithsonian's National Museum of American History: Stephanie Johnson, Ken Kimery, Theo Gonzalvez, Eric Jentsch, John Troutman, Krystal Klingenberg, Valeska Hilbig, and Laura Duff. Thank you to Smithsonian Folkways Recordings for contributing music for this episode, and also to the Smithsonian Jazz Masterworks Orchestra.  If you haven't yet, please subscribe and rate our feed in Apple Podcasts or wherever you get your podcasts. And even better, tell your friends. If you're a fan of the show, sign up for Slate Plus.  Slate Plus members get to listen to Decoder Ring without any ads. Their support is also crucial to our work. So please go to Slate.com/decoderplus to join Slate Plus today.  Decoder Ring is now available on YouTube. Listen here: http://y2u.be/D8cLqWAffJ8 Learn more about your ad choices. Visit megaphone.fm/adchoices

We bring you a special episode from Sidedoor, a podcast about the treasures that fill the vaults of the Smithsonian. This story is inspired by “Big Band,” a defining work by the painter LeRoy Neiman.  Neiman was a character, a cultural gadfly and an omnipresent artist who sat for decades right at the nexus of professional success, cultural ubiquity, and critical disregard. What made him so popular? What made him so disdained? And what can we learn from how he resolved this dissonance?  Sidedoor is produced by the Smithsonian with PRX.  The Sidedoor podcast team is Justin O'Neill, James Morrison, Stephanie De Leon Tzic, Ann Conanan, Caitlin Shaffer, Tami O'Neill, Jess Sadeq, Lara Koch, and Sharon Bryant. The show is mixed by Tarek Fouda and the theme song and episode music are by Breakmaster Cylinder.  Decoder Ring is produced by Willa Paskin and Katie Shepherd. Derek John is Executive Producer of Narrative Podcasts. Merritt Jacob is our Technical Director. Special thanks to Joel Meyer, the LeRoy Neiman and Janet Byrne Neiman Foundation, especially Tara Zabor, Dan Duray, Heather Long, and Janet Neiman. Also thank you to the team at the Smithsonian's National Museum of American History: Stephanie Johnson, Ken Kimery, Theo Gonzalvez, Eric Jentsch, John Troutman, Krystal Klingenberg, Valeska Hilbig, and Laura Duff. Thank you to Smithsonian Folkways Recordings for contributing music for this episode, and also to the Smithsonian Jazz Masterworks Orchestra.  If you haven't yet, please subscribe and rate our feed in Apple Podcasts or wherever you get your podcasts. And even better, tell your friends. If you're a fan of the show, sign up for Slate Plus.  Slate Plus members get to listen to Decoder Ring without any ads. Their support is also crucial to our work. So please go to Slate.com/decoderplus to join Slate Plus today.  Decoder Ring is now available on YouTube. Listen here: http://y2u.be/D8cLqWAffJ8 Learn more about your ad choices. Visit megaphone.fm/adchoices

We bring you a special episode from Sidedoor, a podcast about the treasures that fill the vaults of the Smithsonian. This story is inspired by “Big Band,” a defining work by the painter LeRoy Neiman.  Neiman was a character, a cultural gadfly and an omnipresent artist who sat for decades right at the nexus of professional success, cultural ubiquity, and critical disregard. What made him so popular? What made him so disdained? And what can we learn from how he resolved this dissonance?  Sidedoor is produced by the Smithsonian with PRX.  The Sidedoor podcast team is Justin O'Neill, James Morrison, Stephanie De Leon Tzic, Ann Conanan, Caitlin Shaffer, Tami O'Neill, Jess Sadeq, Lara Koch, and Sharon Bryant. The show is mixed by Tarek Fouda and the theme song and episode music are by Breakmaster Cylinder.  Decoder Ring is produced by Willa Paskin and Katie Shepherd. Derek John is Executive Producer of Narrative Podcasts. Merritt Jacob is our Technical Director. Special thanks to Joel Meyer, the LeRoy Neiman and Janet Byrne Neiman Foundation, especially Tara Zabor, Dan Duray, Heather Long, and Janet Neiman. Also thank you to the team at the Smithsonian's National Museum of American History: Stephanie Johnson, Ken Kimery, Theo Gonzalvez, Eric Jentsch, John Troutman, Krystal Klingenberg, Valeska Hilbig, and Laura Duff. Thank you to Smithsonian Folkways Recordings for contributing music for this episode, and also to the Smithsonian Jazz Masterworks Orchestra.  If you haven't yet, please subscribe and rate our feed in Apple Podcasts or wherever you get your podcasts. And even better, tell your friends. If you're a fan of the show, sign up for Slate Plus.  Slate Plus members get to listen to Decoder Ring without any ads. Their support is also crucial to our work. So please go to Slate.com/decoderplus to join Slate Plus today.  Decoder Ring is now available on YouTube. Listen here: http://y2u.be/D8cLqWAffJ8 Learn more about your ad choices. Visit megaphone.fm/adchoices

Mali Obomsawin Magdalena Abrego Antonija Subat Charles (Chuck) Roldan Mali Obomsawin is an award winning songwriter, bassist and composer from Odanak First Nation. With an eclectic background in indie rock, American roots/folk and jazz, Obomsawin carries several music traditions. A Smithsonian Folkways Recordings artist, Mali has toured internationally, receiving acclaim from NPR and RollingStone and several Boston Music Awards nominations with her band Lula Wiles. Obomsawin frequents the folk/roots circuit as a frontwoman and sidewoman, appearing several times at Newport and Philly Folk festival, and also performs as bassist/singer in the creative music scene with Peter Apfelbaum, Taylor Ho Bynum and with her Sextet project, Sweet Tooth. Known for her striking, sardonic lyricism and sonic dreamscapes, Mali's songwriting delivers the lush, anti-imperialist rock show we've all been craving. IG & Twitter: @featherbitchxx Facebook: facebook.com/maliobomsawin

Homeward Bound/The Old Slipper Shoe (Instrumental) ? Tom Sullivan Classic Maritime Music from Smithsonian Folkways ℗ 2004 Smithsonian Folkways Recordings

Homeward Bound/The Old Slipper Shoe (Instrumental) ? Tom Sullivan Classic Maritime Music from Smithsonian Folkways ℗ 2004 Smithsonian Folkways Recordings

In August 1963, people traveled far and wide to Washington DC to advocate for civil rights. They took planes, trains, and automobiles. However, one man traveled there in a different way.    To commemorate the 59th anniversary of the March on Washington For Jobs and Freedom, we lace up our skates to tell the story of Ledger “Roller Man” Smith and his almost 700-mile journey to Washington DC.    In this episode, you will hear: Why Ledger Smith went to the March On Washington on roller skates Why Dr. King thought it was essential for Civil Rights to desegregate places of leisure Ledger Smith route from Chicago to Washington DC Why media was essential to the Civil Rights movement More about an unlikely ally in the Civil Rights movement The Children's March and Kelly Ingram park Notable figures mentioned in this episode: Martin Luther King Jr. John Lewis Mamie Chalmers Bayard Rustin  A.G. Gaston A. Phillip Randolph President John F. Kennedy  Attorney General Robert Kennedy President Barack Obama The Black Is America podcast, a presentation of OWLS Education, was created and is written, researched, and produced by me, Dominic Lawson. Executive Producer Kenda Lawson Cover art was created by Alexandria Eddings of Art Life Connections. Credit for this episode's cover art: The Baltimore Afro American Sources to create this episode come from The National Civil Rights Museum, History.com, The New York Times, The Baltimore Afro American,  The National Museum of African American History & Culture, WAMU National Public Radio in DC Scenes from United Skates are courtesy of Vice and HBO Documentary Films, a Warner Brothers Discovery Company.   Mamie Chalmers audio courtesy of Comcast NBCUniversal's Voices of the Civil Rights Movement David Vann and A.G. Gaston audio courtesy of the Youtube Channel curated by Geoff Hiron (Note: The host could not locate the original source of audio) "Beat It" is written and performed by Michael Jackson and produced by Michael Jackson & Quincy Jones for Epic Records.  "I'm On My Way" performed by Mamie Brown & Choir from "Lest We Forget, Vol. 2: Birmingham, Alabama, 1963 - Mass Meeting" from Smithsonian Folkways Recordings. Audio of Martin Luther King Jr. courtesy of Martin Luther King Jr Research and Education Institute at Stanford University Audio of John Lewis courtesy of the National Archives Audio of President Barack Obama courtesy of BBC News Be sure to Like, review and subscribe to the Black Is America Podcast on Apple Podcast, Spotify, where ever you like to listen to podcasts. Also, let people know about the podcast. We would appreciate that very much.  For a full transcript of this episode and other resources, go to www.blackisamericapodcast.com. You can read our blog, leave us a review, or leave a voicemail where you can ask a question or let us know what you think about the show we may play in an episode. You can also hit the donation button if you like what you heard, which helps us to create more educational content like this. 

