This New Deal project was organized and directed by folk music collector Sidney Robertson Cowell for the Northern California Work Projects Administration. Sponsored by the University of California, Berkeley, and cosponsored by the Archive of American Folk Song (now the American Folklife Center archive), this undertaking was one of the earliest ethnographic field projects to document European, Slavic, Middle Eastern, and English- and Spanish-language folk music in one region of the United States. Cowell had hopes that it would provide a prototype for a national folk music collecting effort. With this, the scope of the project was broad, in ethnographic terms, and went well beyond the actual sound recordings. Photographs of the musicians in performance were made, as were scale drawings and sketches of some of the musical instruments. Among other things, a detailed check-list and a catalog of index cards were compiled for the recordings and research was done on the songs recorded. Fieldnotes were kept regarding the context of the performance and the background of the music and instruments, recorded on "Yellow Song Check-Lists" by WPA staff and on the dust jackets of the acetate discs by Cowell as recordings were being made.

In the transcriptions of text, capitalization and spelling reflect that of the original documentation. Sidney Robertson Cowell was not familiar with some of the languages that she recorded and her spelling is approximate. Where the text was illegible, bracketed question marks represent the number of words that cannot be interpreted; e.g., "[???] while he [??]" means "[three unintelligible words] while he [two unintelligible words]." Where a good guess could be made, the word and a question mark have been placed in brackets, e.g., [malversation?]. Corrections are being made as research continues on this collection.

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The still photographs in this collection were made by Sidney Robertson Cowell, WPA staff photographers, J. L. Hall, John Bateman, and possibly others. The originals are housed variously in the Archive of Folk Culture, American Folklife Center, Library of Congress; the Music Division, Library of Congress; or in the Music Library collections at the University of California, Berkeley. The blueprint drawings and pencil on butcher block paper sketches were made by WPA draftsmen Jos. H. Handon, G. McCarthy, and possibly others. The originals are housed in the Music Library collections at the University of California, Berkeley.

This collection provides a remarkable survey of living folk musical traditions found in Northern California during the late 1930s and 1940 in a wide variety of musical styles. It includes the folk music of immigrants who arrived in the United States from the turn of the century through the 1920s, American popular songs current from 1900 through 1940, not to mention old California songs from the gold-rush era and before, old medicine show tunes, San Francisco Barbary Coast songs, and ragtime.

The Gold Medal Collection is a 1988 two-CD compilation album featuring various songs and interviews by singer-songwriter Harry Chapin. It was released by Elektra Records to commemorate Chapin for being posthumously awarded the Congressional Gold Medal for his humanitarian work and campaigns to end hunger.[2] The album has been certified platinum by the RIAA and has sold over 1 million copies.

The 24 Karat artwork will feature never-before-seen Polaroids taken by Nicks throughout her career, while the deluxe photobook CD boasts 48 pages of pictures from her private collection alongside two bonus tracks. Pre-orders for 24 Karat start on August 5th, and that same day, Nicks will begin previewing the album on her official new Instagram account.

Molly Tuttle speaks softly. Her voice is both lilting and lucid, and when she says that she wants to create music that is truly original and unmistakably hers, her quietness shifts into a steely audacity that\u2019s charming and almost funny\u2013\u2013she\u2019s only 25, after all. But then, you remember her songs. And it hits you: brash, beautiful originality is exactly what Molly is doing.

Right, well the experience at Gold-Diggers was so profound for me. I wanted to name the album in its honor. It was almost somewhat of a homecoming in the sense of--the way that I made music there, you know, most of these songs were derived from improvisational jams, and that's reminiscent of how I made music on my first album Coming Home.

One of the songs on the record that really struck me, perhaps inadvertently, again, in this the age of a pandemic, it's a song, "Why Don't You Touch Me". The lyrics to the song seem to be born out of sort of a romantic disconnect. But in this age of COVID-19, where we're trying to avoid folks, it's possible to read that song almost as affection and care, like, "I am actively taking care of you by not touching you." Is that something that you ever would have foreseen being a subtext of that tune?

