#american folklife center

[nonesuchrecords]

Congratulations to Natalie Merchant, who has been appointed to the Library of Congress’s American Folklife Center Board of Trustees by US Senate Majority Leader Chuck Schumer to support the ongoing preservation and promotion of the country’s folklore, cultural traditions, music, and arts, and aide in the long-term planning and policy direction of the center. Merchant says: "It’s such an honor to be selected to serve on the Folklife Center board. I’ve admired the work of this agency for many years and hope to find some way to help further their mission of preserving and promoting all forms of folk arts in America." You can read more here.

#natalie merchant #library of congress #american folklife center #americana #folk music #folk art #nonesuch #nonesuch records

[lesterpubliclibrary]

StoryWalk® at LPL by Lester Public Library Via Flickr: StoryWalk® on the Patrick Gagnon Memorial Trail through the library gardens features - "We are All Under One Wide Sky" - and runs during World on the Move: 250,000 Years of Human Migration. Lester Public Library is one of 15 libraries across the United States awarded to host this important exhibit. Learn more about the exhibit here: understandingmigration.org/ Lester Public Library, Two Rivers, Wisconsin

#Smithsonian's Center for Folklife and Cultural Heritage #Smithsonian ExhibitStoryWalk® #World on the Move #World on the Move: 250 #000 Years of Human Migration #Lester Public LIbrary #libraries and librarians #LPL #Lester Public Library #Two Rivers #WIsconsin #Library #Libraries #libs&libs #Public LIbrary #Public LIbraries #American LIbrary Association #American Anthropological Association #Wisconsin #Wisconsin Libraries #Read #Discover #Connect #Enrich #flickr

[dragonomatopoeia]

before i forget: reminder that the american folklife center's occupational folklife project has a digital collection of oral history interviews with workers all over the united states, from appalachian professional wrestlers and oklahoman circus performers to waste management workers in vermont

[gwydionmisha]

#Library of Congress #COVID-19 Stories #COVID-19 #StoryCorps

[kheelcenter]

Labor Organizer Spotlight, Archie Green

#LaborOrganizerSpotlight Archie Green, a Labor folklorist, historian, carpenter, union organizer, and shipwright.

Green was a pioneer in documenting the cultural traditions of working people and he influenced a generation of scholarship on occupational culture and working life. He called himself first and foremost a worker and a union member, especially as a union activist in San Francisco. He is credited with revolutionizing occupational folklore and winning Congressional support for passage of a bill that established the American Folklife Center at the Library of Congress.

He also helped edit a book called "The Big Red Songbook",where he compiled over 250 songs from the various editions of "Little Red Songbooks" published over the years 1909 to 1973 by the Industrial Workers of the World. The cover is displayed above. See Collection 5189 Labor Songbooks for various editions of "Little Red Songbooks" that we have in our collections.

Pictured: Book cover that reads "The Big Red Songbook, 250+ IWW Songs by Archie Green, David Roediger, Franklin Rosemont, Salvatore Salerno, Editors. Foreword by Tom Morello, Afterword by Utah Phillips".

Each #LaborOrganizerSpotlight is designed to highlight historical figures who have participated significantly in the labor/labor organizing movement who are also featured in our collections. To learn more about Archie Green visit https://rare.library.cornell.edu/finding-aids-for-archival-and-manuscript-collections/ and search #5641 AV. This is an interview with Archie Green where he talks about the legends and myths of the labor movement, including songs of the American Labor Movement.

#ArchieGreen #Folklore #LaborLore #LaborOrganizer #UnionStrong #Unions #September #Cornell #LaborArchives #LaborHistory #ArchivesOfTumblr #AllLaborHasDignity #KheelCenter #ILRSchool #LaborRights #Strikes #LaborOrganizerSpotlight #IWW

[kenyatta]

In the 15 years since its founding, KnowYourMeme has established itself as the ultimate authority on the jokes, turns of phrase and images that gain currency online. Its writers and editors treat every viral nugget as modern history to be recorded for future civilizations, like a digital Rosetta Stone. 

Looking through its archives, one can trace the shifts of the social-media age, from Facebook’s early dominance to the rise of TikTok. Some of the earliest entries explain jokes that feel lightyears removed from modern discourse, such as LOLcats—the height of 2010s humor, perhaps, but now hallmarks of “millennial cringe.” 

[...]