Live from the Lyric Theatre in Lexington, Kentucky. woodsongs.com Production Date: 05/23/22 HUBBY JENKINS is a talented guitar, banjo, and bones, who loves to share his love and knowledge of old-time American music. He was an integral part of the Grammy award winning Carolina Chocolate Drops. and an active in touring and a recording member in the Rhiannon Giddens band. Since the he has pursued a solo career with performances around the world. THE DOWN HILL STRUGGLERS is an old time string band based out of Kentucky and New York. They have released albums on Smithsonian Folkways Recordings and are featured on the soundtrack to the Coen Brothers film, “Inside Llewyn Davis” produced by T-Bone Burnett. The Down Hill Strugglers band formed while hanging out at the home of their mutual friend Peter Stampfel of the Holy Modal Rounders, where they also met bandmate and mentor John Cohen of the New Lost City Ramblers. Opening song was sung by Phoebe White. WS Kid Lily Goebel is a 14 year old singer, guitarist, and pianist.

(Originally released May 27, 2018) Labor historians Joe McCartin, Ben Blake and Julie Greene remember the 1937 Memorial Day Massacre, when police opened fire on striking steelworkers at Republic Steel in South Chicago, killing ten and wounding more than 160. Patrick Dixon interviews Tom Sito on the 1941 strike by animators against Walt Disney. Sito, a well-known American animator (Who Framed Roger Rabbit, The Lion King, Shrek and many more), animation historian and teacher, is the author of “Drawing the Line: The Untold Story of the Animation Unions from Bosko to Bart Simpson.” And in this week's Labor History Object of the Week we take a look at a United Farm Worker banner commemorating the 1965 strike against grape growers in California. The banner is part of the exhibit “For Liberty, Justice, And Equality: Unions Making History In America” at the George Meany Labor Archives at the University of Maryland College Park campus. Plus we've got music by Joe Glazer, the Eureka's, Willie Sordill and Joan Baez. Union City Radio's Chris Garlock hosts. Joe McCartin is professor of history at Georgetown University and Executive Director of the Kalmanovitz Initiative for Labor and the Working Poor. Julie Greene is a historian of United States labor, immigration, and empire; she teaches at the University of Maryland. She is the author of The Canal Builders: Making America's Empire at the Panama Canal (Penguin Press, 2009). Benjamin Blake works at the University of Maryland, where he's a labor archivist at the George Meany Labor Archives. Chris Garlock, Union Cities Coordinator for the Metro Washington AFL-CIO, hosts Union City Radio on WPFW 89.3FM. Questions, comments or suggestions welcome, and to find out how you can be a part of Labor History Today, email us at LaborHistoryToday@gmail.com Labor History Today is produced by Union City Radio and the Kalmanovitz Initiative for Labor and the Working Poor. Engineered by Chris Garlock. Labor history sources include Today in Labor History, from Union Communication Services unionist.com/ This week's music: Memorial Day Massacre - Joe Glazer 2006 Smithsonian Folkways Recordings / 1975 Collector Records Union Thru and Thru -- the Eureka's Rob Mitchell and Ken Walther (c) Walther Music Talking U.F.W. · Willie Sordill What Now People?, Vol. 2 ℗ 2004 Smithsonian Folkways Recordings / 1977 Paredon Records No nos moveran - JOAN BAEZ

About the guestSandra L. Gibson's arts and culture training, teaching and practice over three decades have given her a unique understanding of partnership, creativity and collaboration. Gibson's professional experience began with her role as program representative for UCLA Extension's Department of the Arts, where she developed and managed 180-200 nationally recognized programs annually. Gibson later became Director, West Coast Operations at American Film Institute, where she also served Director, NEA's Independent Filmmaker Program and Director, Center for Advanced Film and Television Studies. Gibson's work as the executive director of the Long Beach Regional Arts Council in California developed her gifts for working with diverse cultural communities, individual artists and patrons of arts and culture. Gibson directed the city's first Cultural Masterplan and launched the first Smithsonian Institution Program Affiliation in the US with the City of Long Beach. In 1995 Gibson served on the steering committee that formed Americans for the Arts and as a founding board member, and was recruited for the position of executive vice president and COO at the organization in 1998. In 2000, she was appointed the fourth president and CEO of the Association of Performing Arts Presenters, the leading service and advocacy organization for the presenting industry worldwide. Gibson realized the need for a more comprehensive assessment of the performing arts in the context of a rapidly changing world and partnered with the Doris Duke Charitable Foundation to sponsor the first nationwide survey of the performing arts presenting field. Gibson engaged the association in new technologies and expanded its reach globally and across industry sectors, including partnerships with the leadership of Consejo Nacional de la Cultura y las Artes in Mexico; the French Embassy Cultural Services Division; the Netherlands Consulate and the Cultural Ministry of Colombia, among others. Gibson served as a Commissioner on the Culture Committee of the U.S. National Commission for UNESCO from 2005-2009 and testified with cellist Yo-Yo Ma about the challenges with nonimmigrant visa processing before the House of Representatives Government Reform Committee in 2005. Gibson served on NEA's Music Creativity panel in July 2002, the Regional Partnership Agreements panel in February 2006, the State Partnerships Agreements panel in January 2009, and State Partnerships Stimulus funding panel in March 2009. In 2004 Gibson launched the Creative Campus Initiative with a landmark meeting of the American Assembly at Columbia University, and in 2007 established the Creative Campus Innovations Grant Program to support exemplary cross-campus, interdisciplinary projects that integrate the arts into the academy. Gibson also led the development of an eco-leadership forum that advances the goals and action agenda of Culture|Futures, an international collaboration of organizations and individuals in the nonprofit, for-profit, philanthropic, economic development, political and policy arenas who are shaping and delivering proactive support for the transition towards an Ecological Age by 2050.Gibson became an independent consultant in July 2011 and in 2012 formed Sandra L. Gibson and Associates, LLC, a consulting practice dedicated to advancing the arts, culture and education globally. Gibson serves as Executive Director of the Maryland Film Festival/Stavros Niarchos Foundation Parkway Theatre in Baltimore, Maryland, as a Consulting Advisor to the DeVos Institute for Arts Leadership founded by Michael Kaiser at the University of Maryland, and as a Consulting Advisor to The Canales Project founded by opera singer Carla Dirlikov. From 2012-2018 Gibson served as the first executive director of the National China Garden Foundation in Washington, DC, overseeing the development, fundraising and construction design for a priority U.S.-China government initiative to establish the National China Garden, a 12-acre classical Chinese garden center in the historic U.S. National Arboretum. She has served as a consultant to the Reginald F. Lewis Museum of African American History and Culture, Northwoods Nijii Enterprise Corporation, Theatre Forward, and as an advisor to the Smithsonian Center for Folklife and Cultural Heritage, as a consultant to the Smithsonian Office of the Assistant Secretary for Education and Access, and the National Museum of American History, as well as a Senior Artistic Advisor to the China International Performing Arts Fair, Guangzhou, China. Currently Gibson serves as President and Chair, Friends of the British Council, Board Member and Chair of the Artistic Committee of the Sphinx Organization, and as Vice Chair of the National Advisory board for Smithsonian Folkways Recordings. An ethnomusicologist and musician with a Master's Degree in Music from Northwestern University, Gibson believes the arts are critical to personal, community and national well being, essential to an advanced democracy and vital to global cultural exchanges. She has worked tirelessly to raise dynamic conversations about the intrinsic value and impact of art and art making, their contributions to a high-quality education, to economic livelihood and to a historic legacy woven intricately into the very fabric of life.The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture.Mentioned in this episodeSNF ParkwayPhotography by Mike MorganTo find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory.Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode★ Support this podcast ★

Co-produced by Theodore S. Gonzalves and Mary Talusan Lacanlale, Kulintang Kultura, from Smithsonian Folkways Recordings, pays homage to the late Danongan Danny Kalanduyan, a talented musician and generous teacher who championed traditional Filipino kulintang gong music in the United States, helping to keep the memory and practice alive. Disc 1 features Kalanduyans ensemble at the peak of their powers in a recording featuring a traditional Philippine repertoire. Disc 2 turns our attention to Filipino musicians in the diaspora who weave those traditions into electronica, hip-hop, rock, jazz, and other contemporary styles. Kulintang Kultura: Danongan Kalanduyan and Gong Music of the Philippine Diaspora is the music of Filipinos both rooted and scattered, both ancient and modernmusic that has held fast and continues to inspire.

Kulintang (literally meaning “golden sound moving” in English), is the gong and drum ensemble indigenous to the Sulu and Mindanao islands in the southern Philippines  This classical music genre has resonated across the Philippines and throughout the Filipino diaspora. As a way to honor and archive the rich sounds of kulintang, the Smithsonian Folkways Recordings...