So I got the opportunity to sit down and listen to the record, and one thing that I also noticed when I went to your website, is that on the purchase page, for the record, the default option is the vinyl record, which I think really suits the album. The way that you've had it sequenced, it's like 15 minutes or so of this sustained mood, then you get up and you take a little bit of a pause and you flip the record over and then you get plunged back into it for another 15 minutes or so. It sets the album up really well to be enjoyed under all circumstances.

Yeah, it's a good journey. The way that we curated the sequence I wanted to place the songs that--you know when you look at the the top of the album, those songs are moreso kind of indie R&B oriented, and then it goes into this more so neo-soul kind of sound. It was all about finding the things that just felt most cohesive together.

Yeah, I'm definitely in a better space mentally. For a minute I was having these feelings of inadequacy in ways of not being a good enough singer-songwriter or deserving of being in this position. But I'm grateful to have really close friends that helped me get through that. But other than that I'm content. I have an awesome label, an awesome team, a dope body of work. I'm ready to get back on the road and perform these songs live.

It kind of depends. I won't necessarily be the one playing guitar on every single song. We switch it up. On some songs, I might have come up with a keyboard part or even the drum arrangement. So we kind of switch it up, but by and large, we're all using the same guitars because we all live together, so we use the same guitars to write stuff.

Silver & Gold, Sufjan Stevens' holiday-themed follow-up to 2006's 42-song-long Songs for Christmas collection, stretches 59 tracks across nearly three hours. The box set includes a fold-it-yourself paper star ornament. And stickers. Also: temporary tattoos and a poster. There's an 80-page booklet, too. All of which may make you think: "Wow, Sufjan is really, really, really fucking obsessed with Christmas." And you would be correct. But his fixation isn't born of pure peppermint joy or the eternal spite of not finding that Power Wheels under the tree as a toddler. It's more complicated than that. About a third of the tracks here are Sufjan originals, and the music ranges from reverent, to intergalactic, to angelic, to positively looney. The stickers and tattoos include a skeleton/soldier throwing a bomb, a panda in a Christmas sweater holding a human skull, and a chainsaw-wielding snowman. The crowded poster shows a half-alien/half-human breastfeeding her alien offspring, a sea monster, a robot owl, a cigarette-smoking baby with a lobster claw for a hand, and Jesus on the phone with a caption next to him that reads, "DAD!" And along with lyrics and chords and insanely cut-and-pasted family photos and a hard drive's worth of outre fonts, the booklet features an essay from a pastor that concludes thusly: "Advent is ultimately about death. The end is near. You are going to die. Happy Holidays."

Of course, Sufjan's uniquely bizarre feelings toward all things merry is a boon for the rest of us, who naturally have the same kind of anxieties and phobias about the holidays, but lack the vast musical talent and/or OCD graphic design skills to make it really count. Because while he's extremely wary of the idea of putting a Christmas box set out just in time for the trampling Black Friday hordes, he's no less susceptible to wintertime whimsy than anyone else. "Christmas is what you make of it," he writes, in one of the more level-headed booklet passages, "and its songs reflect mystery and magic as expertly as they clatter and clang with the most audacious and rambunctious intonations of irreverence."

Like Songs for Christmas, which boxed EPs recorded for friends and family each year from 2001-2006, Silver & Gold has another five discs that span songs from 2006-2010, with some additional tune-ups laid down over the last couple of years. Essentially, it's an extremely over-the-top scrapbook, detailing the musical phases, friends, and feelings coursing through Sufjan's world each year. But unlike the meticulously pleasant Songs for Christmas, which more or less sounds exactly like what a casual fan (or detractor) might expect a Sufjan Stevens Christmas box set to sound like, the music inside Silver & Gold can be as downright strange as its accompanying accessories.

Recorded with the National's Dessner brothers a year and a half after the release of Illinois, 2006's Gloria is the most traditionally Sufjan-y thing here. With its careful guitar picking, pristine choir, and overall sense of in-the-lines tastefulness, it's the disc least likely to offend grandmothers on Christmas Day. Gloria also has two of the collection's finest originals with "The Midnight Clear" and "Carol of St. Benjamin the Bearded One", both of which could sneak onto Illinois without much complaint. "I will delight in this," sings Sufjan, sincerely backing up his own faith, before a choir quietly comes back, "Though you may doubt it." 0852c4b9a8

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