“I think it is important for people to understand that memes—like all forms of folklore—are meaningful and worth understanding as expressions of cultural concerns,” says Merrill Kaplan, a professor of folklore and Scandinavian studies at the Ohio State University. “We joke, spread rumors and meme about the things we think are important. You can learn a lot about what a society is thinking by looking at their memes.” In her 2013 textbook “Tradition in the 21st Century,” she cited KnowYourMeme seven times in a single chapter. 

[...]

Now even the Library of Congress treats KnowYourMeme as a scholarly source. The American Folklife Center, a subsidiary of the library, has been preserving the data from the site as part of its “Web Cultures Web Archive”—focused on sociocultural traditions of the smartphone era—since 2014. 

#know your meme #internet culture #memes

[protoslacker]

From letters he sent to Gordon (now also in the AFC archive), we know that Boyd used a time-honored method among academic folklorists: he had his students collect traditional songs from their friends and families in the rural community around the school. Although he was apparently quite selective, keeping only those songs he deemed true folksongs and discarding the rest, he amassed a collection of over a hundred songs, from which he created a typed manuscript. Boyd knew of Gordon through his columns in Adventure magazine, and sent the manuscript to him for his advice and comments in February, 1927. By March, Boyd’s program of collecting folksongs had encountered a serious obstacle, and that, among other things, convinced him to leave Alliance for graduate school. “The school board and the community in general seem to think that [collecting folksongs] is an obnoxious practice, for some uncertain reason. The seniors were righteously indignant—it was the one thing that had thoroughly aroused their interest,” he wrote to Gordon on March 30. “This particular [school board] fits Woodrow Wilson’s definition of a board: ‘long, wooden, and narrow,'” he continued. “And that explains why I am going to pursue my doctorate at Pennsylvania next year.”

American Folklife Center in Folklife Today. Kumbaya: History of an Old Song

This is a wonderful history detective story. This quote reflects a school board queasy about history where student were enthusiastic in discovering their histories. Perhaps one of the best things to encourage in the face of academic suppression of particular histories are ways of doing and collecting history.

#music #kumbaya #history

[newmusicradionetwork]