“Today we see that the past is the future, and what once was will be once again.” Stimson offers a powerful call-and-response to John F. Kennedy's 1961 Presidential Address, using JFK's words as a springboard to advocate for decolonization and environmental stewardship. Looking beyond the borders and bounded histories of the United States, Stimson centres Turtle Island and Mother Earth in his speech, reflecting on how generational and ancestral stories of interdependence might shape a freer and more unified future. “Artists-in-Presidents” is initiated by Constance Hockaday, curated by Christine Shaw, and commissioned by The Blackwood (University of Toronto Mississauga). Podcast production by Vocal Fry. Transmissions are released every Friday from August 6–December 17, 2021. To view the portrait gallery, access ASL videos and transcripts, and for additional information about the project, visit www.artistsinpresidents.com and www.blackwoodgallery.ca. Adrian Stimson is a member of the Siksika (Blackfoot) Nation, Treaty 7 Territory, in southern Alberta. Stimson has a BFA with distinction from the Alberta College of Art and Design and an MFA from the University of Saskatchewan. He is an interdisciplinary artist and exhibits nationally and internationally. Stimson received the Alumni of Influence Award in 2020 from the University of Saskatchewan, the Governor General's Award for Visual and Media Arts in 2018, the REVEAL Indigenous Arts Award from the Hnatyshyn Foundation in 2017, the Blackfoot Visual Arts Award in 2009, the Alberta Centennial Medal in 2005, and the Queen Elizabeth II Golden Jubilee Medal in 2003. Audio credit: "Owl Dance Song" by Calvin and Mary Boy from An Historical Album of Blackfoot Indian Music, FW34001, courtesy Smithsonian Folkways Recordings. (p) (c) 1979. Used with permission. Photo: Blaire Russell

Aaron creates and produces original radio programs and podcasts for WYPR. His current project is the neighborhood documentary series, Out of the Blocks, which earned the 2018 national Edward R Murrow Award. His past work includes the long-running weekly cultural program, The Signal, and the Smithsonian Folkways Recordings series, Tapestry of the Times. Aaron's stories have aired nationally on NPR's Morning Edition, All Things Considered, PRI's Studio 360, & The World.If you enjoy the podcast, would you please consider leaving a short review on Apple Podcasts/iTunes? It really makes a difference and it's always nice to read kind words.Follow us on Twitter and  InstagramBe sure to check out our other podcasts:Mastermind Team's Robcast - Mastermind Team's Robcast is an irreverent and hilarious podcast covering all things pop culture and weird news. Let's Watch It Again - Let's Watch It Again is a movie review podcast from MTR The Network.★ Support this podcast ★

Today we have a special guest! Dan Sheehy, Interim Director of the Smithsonian Folkways Recordings, joins Murray and Tamika to discuss Santiago, Chile, where he used to live. See acast.com/privacy for privacy and opt-out information.

Today we have a special guest! Dan Sheehy, Interim Director of the Smithsonian Folkways Recordings, joins Murray and Tamika to discuss Santiago, Chile, where he used to live. See acast.com/privacy for privacy and opt-out information.

You may not have heard of Bahamian guitarist Joseph Spence, but his guitar work was significant in the ‘60s and directly influenced many artists, including Richard Thompson and Taj Mahal.  Smithsonian Folkways Recordings has collected never-before-heard recordings of Spence’s, including “Run Come See Jerusalem,” which recounts the sinking of the ship Pretoria in 1929, which Spence witnessed firsthand. 

No-No Boy - "The Best God Damn Band in Wyoming" from the 2021 album 1975 on Smithsonian Folkways Recordings. On his sophomore album, 1975, musician/historian Julian Saporiti (recording as No-No Boy) aims to share the stories of Asian musicians in American folk music, as part of his Ph.D dissertation at Brown University. As the child of a Vietnamese emigrant, who escaped here after her grandfather was assassinated in the Tet Offensive, Saporiti was finally able to find himself reflected in a predominantly white music genre via his research. “Even though I grew up in Nashville and grew up loving that music and literally in the industry,” he says via a press release, “there was always something that didn’t fit, because I look the way I do.”  Today's Song of the Day, in particular, tells the tale of the George Igawa Orchestra, an all-Japanese jazz band formed by residents of the Heart Mountain War Relocation Center, a Japanese internment camp in Wyoming. Saporiti explains the song: An all Asian American big band who formed in a Wyoming concentration camp during WWII — how could I not be captivated by that story?  I went to a jazz college, studied jazz history, and never learned about ANY musicians who looked like me. It was only after I moved to Wyoming and saw this photograph of the George Igawa Orchestra that I realized, as an Asian American musician, I am part of a rich lineage.  A decade later, I have this pile of songs illuminating a diverse array of Asian American and immigrant stories which sadly, seem more relevant now than ever and it all started with the 'The Best God Damn Band in Wyoming.' This band would hit the road to play school proms and town dances only to go back behind barbed wire after the gig. And Igawa himself should be taught about as a musical pioneer who fused Japanese instruments and music with his big band. To play music at all during a situation like the Japanese American Incarceration was astounding and I'm happy that through this little tune a few more people will know about this band.  Who knows, maybe their story can be a gateway into understanding the complex, diverse and rich history of Asian Americans. The George Igawa Orchestra deserves a novel or a movie, but at least, now, they have a song. Read the full post on KEXP.org Support the show: https://www.kexp.org/donate See omnystudio.com/listener for privacy information.

The books and songs discussed in this episode include:O Sanctissima performed by the Daughters of Saint Paul, 2010The Battle Hymn of the Republic by Julia Ward Howe, performed by the Canadian BrassThe History of We Shall Overcome uploaded to YouTube by creator Genie Deez, June 15, 2020I’ll be Alright performed by The Angelic Gospel SingersI’ll Be Alright Someday performed by Rev. Gary Davis, reissued 1972Pete Seeger Talks about the History of We Shall Overcome, uploaded to YouTube by folkarchivist, Dec 29, 2010We Shall Overcome (Live) performed by Pete Seeger, 1963We Shall Overcome performed by the Freedom Singers, Sing For Freedom Smithsonian Folkways Recordings (1990)We Shall Overcome (Live) performed by Mahalia JacksonThe Nashville Sit-In Story from Smithsonian Folkways Recordings (1960) We Shall Overcome, Jail SequenceWe Shall Overcome performed by Peter Yarrow, Mary Travers, Paul Stookey, Joan Baez, Bob Dylan, Bernice Reagon, Cordell Reagon, Charles Neblett, Rutha Harris, Pete Seeger, and Theodore Bikel, Newport Folk Festival, July 1963Blowin’ in the Wind by Bob Dylan, performed by Cliff Richards (1966)Malcolm X, The Ballot or the Bullet, from Say It Plain, Say It Loud: A Century of Great African American Speeches (original recording King Solomon Baptist Church, Detroit, Michigan - April 12, 1964)We Gonna Be Alright Crowd Chanting, Black Lives Matter, Downtown Los Angeles July 7, 2016 #AltonSterling #PhilandoCastileMaking Movement Sounds: The Cultural Organizing Behind the Freedom Songs of the Civil Rights Movement by Elizabeth Davis-Cooper (2017)Digital Access to Scholarship at Harvard http://nrs.harvard.edu/urn-3:HUL.InstRepos:39987965Sit In, Stand Up and Sing Out!: Black Gospel Music and the Civil Rights Movement by Michael Castellini (2013) Georgia State Universityhttps://scholarworks.gsu.edu/history_theses/76From Sit-ins to SNCC : The Student Civil Rights Movement in the 1960s, edited by Iwan Morgan and Philip Davies. 2014. Thanks, as always, to Aaron P and Jeffrey Christian for reviewing the episode.

María Sabina, mujer mazateca que con ayuda de sus "niños santos", hongos sagrados, levantaba el silencio y miraba en la oscuridad. Mujer curandera, mujer sabia, mujer guerrera, mujer famosa alrededor del mundo por sus cantos y sus pajaritos. Mujer que sufrió, mujer que sabía que el universo es una sola voz. Hablemos de esta célebre oaxaqueña y escuchemos sus hermosos cantos. Contenido: Lectura de canto chamánico: Soy la mujer remolino. Almadía, Oaxaca, Méxic. 2008. Primer canto: Soso Soso. María Sabina. Mushroom Ceremony of the Mazatec Indians of Mexico ℗ 2004 Smithsonian Folkways Recordings / 1957 Folkways Records Released on: 1957-01-01 Segundo canto: Canto suave. (Lento, bajo, triste). Álbum. Mushroom Ceremony of the Mazatec Indians of Mexico.The Orchard Music (en nombre de Folkways Records).