Dom Flemons Wins Top Honors in Acoustic Music Awards

Critically Critically Acclaimed folk artist Dom Flemons wins top honors in the 20th Annual IAMA (International Acoustic Music Awards) with his song “Traveling Wildfire”. He also won Best Folk/Americana/Roots Award as well with his song “Traveling Wildfire”. He also made history as the first African American to ever win the top award in IAMA’s 20 year history. Chicago, Illinois based Dom Flemons is an American old-time music, Piedmont blues, and neotraditional country multi-instrumentalist, singer, and songwriter. He is a proficient player of the banjo, fife, guitar, harmonica, percussion, quills, and rhythm bones. He is known as “The American Songster” as his repertoire of music spans nearly a century of American folklore, ballads, and tunes. He is a member of the Folk music group “Carolina Chocolate Drops” from their inception in 2005 until 2013. Flemons has released five albums in his own name, although two of those were collaborations with other musicians. With Carolina Chocolate Drops, he won the Grammy Award for Best Traditional Folk Album at the 53rd Annual Grammy Awards. Dom Flemons also received a Grammy nomination this year’s 66th Annual Grammy Awards for Best Folk Album for his album “Traveling Wildfire”. “It is a great honor to win the Overall Grand Prize as well as the Best Folk/Americana/Roots category at the International Acoustic Music Awards. Over the past 25 years, it has always been my goal to create music that entertains, educates and inspires people of all communities.  Using a variety of instruments and old-time music styles it has also been my mission to make sure the music that I inherited from my friends and mentors lives on into the present. Thanks to my team and Smithsonian Folkways Recordings for all of their support in making this prize a reality”, said Dom Flemons, this year’s top winner. Dom Flemons is signed to Smithsonian Folkways Records. Smithsonian Folkways is the nonprofit record label of the Smithsonian Institution. It is a part of the Smithsonian’s Smithsonian Center for Folklife and Cultural Heritage, located at Capital Gallery in downtown Washington, D.C. Here is the list of winners of the 20th Annual IAMA: Overall Grand Prize Winner “Traveling Wildfire” by Dom Flemons INSTRUMENTAL FIRST PRIZE: “Atlas” by Karlijn Langendijk RUNNER-UP: “Roll Over O’Carolan Carolan’s Concerto” by Edward EJ Ouellette OPEN FIRST PRIZE: “Teaching Vincent Van Gogh” by SONiA disappear fear RUNNER-UP: “Won’t Be Around” by Terry Blade AAA/ALTERNATIVE FIRST PRIZE: “Lisbon” by Luke James Shaffer RUNNER-UP: “Soft on the Shoulder” by Arielle Silver FOLK/AMERICANA/ROOTS FIRST PRIZE: “Traveling Wildfire” by Dom Flemons RUNNER-UP: “Mary Dyer” by Todd Hearon BEST GROUP/DUO FIRST PRIZE: “I am a Wolf” by Violet Bell RUNNER-UP: “Breathe!” by Eric Dick & Celleste BEST MALE ARTIST FIRST PRIZE: “Beautiful Universe” by Francois Klark RUNNER-UP: “Blue Canadian Rockies” by Christian Parker BEST FEMALE ARTIST FIRST PRIZE: “The Well” by Alex Mabey RUNNER-UP: “Memphis Moonlight” by Deb Ryder COUNTRY/BLUEGRASS FIRST PRIZE: “Barranco” by Crowes Pasture RUNNER-UP: “Chasin’ Indigo” by Carley Arrowood ABOUT IAMA (International Acoustic Music Awards) IAMA (International Acoustic Music Awards) promotes the art and artistry of acoustic music performance and artistry. In its 21st year, IAMA has a proven track record of winners going on to get signed and hit the Billboard Charts. Ricky Kej (1st Prize Winner 2018 IAMA, instrumental category) , based out of Bengaluru, India won the Grammy last year for ‘Divine Tides’, in the best immersive audio album category. Notable winners include Ellis Paul, Jonatha Brooke, David Francey, AJ Croce and more. Meghan Trainor was discovered by IAMA eleven years ago and is now a global phenomenon with #1 hit on the Billboard Hot 100 Charts with “All about That Bass” (#1 for 8 weeks) and #1 on The Billboard 200 Charts with her debut album “Title”, won for a Grammy award for Best New Artist. 2nd Annual IAMA winner Zane Williams’s winning song was recorded by country music star Jason Michael Carroll, that song hit #14 on Billboard Country Charts and #99 on Billboard Hot 100 Charts. Jeff Gutt, finalist at the 9th Annual IAMA was a runner-up on X-Factor USA. Charlie Dore (known for her hit “Pilot of the Airwaves”) was the top winner in 2008. Information on winners and finalists, go to: https://www.inacoustic.com/winners Read the full article

[jalonsoarevalo]

La voz del pueblo: el archivo StoryCorps de la Biblioteca del Congreso ha grabado entrevistas a más de medio millón de historias de vida de personas anónimas

StoryCorps Desde que el fundador y presidente David Isay concibiera StoryCorps en 2003, y bajo el lema “Cada voz cuenta”, la organización ha grabado más de 356.000 entrevistas con más de 640.000 personas en los 50 estados, en más de 50 idiomas, y el archivo se encuentra en el American Folklife Center (AFC) de la Biblioteca del Congreso. StoryCorps Archive es una colección de grabaciones de…

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#Estados Unidos #Storytelling

[nightkitchentarot]

Library of Congress Music Archives

From author Patti Digh...

... just some of the downloadable music collections and recorded sound at the Library of Congress (LC, LoC).

"The Library of Congress holds the nation's largest public collection of sound recordings (music and spoken word) and radio broadcasts, some 3 million recordings. Recordings represent over 110 years of sound recording history in nearly every sound recording format and cover a wide range of subjects and genres in considerable depth and breadth."--from LoC.gov  

MUSIC

Perhaps one of the finest features on the LC site is the National Jukebox. (10,000+ recordings) where you can find info about the collection and the recordings themselves.

"The Jukebox includes recordings from the extraordinary collections of the Library of Congress National Audio-Visual Conservation Center and other contributing libraries and archives. Recordings in the Jukebox were issued on record labels now owned by Sony Music Entertainment, which has granted the Library of Congress a gratis license to stream acoustical recordings. At launch, the Jukebox included more than 10,000 Victor Talking Machine Company recordings between 1901 and 1925. Jukebox content will be increased regularly, with additional Victor recordings and acoustically recorded titles made by other Sony-owned U.S. labels, including Columbia, OKeh, and others."--from the “about this collection” section.

Now What a Time: Blues, Gospel, and the Fort Valley Music Festivals, 1938 to 1943

"...primarily blues and gospel songs, and related documentation from the folk festival at Fort Valley State College (now Fort Valley State University), Fort Valley, Georgia. The documentation was created by John Wesley Work III in 1941, and by Lewis Jones and Willis Laurence James in March, June, and July 1943. Also included are recordings made in Tennessee and Alabama (including six Sacred Harp songs) by John Work between September 1938 and 1941." –from the info section.

Southern Mosaic: The John and Ruby Lomax 1939 Southern States Recording Trip

https://www.loc.gov/collections/john-and-ruby-lomax/about-this-collection/  (info)

https://www.loc.gov/collections/john-and-ruby-lomax/ (recordings).  

"This recording trip is an ethnographic field collection that includes nearly 700 sound recordings, fieldnotes, dust jackets, and other manuscripts documenting a three-month, 6,502-mile trip through the southern United States. Beginning in Port Aransas, Texas, on March 31, 1939, and ending at the Library of Congress on June 14, 1939, John Avery Lomax, Honorary Consultant and Curator of the Archive of American Folk Song (now the American Folklife Center archive), and his wife, Ruby Terrill Lomax, recorded approximately 25 hours of folk music from more than 300 performers. These recordings represent a broad spectrum of traditional musical styles, including ballads, blues, children's songs, cowboy songs, fiddle tunes, field hollers, lullabies, play-party songs, religious dramas, spirituals, and work songs."--from the info section.

Alan Lomax Collection of Michigan and Wisconsin Recordings  (444 items)

https://www.loc.gov/collections/alan-lomax-in-michigan/about-this-collection/ (info)

https://www.loc.gov/collections/alan-lomax-in-michigan/ (recordings)

"In 1938, the Library of Congress dispatched the pioneering folklorist and song collector Alan Lomax—already a seasoned field worker at age 23—to conduct a folk song survey of the Great Lakes region. He traveled in a 1935 Plymouth sedan, toting a Presto disc recorder and a movie camera. When he returned nearly three months later, having driven thousands of miles on barely paved roads, it was with a cache of 250 instantaneous discs and eight film reels documenting the incredible range of ethnic diversity and expressive traditions primarily in Michigan.”

African-American Band Music & Recordings, 1883 to 1923 https://www.loc.gov/collections/african-american-band-music/about-this-collection/  (info)

https://www.loc.gov/collections/african-american-band-music/  (recordings)

“The core of this presentation consists of "stock" arrangements for bands or small orchestras of popular songs written by African Americans. In addition, we offer a smaller selection of historic sound recordings illustrating these songs and many others by the same composers (the arrangements might not necessarily be the same as those on the stocks). Educational materials include short biographies of composers and performers of the time and historical essays.”--from the info section.

The Library of Congress Celebrates the Songs of America

https://www.loc.gov/collections/songs-of-america/about-this-collection/ (info)

https://www.loc.gov/collections/songs-of-america/?fa=original-format:sound+recording (recordings)

See and Hear American History Through Song "Know the songs of a country and you will know its history for the true feeling of a people speaks through what they sing."

Collection Items: View 50,082 Items

Emile Berliner collection, 500+ items, 1870s-1930 https://www.loc.gov/collections/emile-berliner/  (recordings)

“This collection showcases the work of Emile Berliner, a prominent inventor at the end of the nineteenth and the beginning of the twentieth centuries. Overlooked by today's historians, Berliner's creative genius rivaled that of his better-known contemporaries Thomas Alva Edison and Alexander Graham Bell, and, like the works of these two inventors, Berliner's innovations helped shape the modern American way of life.”--from the introduction to this section.

Amazing Grace

https://www.loc.gov/collections/amazing-grace/about-this-collection/ (info)

https://www.loc.gov/collections/amazing-grace/ (recordings)

"This collection highlights the history of the hymn “Amazing Grace” from the earliest printing of the song to selected performances on published and field recordings. These items have been collected..."--from the info section.