Together with American Songwriter, we had the pleasure of interviewing The Bright Siders over Zoom audio! The Bright Siders is a unique musical collaboration between Nashville-based Americana songwriter Kristin Andreassen and Brooklyn-based child psychiatrist Kari Groff, MD. Together, they create music with the purpose of helping children connect to their emotions. Ten years in the making, their carefully crafted, star-studded debut album A Mind of Your Own arrives just when the world needs it most, and as the importance of mental health resurfaces. Releasing on January 21, 2021 via Smithsonian Folkways Recordings, the album invites listeners to think deeply about empathy and  self-compassion as they navigate the beauty and complexity of their emotional lives.Together with an inclusive cast of inspiring vocalists – including Ed Helms, The War & Treaty, Gaby Moreno, Punch Brothers, Joey Ryan (The Milk Carton Kids), Oh Pep!, Kaia Kater, and more – Andreassen, Dr. Groff and their co-producer, Chris Eldridge, offer a profoundly empowering collection of songs and skits for elementary age children and the grownups who love them. Kari Groff, MD is an accomplished physician running a child psychiatry practice in Brooklyn, New York.  Her side passion has always been as a fiddler and songwriter.  Through her clinical work as a child psychiatrist, Dr. Groff has seen first-hand how powerful music can be in helping children to process emotions. As a young doctor, she started writing her own material based on the issues brought to her by her patients, weaving psychiatric advice within her catchy lyrics.Kristin Andreassen has toured world stages as a singer, clogger, square dance caller and educator, first with the Maryland-based Footworks Percussive Dance Ensemble, and then with oldtime stringband Uncle Earl (Abigail Washburn, Rayna Gellert, KC Groves) and “folk noir” trio Sometymes Why (Ruth Ungar, Aoife O’Donovan). As a songwriter, Andreassen’s achievements include the kids’ radio hit “Crayola Doesn’t Make a Color for Your Eyes”. It was a chance meeting between Andreassen and Dr. Groff that launched The Bright Siders as a shared musical endeavor. The songs and skits, along with Dr. Groff’s “Try this at home…” suggestions contained in the liner notes, are all intended to set the stage for conversations with children about common emotional themes and experiences they’re likely to have while growing up. “More than anything, we encourage parents, educators, and caregivers  to listen to this music with their children. Where does the real magic of this album happen? It’s in actively listening to the music with children and then talking about what they experience in response to the music,” says Dr. Groff.“Children should understand that their feelings are valid and important to the adults around them,” she continues.  “And parents can help children live rich and meaningful lives by helping them accept and understand their emotional experiences with compassion – even if they, as parents, cannot directly fix a problem that is making them anxious or sad.”  With playful lyrics and contagious melodies, this music cuts through the monofocus of our pandemic-centered times, offering a practical guide to raising emotionally intelligent children who, one day soon, will take those skills with them as they experience the beauty in growing up and becoming themselves.We want to hear from you! Please email Tera@BringinitBackwards.com.www.BringinitBackwards.com#podcast #interview #bringinbackpod  #foryou #foryoupage #stayhome #togetherathome #zoom #aspn #americansongwriter #americansongwriterpodcastnetworkListen & Subscribe to BiBFollow our podcast on Instagram and Twitter! 

Lizzie & I bring 2020 to a close with some top party tunes! Wear headphones.  Enjoying the show? Please support BFF.FM with a donation. Playlist 0′00″ Running Fast by Stefano Torossi on Feelings (Carosello Records) 8′19″ Control by French II on Control (Intercept) 🆕 10′42″ Highway by John Beltran on Highway EP (Seventh Sign Recordings) 🆕 17′21″ Life's Alright by Jesse Bru on Life's Alright (Hapiness Therapy) 🆕 22′42″ Feel For You (feat. Bisi) - Ron Basejam Remix by Black Hawks of Panama; Bisi; Ron Basejam on Feel For You (feat. Bisi) (Future Disco) 🆕 26′53″ Rotting Hills by Avalon Emerson on Rotting Hills (AD 93) 🆕 38′00″ Afrofunktion by Dj Bemi on Afroteknicity 02 (N-Delta Sounds) 🆕 43′51″ Whisper by Zaliva-D on Cache 02 (SVBKVLT) 🆕 46′37″ Harmony by Clubroot on Clubroot - Surface Tension: III (LoDubs Music) 🆕 53′25″ Fantasy by Against All Logic on 2017 - 2019 (Other People) 58′11″ Odyssey by Yussef Davis on Welcome To The Hills (Cashmere Thoughts) 🆕 65′28″ The Creator Has a Master Plan by Dezron Douglas; Brandee Younger on Force Majeure (International Anthem) 🆕 68′09″ Incantation for the Death of Self by Entourage Music and Theatre Ensemble on The Neptune Collection (Smithsonian Folkways Recordings) 72′34″ Bassmeant Blues at The Apocalypse by Lloyd Miller; Adam Michael Terry; Ian Camp on At the Ends of the World (Fountain AVM) 79′52″ Portrait of a Village by John Renbourn on Kpm 1000 Series: The Guitar of John Renbourn (KPM Music) 81′41″ Jandira by Luiz Henrique on Mestiço (Luiz Henrique) 87′37″ Viberian Waves - Pt. 1 & 2 by Jneiro Jarel; Capitol Peoples on Viberian Waves (Pt. 1 & 2) (Far Out Recordings) 🆕 96′28″ Cardboard Castle by Nana Adjoa on Big Dreaming Ants (Bloomer Records) 🆕 97′19″ Todo Parao by Conjunto Papa Upa on Todo Parao (Music With Soul) 105′08″ Sleep by Godspeed You! Black Emperor on Lift Your Skinny Fists Like Antennas to Heaven (kranky) Check out the full archives on the website.

durée : 00:07:19 - Dans la playlist de France Inter - La multi-instrumentiste, violoncelliste et chanteuse Leyla McCalla réédite son premier album de 2014, « Vari- Colored Songs », sur Smithsonian Folkways Recordings.

Lorelei Ramirez is a comedian, artist, writer, and activist. Since the pandemic they have been working to build an organization called Helper's International, which distributes money, resources, and supplies to those who need it most. Their art and performance has been shown in venues across New York City and they've worked on television shows such as High Maintenance and Los Espookys. Their comedic work is absurd and sometimes grotesque, and they are currently hosting a weekly Twitch stream called "Art is Easy." This week, guest host and producer Sophia Steinert-Evoy spoke with Lorelei over Zoom about mutual aid, forming community networks in times of crisis, Bernie Sanders, and Ric Wilson's banger "Fight Like Ida B and Marsha P," which led to a tangent on the union anthem, "Which Side Are You On?" Lorelei recommends the podcast, "We The Unhoused." Music by Ric Wilson, Florence Reece, Pete Seeger, Billy Bragg, Smithsonian Folkways Recordings, and Black Lives Matter Berkeley. Photo by Daniel Rampulla. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/protest-and-survive/support

This episode we have a departure from academia; a different approach to the creation and transmission of knowledge. We interview Eli Smith, Traditional Music Consultant for Rockstar Games' Red Dead Redemption 2. In our first COVID-19 recording (you may hear some sirens), we discuss the American music archive both as living tradition and recording technology, and the ways in which these interface with the virtual space of a digital game. Eli is a folk singer, banjo player and guitarist who grew up in New York's Greenwich Village.  Smith has recorded for Smithsonian Folkways Recordings and regularly performs as a solo musician and with the string band the Down Hill Strugglers http://elismithmusic.blogspot.com/ “Keywords in Play” is an interview series about game research supported by Critical Distance and the Digital Games Research Association. As a joint venture, “Keywords in Play” expands Critical Distance's commitment to innovative writing and research about games while using a conversational style to bring new and diverse scholarship to a wider audience. Our goal is to highlight the work of graduate students, early career researchers and scholars from under-represented groups, backgrounds and regions. The primary inspiration comes from sociologist and critic Raymond Williams. In the Preface to his book Keywords: a vocabulary of culture and society, Williams envisaged not a static dictionary but an interactive document, encouraging readers to populate blank pages with their own keywords, notes and amendments. “Keywords in Play” follows Williams in affirming that “The significance is in the selection”, and works towards diversifying the critical terms with which we describe games and game culture.   Please consider supporting Critical Distance at https://www.patreon.com/critdistance Production Team: Darshana Jayemanne, Zoyander Street, Emilie Reed. Audio Direction and Engineering: Damian Stewart Double Bass: Aaron Stewart

"José-Luis Orozco, the GRAMMY-nominated bilingual musician and children's' educator, celebrates 50 years of making Spanish and English kid's music this spring with ¡Muévete! Songs for a Healthy Mind in a Healthy Body  (out 4/17 on Smithsonian Folkways Recordings), all about the importance of exercise and movement."  Stay tuned all the way until the end of the show to hear Jose-Luis' song 'Monica' played live! Continue reading Episode #259 – Jose-Luis Orozco on the site.

The Sundilla Radio Hour for the week of 06/01/2020 featuring: Tift Merritt "Keep You Happy" Another Country (2008 Fantasy) 5:05 Joy Oladokun "breathe again" breathe again - Single (2020 White Boy Records) 3:49 Reggie Harris "Love Guides the Wounded Heart" Ready to Go (2018 Reggie Harris) 4:00 Our Native Daughters "I Knew I Could Fly" Songs of Our Native Daughters (2019 Smithsonian Folkways Recordings) 3:40 The Mammals "Beyond Civilization" Nonet (2020 Humble Abode Music) 3:58 Moira Smiley & Voco "North Country" Laughter Out of Tears (2014 Moira Smiley) 4:11 Noah Zacharin "big Bright Moon" Waiting On Your Love (2007 Noah Zacharin) 3:51 Lucy Kaplansky "The Beauty Way" Reunion (2012 Red House Records) 4:11 Eric Andersen "Ol' 55" Be True to You (1975 RCA Records) 3:22 Crowes Pasture "Louisiana Charm" Crowes Pasture (2016 Crowes Pasture) 3:32 Dave Potts "$12.99 (Live)" Live At Sundilla (Live) (2012 Dave Potts) 3:45 The Rough & Tumble "Anywhere with You" Howling Back at the Wounded Dog (2019 The Rough & Tumble) 3:20

ZEMPEKS radio play part 3 by Ashely Bedet https://wp.me/p7JxQG-4h Profile on Richard Teitelbaum, improviser, composer, & synthesizer playerPlaylist: Ashley Bedet - ZEMPEKS- Experimental Radio Play Part III Stomatal BloomSmithsonian Folkways Recordings. - Humor: kitten and the birdBrian and Roger Eno - Rose QuartzRoger Eno - A-Typical WaltzDurutti Column - Sketch for SummerHaruomi Hosono - PhilharmonyMusica Elettronica Viva/ Richard Teitelbaum - The Sound PoolRichard Teitelbaum/George Lewis - Homage to Charles ParkerRichard Teiitelbaum/Yokoyama - Ronin's LamentRichard Teiltelbaum - Cantorial Choir/Instrumental Interlude/Chaos and DestructionDidem Basar - Bird SongChristine Ott - SiriusRachel Therrien - SyncronicityPOSTNAMERS - Cruelly Unmade

BABY GRAMPS is an energetic humorously entertaining performer with an endless repertoire. He plays a National Steel guitar, and sings his own unique arrangements of rags, jazz, & blues from the 20's & 30's, and many originals with wordplay, humor, and throat singing. According to an article in Seattle Metropolitan Magazine, Baby Gramps is acknowledged as one of the top 50 most influential musicians in the last 100 years. This past year Baby Gramps was asked to be part of three films. LULA WILES is the trio made up of Isa Burke, Eleanor Buckland, and Mali Obomsawin and came of age in Boston, in the practice rooms of Berklee College of Music and the city’s lively roots scene. Anchoring the band’s sharp, provocative songcraft is a mastery of folk music, and a willingness to subvert its hallowed conventions. They infuse their songs with distinctly modern sounds: pop hooks, distorted electric guitars, and dissonant multi-layered vocals, all employed in the service of songs that reclaim folk music in their own voice. ‘What Will We Do’ is the trio’s sophomore album and out Smithsonian Folkways Recordings. WoodSongs Kids: The Grandview Pickers are an up-and-coming bluegrass band from Grandview, Tennessee

This Artscapes radio piece was produced at Jack Straw in 2000 as part of a series highlighting the work of Jack Straw's resident artists. The project Safarini: In Transit featured African immigrant artists living in Seattle. In addition to Wawali Bonane, a soukous musician born in the Democratic Republic of Congo, Safarini included Obo Addy, Kofi Anang, Lora Chiorah-Dye, and Frank Ulwenya. The Safarini compact disc was released by Smithsonian Folkways Recordings in 2000.

This Artscapes radio piece was produced at Jack Straw in 2000 as part of a series highlighting the work of Jack Straw's resident artists. The project Safarini: In Transit featured African immigrant artists living in Seattle. In addition to Wawali Bonane, a soukous musician born in the Democratic Republic of Congo, Safarini included Obo Addy, Kofi Anang, Lora Chiorah-Dye, and Frank Ulwenya. The Safarini compact disc was released by Smithsonian Folkways Recordings in 2000.

Die Resterampe und die Beschaffungskriminalität. Unsere Sendung auf Radio Corax (Halle) in der Berliner Nacht und als Ersatzsendung auf Pi Radio (Berlin Ost). Unter erschwerten Bedingungen. Wenn du eine Mandel hast musste die Schale durchdringen. == März 2020 1. Arbeitsgruppe Känguru — Jetzt ist Schluss (Die Känguru-Chroniken — März 2020 —Staatsakt/Bertus/Zebralution) 2. Die Sterne feat. Kaiser Quartett — Der Palast ist leer (Die Sterne — Februar 2020 — pias) 3. Julian Cope — Berlin Facelift (Self Civil War — Januar 2020 — Head Heritage) 4. Future Franz — Smartphone (Normal — Mai 2019 — Abficker Records) 5. $uicideboy$ — Fuck Your Culture (Stop Starting at The Shadows — Februar 2020 — G * 59 Records) 6. Loopser — Seqpigmentbd2actu (Mona Records — Februar 2020 — Mona Records) 7. Makeup and Vanity Set — Suspicions (Monster: The Zodiac Killer — Februar 2020 — Lakeshore Records/Tenderfoot TV) 8. Afrikan Sciences — In Thing For The Dough (Journey Into Mr Re — Februar 2020 — Not On Label) 9. Avishai Cohen — Honey Fountain (Honey Fountain Single — März 2020 — ECM Records) 10. Dj DIaki — Calaman Top Mix DD 2019 (Balani Fou — Februar — Nyege Nyege Tapes) 11. Orchestra Baobab — Yen Saay (Mouhamadou Bamba — Januar 2020 — Syllart Records/Productions Jambaar PJ) 12. Lowrider — Sernanders Krog (Refractions — Dezember 2019 — Blues Funeral Recordings) 13. Tihomir Pop Asanović — Majko zemljo (Majko zemljo — 1974 — Jugoton) 14. Six Organs Of Admittance — The 101 (Companion Rises — Februar 2020 — Drag City) 15. Achim Reichel — Der Spieler (Blues in blond — 1981 — Ahorn/TELDEC »Telefunken-Decca« Schallplatten GmbH) 16. Jimi Tenor — Dawn of the Sky Train (Metamorpha — Januar 2020 — BubbleTease Communications) 17. Old Coffins — Astronaut, Big Bite (Transparents — Februar 2020 — abrasive audio) 18. Melt Banana — Iguana in Trouble (MxBx 1998-13000 Miles at Light — 27. Januar 2020 — Tzadik) 19. Buck Gooter & A Place To Bury Strangers — Magic Moment 1 (Thirsty Knights — Februar 2020 — Not On Label) 20. Noisekick — I Wanna Cut: Remastered (Noisekick's Greatest Oldschool Terror Hits #1 — Januar 2020 — Noisekick Records) 21. Machine Girl — Batsu Forever (U​-​Void Synthesizer — Februar 2020 — Not On Label) 22. Ion Ludwig & Twan Sallaerts — C.A.T. Track (Entre-Acte — Oktober 2019 — Meander) 23. Solo Ansamblis — Bydermejeris (OLOS — Februar 2020 — Artoffact Records) 24. King Krule — Stoned Again (Man Alive! — 28. Februar 2020 — PTP) 25. Chicago Farmer — $13 Beers (Flyover Country — Februar 2020 — Not On Label) 26. Nvctve — Odin: Chmura Flip (Odin — 2019 — not on Label) 27. Sunny Jain — Brooklyn Dhamal (Wild Wild East — Februar 2020 — Smithsonian Folkways Recordings) 28. Celia Hollander — Santa Ana Wind Burn (Recent Futures — März 2020 — Leaving Records) 29. Son Rompe Pera — Cumbia Algarrobera featuring Chico Trujillo (Batuco — 28. Februar 2020 — AYA Records) == Informationen * Märzsendung auf Pi Radio: 20. März 2020 um 1:00 Uhr * Märzsendung auf Radio Corax: 20. März 2020 um 2:00 Uhr * http://subtracks.funkwelle.org/ == Subtracks Neuste Errungenschafften und ungespielte Neuveröffentlichungen. Das was von einer Hitparade übrigbleibt, trocken wiederverwendet, um die Datenhalden abzubauen. * https://subtracks.funkwelle.org

My guest is Samat Abletimov. (pt.4 of 4)- About Samat:Samat was born in Kyrgyzstan, Central Asia. Kyrgyzstan is a landlocked country with a mountainous terrain, which comprises more than 70% of the country's territory. Although he grew up in a part of the world unbeknownst to many, that had no bearing on his inquisitive nature and thirst for knowledge and understanding of the world around him. He has traveled to several countries, and relates to us some of his perceptions and viewpoints from those travels. He also has lived under different economic systems, such as socialism, communism, and capitalism. That has enabled him to witness and experience what these are like from the inside. We discuss a range of topics. Everything from individual emotions, to collective conscious, to the different frequencies people are on. We examine and dissect societal norms, patterned behavior, and social constructs. We shine light on how and why a lot of preexisting ideas remain and continue to be perpetuated even with no factual basis or constructive qualities to them. We both expose how we really feel, what`s really important, and how we all feel a lot of the same things and ways. We point out some ways that people are naturally different, and how if focused on can lead to unnecessary distraction and separation, but primarily focus on the many ways that we all are the same.~ Show notes:- how it's easy and safe to talk about what the media tells you to- how it's So much more interesting and enlightening to think deeply- we share some of our own deep thoughts on different topics- how Facebook censors work, and why you should be cautious about the distraction that it is~ Songs Credit:- Title 1: Episode From the MANAS: Kökötöidün Ashy (Kökötöi's Memorial Feast)- Album: Music Of Central Asia, Vol. 1: Tengir-Too - Mountain Music Of Kyrgyzstan- Title 2: Fantasy On The Chopo Choor (ocarina) · Ensemble Tengir-Too- Album: Music Of Central Asia, Vol. 1: Tengir-Too - Mountain Music Of Kyrgyzstan℗ 2005 Smithsonian Folkways Recordings