The Center for Applied Linguistics Collection

https://www.loc.gov/collections/american-english-dialect-recordings-from-the-center-for-applied-linguistics/about-this-collection/  (info)

https://www.loc.gov/collections/american-english-dialect-recordings-from-the-center-for-applied-linguistics/ (recordings)

"The Center for Applied Linguistics Collection contains 118 hours of recordings documenting North American English dialects. The recordings include speech samples, linguistic interviews, oral histories, conversations, and excerpts from public speeches. They were drawn from various archives and the private collections of fifty collectors, including linguists, dialectologists, and folklorists. They were submitted to the Center for Applied Linguistics as part of a project entitled "A Survey and Collection of American English Dialect Recordings," funded by the Center for Applied Linguistics and the National Endowment for the Humanities.”--from the info section...

#library of congress #music #spoken word #free stuff #patti digh

[ledenews]

The Slaw Line, Fallout 76 and Other Stories We Need to Tell About West Virginia

(Publisher's Note: This article was published late last week on Moundsville.org, and with permission of the publisher, John W. Miller, we're re-publishing it this morning in case LEDE News readers missed it on the Marshall County blog.) West Virginia might be the most misunderstood state in the union. How can outsiders, and its own people, understand it better? The best answer, of course, is to empower and celebrate storytellers from West Virginia — like memoirist Neema Avashia, or Steve Novotney in Wheeling, WV and Brianna Hickman in Moundsville – who write about their home communities. Emily Hilliard, the state’s folklorist from 2015-2021, has written Making Our Future (UNC Press, 312 p., $24.95), a rich, witty, deeply-reported and impassioned survey of West Virginia folklife, and a plea for “collaborative ethnography”. That’s a way of reporting “in a place like Appalachia, where journalists and cultural workers have extracted stories and cultural resources without community input, benefit, or respect, employing narratives that frame the region’s faults as individual failures rather than systemic problems.” For her kinder, more human approach, amplified by a relentless and refreshing curiosity, Hilliard chose eight specific stories: the history of the Scotts Run coal-mining community and its museum; the inspiring, heart-melting songwriting of four working-class women; the food and culture of Helvetia, WV, a Swiss community of 59 people; the landscape of the stories of legendary fiction writer Breece D’J Pancake in Milton, WV; the West Virginia teachers’ strike; hotdogs and the so-called “slaw line”, which demarcates where coleslaw is added; independent pro wrestling; and the video game Fallout 76. The nature of her work as a public folklorist, she writes, “is to offer my assistance to local communities in recognizing themselves as collectivities with some shared identity and history (even if contested), communities that, through shared reactive expression, can together realize the power of self-determination in making their future.” (As University of Pittsburgh anthropologist Loukas Barton told me after we premiered our oral history film Moundsville in the town’s it’s about: Presenting a finished work to the subject “is about respect, but it’s also aboutinteraction, collaboration and growth. Self-knowledge can give a community political power.” When Hilliard moved to West Virginia from Washington, DC on Halloween, 2015, she discovered a wildly diverse state. Today there are still actively practiced African American, Serbian, Lebanese, Italian, Spanish, Swiss, Greek, and Polish traditions…West Virginia is also home to newer Syrian, Haitian, and Burmese refugees, and a quickly growing Latinx population. A new Hindu temple opened in Dunbar in 2017, and the Islamic Center in Charleston, a multiracial and multiethnic faith community, has over 400 active members. It is important to note that while West Virginia is declining in population overall, notably among its white population, communities of color in the state are growing. One of West Virginia’s most expansive exposures in the last decade has been the best-selling video game, Fallout 76, which takes place in post-apocalyptic West Virginia, 25 years after a nuclear war has decimated the world. Players emerge from a bunker in Flatwoods, WV, and are charged with fighting two-headed opossums, giant ticks and mangy beavers, and the Scorched, a zombie-like army, securing nuclear silos and making the world for rebuilding and repopulating.   Rightly, Hilliard spends an essay exploring the game’s cultural significance. It is, after all, global. She quotes Norwegian Anders Isaken: “I have been playing Fallout 76 and I have to admit that I have developed a love for West Virginia. I have never been to the USA but if I were ever to get a chance to visit your wonderful country West Virginia is high on my list of places I want to travel to. Your local culture, folklore, nature and people seem absolutely lovely. Without the game you and your amazing state would just be a word on a map. Now it is in my heart. Country Roads take me home.” The game is full of West Virginia tourist sites, including Harper’s Ferry, the Mothman Museum, the Moundsville prison, New Vrindaban, and the Greenbrier resort. “The in-game portrayal of Helvetia, the remote mountain village of population 59, founded in 1869 by Swiss German immigrants, is particularly accurate,” Hilliard reports. “Though the game designers swapped a few building locations, the scale and aesthetic is impeccably simulated and everything is there, down to the hand-painted signs, the historic bootmaker shack, Cheese Haus, Honey Haus, Hutte Swiss Restaurant (called Freya’s Restaurant in-game), the Kultur Haus/general store/post office, mask museum, and even the assortment of instruments in the museum that belonged to the original members of the real Helvetia Star Band. Though I never played the game, when I watched a friend navigate through virtual Helvetia, I was able to direct him to where to go based on my familiarity with the town.” The world of Fallout 76 “is a West Virginia that has been returned to the frontier it once was.” Fallout 76, is also an example of extracting a cultural resource, and could possibly overwhelm the tourist capacities of small towns. It’s also expensive and difficult to play for people without decent incomes and good broadband. Hilliard argues that “as a next step beyond documentation, contextualization, and presentation, folklorists, myself included, should be more attuned to the future life of traditions beyond sustainability, and actively work in collaboration with communities to combat the outside destructive forces, such as privatization, extraction, and austerity, that disrupt them and block their agency to negotiate the transmission of their traditions.” The book shines brightest when Hilliard is on the ground: Leaving Charleston and heading southeast, the road is immediately hedged in between the mountains on the left and the Kanawha River on the right, with the railroad crossing back and forth over the course of the journey. In Malden, I pass the former location of the saltworks where Booker T. Washington worked as a boy. In belle, smokestacks and cranes stretch up into the sky, competing with the mountains for the view. A group of Black girls with new glittery pink bikes ride by a group of white girls holding signs advertising a yard sale. I drive past cinderblock auto shops and neat former company houses and churches (so many churches!)—Church of Christ, Church of God, Catholic, African Zion Baptist, First Baptist, Memorial Baptist, and the mysterious “House of Non-Judgement.” There’s an old three-story brick elementary school, Dollar Generals, and a barbecue restaurant, a couple Taco Bells, the beloved West Virginia chain Turdor’s Biscuit World, and a Shoney’s Buffet with a sign that reads “Reopening Soon.” Past Cedar Grove, hand-painted boards advertising a hot dog joint are stapled to telephone poles every few yards and campaign signs are scattered along the berm. In London, the transport system for the Mammoth Coal Processing Plant arches from the hillside over the road to a looming metal tipple, standing guard. The book’s title comes from a conversation Hilliard reports with a high school student while covering the West Virginia teachers' strike. She also quotes the poet Audre Lorde: “We are making the future as well as bonding to survive the enormous pressures of the present, and that is what it means to be part of history.” However West Virginia makes its future, I pray for more of what Hilliard lovingly demonstrates: encounters with neighbors close and far, not judging, just listening, noticing, and noting. The stories will come. John W. Miller Read the full article