Mary Linn - Vital Voices: Endangered Languages in a Changing World The Not Old Better Show, Smithsonian Associates Art Of Living Series Happy Holidays everyone. Welcome to The Not Old Better Show. I'm Paul Vogelzang and this is episode #418. As part of our Smithsonian Associates Art of Living Interview Series, our guest today is Mary Linn, Curator of Cultural and Linguistic Revitalization for the Smithsonian Center for Folklife and Cultural Heritage (CFCH). As a matter of fact, we're listening to some Smithsonian Folkways Recordings of a Harvest Song, and the CFCH Music from South New Guinea series. Mary Linn discusses with us how indigenous languages are linked to health, education, and employment, as well as the vital connection they provide to the continuity of knowledge and cultural practices. Mary Linn also tells us how speakers of endangered and minoritized languages are engaged in innovative efforts to reclaim them, thus revitalizing, and drawing on examples from several resilient communities, including unwritten languages. One of the examples of an unwritten language that we'll discuss is the language of Chuukese. Mary Linn will hear some Chuukese spoken to her by my son, Avery Vogelzang, which we'll also do during our interview, and now, just to give you a sense of this language. I will tell you, too, that Chuukese isn't a language that Mary Linn is focused on, however, it is one of the languages that could easily be in need of linguistic revitalization, as it is spoken by a very small population in the Federated State of Micronesia. That, of course, is my son, Avery Vogelzang, speaking a brief bit of Chuukese, but we'll now be joined by Mary Linn, Curator of Cultural and Linguistic Revitalization for the Smithsonian Center for Folklife and Cultural Heritage. Please check out the Smithsonian Center for Folklife and Cultural Heritage: https://folklife.si.edu

The I.W.W. was a tough, militant, radical union, and its very existence terrified business owners, factory bosses, and the entire U.S. government. Since its founding, the law had been out to get the Wobblies. In 1919, as a record number of Americans went on strike for better wages and working conditions, would the union be able to help them? Would the union even survive? The Wobblies were so famous for singing that they repeatedly published their lyrics in "The Little Red Songbook," which contained Wobbly sayings and organizing advice as well as songs. "Big Bill" Haywood was tough and physically imposing, but he had a big heart and a gift for communicating with workers. Samuel Gompers was leader of the IWW-rival the American Federation of Labor. He cultivated a reputation for the organization as reasonable and cooperative--and achieved many results for his members. Pinkerton agent James McParland took over the investigation of the murder of former Idaho governor Frank Steunenberg, and his handling of the main suspect was, shall we say, questionable. McParland was one of the country's most famous Pinkerton agents, known for his infiltration of the Molly Maguires--so famous, in fact, that Arthur Conan Doyle modeled a character in his novel The Valley of Fear on McParland and imagined a conversation between Sherlock Holmes and the real detective. The trial of multiple Wobbly leaders for the murder of Frank Steunenberg garnered nationwide--even international--press attention. The most successful IWW-led strike was the "Bread and Roses" strike in 1912 in Lawrence, Massachusetts. Many of the strikers were women, seen here on the picket line. IWW organizers urged the strikers to remain peaceful no matter how much the police and state militia threatened them. The strikers generally remained non-violent, although in one confrontation between the two groups a young woman was shot and killed. It remains uncertain who was responsible, but IWW organizer Joseph Ettor was placed on trial. No evidence connected him to the murder, and he was aquitted. Joe Hill was an uneducated, unskilled Swedish immigrant with a remarkable gift for songwriting--in an adopted language, no less. He was convicted of murder and executed by firing squad in 1915. His death can be seen as matter of perverse stubbornness in the face of officialdom--he refused to explain how he had received a gunshot wound on the night a former policeman was killed. Or it was a blatant miscarriage of justice in which a man with no connection to the the murder victim became a convenient scapegoat. Or perhaps it was both. In any case, Hill became a martyr to the Wobbly cause. This remarkable image shows striking miners and those considered their allies being loaded up into cattle cars on the morning of July 12, 1917 by the sheriff of Bisbee, Arizona and the self-appointed Citizens' Protective League. The men were told if they attempted to return to town, they would be killed. The cattle cars were abandoned across the New Mexico border, leaving the men without food or water. Sheriff Harry Wheeler was unconcerned that his actions might have been illegal. "It became a question of 'Are you American, or are you not?'" he said. In September 1918, 48 IWW offices across the country were raided. This image shows one office after the raid. More than one hundred IWW members and leaders were tried under the Espionage Act. Most were convicted and received sentences of up to twenty years. The union spent most of 1918 and 1919 raising money for defense and appeals. This was a Wobbly fundraising picnic. The banner reads, at the top, "We're in For You" and asks for money for the "Class War Prisoners." When the unions of Seattle called a general strike in January 1919, the mayor was so terrified he requested U.S. Army troops, including machine gun companies, be sent to his town. Actors walked out of Broadway shows in August 1919 in the first Actors Equity union strike. Here actors walk the picket line. When the Boston Police went on strike in September 1919, the public was terrified they would be helpless at the hands of criminals. The recently elected governor Calvin Coolidge sent the state militia to town and earned nationwide praise for ensuring law and order. Coolidge is seen here inspecting militia members. The steelworkers strike was pushed from the bottom up and never had the full support of the unions who were supposed to organize and lead it. The factory owners convinced workers that the cause was hopeless and they should go back to work. Notice that this advertisement, which ran in a Pittsburgh newspaper, is in mutiple languages to reach immigrant workers. When the town of Centralia, Washington planned a parade for the first anniversary of Armistice Day, rumors swirled that the IWW hall would be attacked. The rumors were so prevalent that the Wobblies issued a statement requesting that the townspeople avoid violence and turn to law enforcement if they believe the IWW is guilty of any crimes. This photo shows the parade stepping off, before violence erupted at the IWW hall. Warren Grimes had served with the U.S. Army in Vladivostok and had a well-earned fear of Bolshevism. He was a local hero, and when he warned about the IWW, people listened. Grimes was one of the first shot in the conflict between the IWW and the American Legion. Exactly what happened that day remains under dispute. It is not disputed that a mob of Centralia townsfolk dragged Wobbly member Wesley Everest out of jail and hanged him on a nearby railway bridge. Labor Songs "Solidarity Forever" (https://www.youtube.com/watch?v=pCnEAH5wCzo) by John H. Chaplin, recorded by Pete Seeger on the album "If I Had a Hammer: Songs of Hope and Struggle," Smithsonian Folkways Recordings, 1998. "The Popular Wobbly" (https://www.youtube.com/watch?v=wleLxETd_kM) by T-Bone Slim, recorded by Eric Glatz on the album "IWW Rebel Voices: Songs of the Industrial Workers of the World," Universal Music Group, 1984. "Bread and Roses" (https://www.youtube.com/watch?v=jDdvbqbmM4o&t=29s) from a poem by James Oppenheim, sung by Bronwen Lewis, from the movie "Pride," 2014. "There Is Power in a Union" (https://www.youtube.com/watch?v=kEHZRrbDDzA) by Joe Hill, recorded by Joe Glazer on the album "Songs of the Wobblies, Smithsonian Folkways Recordings, 1977. "The Preacher and the Slave" (https://www.youtube.com/watch?v=v8qoB1XwtHM) by Joe Hill, recorded by Utah Phillips on the album "Classic Labor Songs from Smithsonian Folkways Recordings, 2006. "Joe Hill's Last Will" (https://www.youtube.com/watch?v=dkoMdhxk03k) by Joe Hill, recorded by John McCutcheon, 2015. "Union Burying Ground" (https://www.youtube.com/watch?v=vuzbX6pfY-c) written and performed by Woody Guthrie, recorded in the 1940s and released on the album "Struggle," Smithsonian Folkways Recordings, 1976. "Bread and Roses" (https://www.youtube.com/watch?v=BiiKgST_G2Q) from a poem by James Oppenheim, sung and recorded by Bronwen Lewis, 2014. Please note that the links below to Amazon are affiliate links. That means that, at no extra cost to you, I can earn a commission if you click through and make a purchase. (Here's what, legally, I'm supposed to tell you: I am a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for me to earn fees by linking to Amazon.com and affiliated sites.) However, I only recommend books that I have used and genuinely highly recommend.

BABY GRAMPS is an energetic humorously entertaining performer with an endless repertoire. He plays a National Steel guitar, and sings his own unique arrangements of rags, jazz, & blues from the 20's & 30's, and many originals with wordplay, humor, and throat singing. According to an article in Seattle Metropolitan Magazine, Baby Gramps is acknowledged as one of the top 50 most influential musicians in the last 100 years. This past year Baby Gramps was asked to be part of three films. LULA WILES is the trio made up of Isa Burke, Eleanor Buckland, and Mali Obomsawin and came of age in Boston, in the practice rooms of Berklee College of Music and the city's lively roots scene. Anchoring the band's sharp, provocative songcraft is a mastery of folk music, and a willingness to subvert its hallowed conventions. They infuse their songs with distinctly modern sounds: pop hooks, distorted electric guitars, and dissonant multi-layered vocals, all employed in the service of songs that reclaim folk music in their own voice. ‘What Will We Do' is the trio's sophomore album and out Smithsonian Folkways Recordings. WoodSongs Kids: The Grandview Pickers are an up-and-coming bluegrass band from Grandview, Tennessee.

We talk in this episode with Mali Obomsawin and Eleanor Buckland, who, along with Isa Burke, make up the group Lula Wiles. The three attended fiddle camp as youngsters in Maine, and eventually formed Lula Wiles as classmates at Berklee College of Music. They have recently released their second album (and first on Smithsonian Folkways Recordings), What Will We Do. We discuss their collaborative process as “an exercise in friendship building”, the pros and cons of the academic approach to songwriting, and the making of their fabulous new record.

In 2013, Amythyst Kiah released her first full length studio album, Dig, and in 2018 she joined forces with Allison Russell, Rhiannon Giddens, and Leyla McCalla as part of a collaboration called Our Native Daughters. They've since released an album on Smithsonian Folkways Recordings, Songs of Our Native Daughters. Later in 2019, Kiah releases another new solo album, Weary and Strange, and she shared some of her extraordinary history with us at this year's 30A Songwriters Festival in Florida.

There are hundreds and thousands of great musicians out there today, making music, giving concerts, tuning guitars and writing the lyrical poetry that becomes memorable songs. You have to wonder: how do they ever even get started with a life in music? Tennessee native Amythyst Kiah credits her parents for getting her to fall in love with music when she was just a kid. She’s got a powerhouse of a voice, guitar and banjo chops to put anyone to shame…and a unique musical worldview, informed by a love of classic rock and MTV. After getting her first instrument at 13, Kiah spent the next decade or so honing that musical worldview and coming up with a sound that defies traditional categorization – it’s bluesy, folky, country rock, and gospel soul, all mixed together. In 2013, she was able to create her first full length studio album, Dig, and in 2018 she joined forces with Allison Russell, Rhiannon Giddens, and Leyla McCalla as part of a collaboration called Our Native Daughters. They’ve since released an album on Smithsonian Folkways Recordings, Songs of Our Native Daughters. Later in 2019, Kiah releases another new solo album, Weary and Strange, and she shared some of her extraordinary history with us at this year’s 30A Songwriters Festival in Florida.

There are hundreds and thousands of great musicians out there today, making music, giving concerts, tuning guitars and writing the lyrical poetry that becomes memorable songs. You have to wonder: how do they ever even get started with a life in music? Tennessee native Amythyst Kiah credits her parents for getting her to fall in love with music when she was just a kid. She’s got a powerhouse of a voice, guitar and banjo chops to put anyone to shame…and a unique musical worldview, informed by a love of classic rock and MTV. After getting her first instrument at 13, Kiah spent the next decade or so honing that musical worldview and coming up with a sound that defies traditional categorization – it’s bluesy, folky, country rock, and gospel soul, all mixed together. In 2013, she was able to create her first full length studio album, Dig, and in 2018 she joined forces with Allison Russell, Rhiannon Giddens, and Leyla McCalla as part of a collaboration called Our Native Daughters. They’ve since released an album on Smithsonian Folkways Recordings, Songs of Our Native Daughters. Later in 2019, Kiah releases another new solo album, Weary and Strange, and she shared some of her extraordinary history with us at this year’s 30A Songwriters Festival in Florida.

There are hundreds and thousands of great musicians out there today, making music, giving concerts, tuning guitars and writing the lyrical poetry that becomes memorable songs. You have to wonder: how do they ever even get started with a life in music? Tennessee native Amythyst Kiah credits her parents for getting her to fall in love with music when she was just a kid. She’s got a powerhouse of a voice, guitar and banjo chops to put anyone to shame…and a unique musical worldview, informed by a love of classic rock and MTV. After getting her first instrument at 13, Kiah spent the next decade or so honing that musical worldview and coming up with a sound that defies traditional categorization – it’s bluesy, folky, country rock, and gospel soul, all mixed together. In 2013, she was able to create her first full length studio album, Dig, and in 2018 she joined forces with Allison Russell, Rhiannon Giddens, and Leyla McCalla as part of a collaboration called Our Native Daughters. They’ve since released an album on Smithsonian Folkways Recordings, Songs of Our Native Daughters. Later in 2019, Kiah releases another new solo album, Weary and Strange, and she shared some of her extraordinary history with us at this year’s 30A Songwriters Festival in Florida.

There are hundreds and thousands of great musicians out there today, making music, giving concerts, tuning guitars and writing the lyrical poetry that becomes memorable songs. You have to wonder: how do they ever even get started with a life in music? Tennessee native Amythyst Kiah credits her parents for getting her to fall in love with music when she was just a kid. She's got a powerhouse of a voice, guitar and banjo chops to put anyone to shame…and a unique musical worldview, informed by a love of classic rock and MTV. After getting her first instrument at 13, Kiah spent the next decade or so honing that musical worldview and coming up with a sound that defies traditional categorization – it's bluesy, folky, country rock, and gospel soul, all mixed together. In 2013, she was able to create her first full length studio album, Dig, and in 2018 she joined forces with Allison Russell, Rhiannon Giddens, and Leyla McCalla as part of a collaboration called Our Native Daughters. They've since released an album on Smithsonian Folkways Recordings, Songs of Our Native Daughters. Later in 2019, Kiah releases another new solo album, Weary and Strange, and she shared some of her extraordinary history with us at this year's 30A Songwriters Festival in Florida.

There are hundreds and thousands of great musicians out there today, making music, giving concerts, tuning guitars and writing the lyrical poetry that becomes memorable songs. You have to wonder: how do they ever even get started with a life in music? Tennessee native Amythyst Kiah credits her parents for getting her to fall in love with music when she was just a kid. She's got a powerhouse of a voice, guitar and banjo chops to put anyone to shame…and a unique musical worldview, informed by a love of classic rock and MTV. After getting her first instrument at 13, Kiah spent the next decade or so honing that musical worldview and coming up with a sound that defies traditional categorization – it's bluesy, folky, country rock, and gospel soul, all mixed together. In 2013, she was able to create her first full length studio album, Dig, and in 2018 she joined forces with Allison Russell, Rhiannon Giddens, and Leyla McCalla as part of a collaboration called Our Native Daughters. They've since released an album on Smithsonian Folkways Recordings, Songs of Our Native Daughters. Later in 2019, Kiah releases another new solo album, Weary and Strange, and she shared some of her extraordinary history with us at this year's 30A Songwriters Festival in Florida.

Ozark Highlands Radio is a weekly radio program that features live music and interviews recorded at Ozark Folk Center State Park’s historic 1,000-seat auditorium in Mountain View, Arkansas. In addition to the music, our “Feature Host” segments take listeners through the Ozark hills with historians, authors, and personalities who explore the people, stories, and history of the Ozark region. This week, Smithsonian Folkways artists and award winning Boston, Massachusetts progressive folk trio “Lula Wiles” recorded live at the Ozark Folk Center State Park. Also, interviews with these bright Boston bards. Lula Wiles is a Boston based progressive folk trio consisting of Isa Burke, Eleanor Buckland, and Mali Obomsawin. Their blending of instrumental virtuosity, intricate three part harmony singing, and visionary songwriting has quickly ushered them to the forefront of modern American contemporary folk music. With the recent release of their Smithsonian Folkways album “What Will We Do,” the trio now joins the ranks of America’s most important folk artists. “Long before they were in a band together, the members of Lula Wiles were singing folk songs and trading fiddle tunes at camp in Maine. ‘All of us were lucky to have access to the folk music community at a young age,’ Burke says. “The music traditions that we’re drawing on are social, community-building traditions.” On those warm summer nights, playing music was just plain fun. But the members of Lula Wiles carry those early lessons of community and the meaning of shared art with them to this day, as they seek to create music that questions cultural virtues, soothes aching wounds, and envisions a better world. “Lula Wiles came of age in Boston, in the practice rooms of Berklee College of Music and the city’s lively roots scene. In 2016, the band self-released Lula Wiles, a sensitive, twang-tinged collection of originals. Since then, they have toured internationally, winning fans at the Newport Folk Festival and the Philadelphia Folk Festival, and sharing stages with the likes of Aoife O’Donovan, the Wood Brothers, and Tim O’Brien. “Now, the release of What Will We Do on Smithsonian Folkways Recordings places the group squarely in line with some of its deepest influences, from the protest anthems of Woody Guthrie to the trailblazing songs of Elizabeth Cotten and Hazel Dickens. (Even the band’s name is a twist on an old Carter Family song.)” - http://www.lulawiles.com/bio/ In this week’s “From the Vault” segment, musician, educator and country music legacy Mark Jones offers a 1983 archival recording of Ozark original fiddler, Roger Fountain, performing the traditional tune “Saint Anne’s Reel,” from the Ozark Folk Center State Park archives. Author, folklorist and songwriter Charley Sandage presents an historical portrait of the people, events and indomitable spirit of Ozark culture that resulted in the creation of the Ozark Folk Center State Park and its enduring legacy of music and craft. In this episode, Charley speaks with environmentalist and author Richard Mason on the question “What’s Worth Keeping” from our past in the rapidly evolving culture of our present.