[comm461archives]

Lomax Digital Archive

The Lomax Digital Archive provides free access to audio/visual collections compiled across seven decades by folklorist Alan Lomax (1915–2002) and his father John A. Lomax (1867–1948).

The entirety of Alan’s photographs and open-reel tape recordings—made between 1946 and 1991—are available here, as well as transcriptions of his 1940s radio programs, and a selection of clips from his film and video-work of the 1970s and 1980s.

The LDA also contains several large audio collections the Lomaxes made, together and apart, on instantaneously recorded discs under the auspices of the Library of Congress’ Archive of Folk Song between 1933 and 1942. They are presented here in partnership with our colleagues at the LC’s American Folklife Center. As funds become available to digitize and catalog other collections from this period, they will be made available here. (These collections include materials collected by several of Alan's collaborators, among them John W. Work III and Mary Elizabeth Barnicle.)

The catalogs are searchable and browseable by a range of taxonomies (person, instrument, location, genre, etc.) and every recording and image is described by extensive item-level metadata.

#photo archive #audio archive #audiovisual #history #culture #cultural heritage #website #digital platform #digital archive

[lesterpubliclibrary]

The Volga German Experience by Lester Public Library Via Flickr: Alan Wambold presented 'The Creation and Dispersal of an Ethnic Minority: The Volga German Experience' as part of our programming for the World on the Move exhibit. World on the Move: 250,000 Years of Human Migration. Lester Public Library is one of 15 libraries across the United States awarded to host this important exhibit. Learn more about the exhibit here: understandingmigration.org/about-the-project/ Lester Public Library, Two Rivers, Wisconsin

#365LIBS #Lester Public LIbrary #libraries and librarians #LPL #Library #Lester Public Library #Two Rivers #WIsconsin #Libraries #libs&libs #Public LIbrary #Public LIbraries #Wisconsin #Manitowoc County #Wisconsin Libraries #World on the Move #World on the Move: 250 #000 Years of Human Migration #American Anthropological Association #Smithsonian Center for Folklife & Cultural Heritage #Smithsonian Exhibit #American LIbrary Association #Human Migration #migration #traveling exhibit #exhibit #flickr

[zpresrun2024]

#Library of Congress #IFTTT

[softgont]

Alex lomax

The last Memphis player to wear No.10 was Damion Baugh, who transferred to TCU after the 2020-21 season. Lomax joins a long list of notable Tigers to wear No.10, including Andre Turner, Jeremiah Martin, Rodney Carney, Tarik Black, Alvin Wright and Otis Jackson. He landed on the ground in the last minute of the NIT Championship game against Mississippi State. The former East High star missed eight straight games at the end of last season after sustaining an ankle injury. In three seasons at Memphis, Lomax played 85 games (19 starts) and averaged 5.9 points, 3.5 assists and 1.4 steals per game. RASHEED WALLACE:Memphis’ new basketball assistant: young players rely too much on the 3 PRO DAY:Penny Hardaway Brings Back Professional Memphis Basketball Day For Emoni Bates, Jalen Duren And More MEMPHIS BASKETBALL PODCAST:Penny Hardaway positioned Memphis basketball as the sport’s greatest history Duren was also pictured in a No.2 Tigers jersey during his official visit to Memphis.

Duren, a five-star center, wore number 2 in his junior season at Montverde Academy and while a member of the final team on the Nike EYBL AAU circuit. In reality, it was Eric's wife Patti who made the first contact with the then 71-year-old Takashi Nagase. Eric Lomax and his former torturer, Takashi Nagase, pose on the bridge with Eric's book in the 1990s (bottom). Recent Memphis signers Jalen Duren and Emoni Bates do not yet have jersey numbers listed on the Tigers’ official online roster. Eric Lomax (Colin Firth) revisits his past by walking across the bridge over the River Kwai in the movie (top). “I stand on 10 toes all year round and that being said I’m No. “Everything I do is for the city,” Lomax said. Lomax, who has worn number 2 since his basketball years at the Lester Community Center, broke the news on Twitter. As a result, some may demonstrate racist and offensive views that do not reflect the values of UK Libraries, Berea College, the Library of Congress, or the Association for Cultural Equity.The senior goalie for the Memphis basketball team announced Thursday night that he will wear the number 10 on his jersey this season. These materials document the time period when they were created and the view of their creator. The project partners collect materials from different cultures and time periods to preserve and make available the historical record. Potentially Harmful Language: You may come across language on this online resource that you find harmful or offensive. By entering these pages, all users of the Alan Lomax Kentucky recordings agree that they will indemnify and hold the University of Kentucky/Berea College and its affiliates, employees, faculty members, members of its governing boards and agents harmless from and against any claims, losses, liabilities, damages, costs and expenses including reasonable attorneys' fees arising out of or relating to the making of the Alan Lomax Kentucky recordings or their use of them, or their breach of any other provision of this agreement. AFC recommends that queries relating to publication be forwarded to AFC. AFC facilitates this process, providing what contact information it has. Remastered from 24-bit digital transfers of Alan Lomaxs original tapes, and annotated by Arhoolie Records Adam Machado and the Alan Lomax Archives Nathan. For publication use, the American Folklife Center asks patrons to make a good faith effort to contact rights holders and deposit written permission at AFC. Some rights are held by the performers, and other rights may exist.

The Library of Congress owns the original Alan Lomax recordings, but holds no copyright or intellectual property rights to these recordings.

#Alex lomax

[tjmorrisagency]

TJ Morris Agency, ACO Club

TJ Morris Agency, ACO Club

TJ Morris Agency Partners – Since 2000 ACE Folklife Associates ACE Metaphysical Institute Since March 8, 2000 Sharing via TJ Morris Agency Organization American Communications Online – Since April 5, 2018 International Splinternet Open-Source Intelligence Gurus. Ascension Center Organization – USA – HAWAII – Nov. 1989- 1993 Psychic Network Institute – Honolulu, Hawaii 1990. 2022 New…

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