"All the messages from pop culture present Asian American as an apolitical thing. It was really shocking and liberating to find out that actually, Asian American politics was rooted in radical organizing and rooted in grassroots arts movements." -- Ryan Wong This episode of Audio Interference focuses on Basement Workshop (active 1970-1986), an arts and political organization based in New York City's Chinatown that served as a hub for the developing Asian American movement. Elena Levi speaks to curator and writer Ryan Wong, whose exhibition, Serve the People: The Asian American Movement in New York was presented at Interference Archive in 2013-2014. The episode also includes portions of Ryan's talk at an event celebrating the release of the latest issue of Signal (http://s1gnal.org/), a journal of international political graphics and culture. Ryan's article on Hyperallergic includes more information on Basement Workshop and other Chinatown arts organizations: https://hyperallergic.com/330442/a-brief-history-of-the-art-collectives-of-nycs-chinatown/ More on Serve the People: http://interferencearchive.org/serve-the-people-the-asian-american-movement-in-new-york/ Issue #6 of Signal: https://justseeds.org/product/signal06/ This episode features the song "Yellow Pearl" by Chris Kando Iijima, Joanne Nobuko Miyamoto, "Charlie" Chin from the recording entitled A Grain of Sand: Music for the Struggle by Asians in America, PAR01020, courtesy of Smithsonian Folkways Recordings. (p) (c) 1973. Used by permission. Link: https://folkways.si.edu/chris-kando-iijima-joanne-nobuko-miyamoto-charlie-chin/a-grain-of-sand-music-for-the-struggle-by-asians-in-america/american-folk-protest/music/album/smithsonian Other music used includes "Artifical Intelligence" and "One and Only" by Ryan Andersen, courtesy of the Free Music Archive. Produced by Interference Archive.

This episode of Audio Interference focuses on Basement Workshop (active 1970-1986), an arts and political organization based in New York City’s Chinatown that served as a hub for the developing Asian American movement. Elena Levi speaks to curator and writer Ryan Wong, whose exhibition, Serve the People: The Asian American Movement in New York was presented at Interference Archive in 2013-2014. The episode also includes portions of Ryan’s talk at an event celebrating the release of the latest issue of Signal, a journal of international political graphics and culture. Ryan’s article on Hyperallergic includes more information on Basement Workshop and other Chinatown arts organizations. More on Serve the People. Issue #6 of Signal features an essay by Ryan Wong. This episode includes the song “Yellow Pearl” by Chris Kando Iijima, Joanne Nobuko Miyamoto, “Charlie” Chin from the recording entitled A Grain of Sand: Music for the Struggle by Asians in America, PAR01020, courtesy of Smithsonian Folkways Recordings.  (p) (c) 1973.  Used by permission. Listen here. Other music used includes “Artificial Intelligence” and “One and Only” by Ryan Andersen, courtesy of the Free Music Archive. Produced by Interference Archive.

In this episode of Houghton75, we speak with Christie McDonald, Smith Professor of French Language and Literature and Professor of Comparative Literature, about a fascinating painting by her aunt, Anne Eisner Putnam, entitled “Beauty Salon.” Putnam lived and worked with the Bantu and Mbuti peoples in the 1940s and 1950s in the Belgian Congo (what is now the Democratic Republic of the Congo). Find out more about the exhibition and Houghton Library’s 75th anniversary celebrations at http://houghton75.org/hist-75h Transcript and detailed music notes: http://wp.me/p7SlKy-nX Music From Mbuti Pygmies of the Ituri Rainforest, recorded by Colin Turnbull and Francis S. Chapman. Smithsonian Folkways Recordings, 1992. Catalog number SFW40401. http://www.folkways.si.edu/mbuti-pygmies-of-the-ituri-rainforest/world/music/album/smithsonian

Mundofonías #8 Mar 2016 - La raíz más profunda - The deeper root Un viaje a las músicas más sorprendentes, auténticas y puras, a través de los artistas populares y grabaciones realizadas in situ. Escuchamos músicas del sello OCORA - Radio France y de Smithsonian Folkways Recordings. El catálogo completo de este último sello está disponible online a través de la Naxos Music Library. Viajamos por Burundi, Congo, República Centroafricana, Afganistán y las Islas Vírgenes. Traveling the world in search of the most fascinating, authentic and pure musics thanks to the grassroots artists and the filed recordings. We listen some tracks released by the labels Ocora-Radio France and Smithsonian Folkways. The last one's catalogue is now available online on the Naxos Music Library. We travel through Burundi, Congo, Central African Republic, Afghanistan and the Virgin Islands. [Artistas populares / Popular artists] - [Salutation akazéhé 1] (V.A. - Burundi: Musiques traditionnelles) [Artistas populares / Popular artists] - [Chant à voix chuchotée et cithare inanga] (V.A. - Burundi: Musiques traditionnelles) [Artistas populares / Popular artists] - [Chant d'enfant et arc musical umuduri] (V.A. - Burundi: Musiques traditionnelles) [Artistas populares / Popular artists] - Yeli 1 (aka-mbenzélé - 1) (V.A. - Congo: Femmes Pygmées de la Sangha) [Artistas populares / Popular artists] - Miso ma gbalombo (V.A. - Centrafrique: Pygmées aka. Chants de chasse, d'amour et de moquerie) [Artistas populares / Popular artists] - Movunga dika na lele tao (V.A. - Centrafrique: Pygmées aka. Chants de chasse, d'amour et de moquerie) [Artistas populares / Popular artists] - Ditole (V.A. - Centrafrique: Pygmées aka. Chants de chasse, d'amour et de moquerie) [Artistas populares / Popular artists] - Yeli (aka-mbenzélé - 3) (V.A. - Congo: Femmes Pygmées de la Sangha) [Artistas populares / Popular artists] - Yeli (baluma) (V.A. - Congo: Femmes Pygmées de la Sangha) [Artistas populares / Popular artists] - Bolobé (aka-mbenzélé - 3) (V.A. - Congo: Femmes Pygmées de la Sangha) [Artistas populares / Popular artists] - [Song for twins] - (V.A. - Central African Republic: Dendi, Nzakara, Banda-Linda, Banda-Dakpa, Ngbaka, Aka Pygmy) [Artistas populares / Popular artists] - [Whistle ensemble] (V.A. - Central African Republic: Dendi, Nzakara, Banda-Linda, Banda-Dakpa, Ngbaka, Aka Pygmy) [Artistas populares / Popular artists] - [Horns ensemble] (V.A. - Central African Republic: Dendi, Nzakara, Banda-Linda, Banda-Dakpa, Ngbaka, Aka Pygmy) [Artistas populares / Popular artists] - [Lullaby] (V.A. - Central African Republic: Dendi, Nzakara, Banda-Linda, Banda-Dakpa, Ngbaka, Aka Pygmy) Adeh - Galeh dokhtar (V.A. - Afghanistan: Female musicians of Herat) Stanley & The Ten Sleepless Knights - Musician want something to drink (Quelbe!: Music of the U.S. Virgin Islands) ([Artistas populares / Popular artists] - A lela nyama (V.A. - Centrafrique: Pygmées aka. Chants de chasse, d'amour et de moquerie)) Radio Círculo (Madrid, ES) Radio Universidad de Guanajuato (MX) Multicult.fm (DE) 88vier (Berlin/Potsdam, DE) Radio UNAM (México DF, MX) UABC Radio (Baja California, MX) Ràdio País (Gasconha, FR) RCFM - Radio Crónica Folk Musical (ES) Rádio Filispim (Galiza, ES) Groovalización Radio (FR) Ràdio Klara (València, ES) Radio Universidad de Atacama (CL) Radio Artigas (UY) Radio París-LaPaz (BO) TTRadio (ES) Radio Universidad de Puerto Rico (PR) Radio Kolor (Cuenca, ES) Radio Universidad Autónoma del Yucatán (MX) Radio Filarmonía (Lima, PE) Radio Aukan (CL) Radio Inter S'cool (GP) Radio Educación del Mayab (MX) Rádio Zero (PT) Radio Universidad de Concepción (CL) Radio Universidad de Salamanca (ES) Onda Polígono (Toledo, ES) WLCH Radio Centro (Pennsylvania, US) Radio Isora (Canarias, ES) Radio Sonora Internacional (CO) Radio Fuga (Madrid, ES) Radio Camino (ES) La Voz de Guamote (EC) Mundofonías Radio (ES) OK Radio (VE) Almargen Radio (Andalucía, ES) Unicauca Estéreo (CO) FM Folklórica del Paraná (AR) Hamburger Lokalradio (DE) Ràdio Aktiva (ES) Radio Taiffa (MX) Onda Campus (ES)

Hot on the heels of last week’s red show comes the next colour in The Rainbow Collection, namely orange. We have a surprisingly high representation of French music this week, dear listener, in particular French musicians pretending to be from … Continue reading →

Watch the 9-minute documentary film Music of Central Asia and the Aga Khan Music Initiative. The Aga Khan Music Initiative promotes traditional music as part of a broader programme of development that encompasses the physical, social, cultural and economic revitalization of communities in the Muslim world. Music of Central Asia, the Aga Khan Music Initiatives panoramic 10-volume audio-visual survey of contemporary tradition-based music from Central Eurasia, produced in conjunction with Smithsonian Folkways Recordings, is part of these efforts.