Coleridge research fellow Dr Alice Rudge writes:

What are the uses of the recordings we make beyond preserving them? How might archiving wildlife recordings open up possibilities for interdisciplinary research, beyond the original purpose of the recording? During my anthropological PhD fieldwork with Batek people in Malaysia, which focused on their uses of music and sound, using wildlife sound recordings in the field created some interesting outcomes.

Batek people are indigenous hunter-gatherers of the lowland rainforests in peninsular Malaysia, numbering around 1,500 people. They speak Batek, an Austroasiatic language of the Northern Aslian family.

Evening fishing and flower collecting

In a Batek camp, or when out in the forest, birds are a common topic of conversation, and under the dense canopy of the forest, birds are some of the most noticeable creatures, not because they are seen, but because they are heard (see also Lye 2005). All that might be seen is a flash of colour or a shaking leaf, but birds’ calls cut across the background hum of insects and chatter. Perhaps for this reason, birds are a major source of musical inspiration. Birds are cosmologically significant, too, and played an important role in creating the world as it is today, according to Batek origin stories (see also Endicott 1979). They are also used to make predictions - for example if you hear a certain bird you might know that certain fruits are ripe, that elephants are close, or that a friend will arrive home that day. Birds are often named onomatopoeically for their calls - for example the sŋseŋ bird has the call ‘seŋ-seŋ-seŋ-seŋ’.

This evident salience of bird sounds for Batek people meant that I was interested to document Batek names for various birds during my fieldwork - partly so that I could then ask further questions about them! However - when out in the forest, if we heard a bird and someone told me the name of it, it was difficult for me to then know the English name of it based on the sound alone. I therefore got hold of some of recordings of Malaysian birds, and, alongside showing them images from photographic field guides, played them to my Batek friends with the idea that they would be able to tell me the Batek names for the birds, which I could then compare to the English names noted by the original recordist. This proved a fascinating exercise - in particular as often there was not any one simple answer or direct correspondence between the English and Batek names for birds. For example, the aforementioned sŋseŋ was variously identified from the images as the Black-eared Shrike-babbler, Long-tailed Sibia, White-bellied Erponis, Oriental Reed-warbler, Arctic Warbler, Mountain Leaf-warbler, Chestnut-crowned Warbler, Blue-throated Flycatcher, Yellow-throated Flowerpecker, Crimson-breasted Flowerpecker, Orange-bellied Flowerpecker, and the Scarlet-backed Flowerpecker. However, from the recordings it was more definitively identified by different people as the Brown-throated Sunbird.

Furthermore, not only did people help me to document a lot of bird names, but they were also keen to recount stories and other information about the birds. For example, on listening to the Crested Jay, ʔEyJayat identified that it was a lhlah in Batek, but also recounted a funny story about coming across a tourist in the forest: the tourist was reaching up, trying to record the lhlah bird with their microphone - but this took ʔEyJayat, who was walking in the forest, by surprise as he thought the tourist was a ghost. ʔEyKtlət also remembered that the lhlah was the bird we had heard in the forest that morning when we had been fishing. He, his wife, and his son talked about how the lhlah has two sounds - syãl and llɛk. If you hear these sounds it means you won’t find food in the forest that day. If you are tired, and have no food, or only a tiny bit of food - you will hear it. If you get back home and your lean-to is damp - you will hear it. People therefore feel angry when they hear this bird! Through this exercise, Batek friends also taught me that the baləŋ bird indicates that elephants are close, as it makes the sound tuləŋ that imitates the sound of an elephant trumpeting, and that the maliʔ bird calls rain to come (ʔoʔ ʔajak ʔujan). The ləʔ talok bird (a type of Scimitar Babbler) - whose name literally translates as ‘indicates the Dusky Langur’ indicates that Dusky Langur are close!

The recording that people found the most hilarious was of the trut kit, or ‘fart’ bird - whose call sounds a lot like somebody breaking wind. Not only did I learn this funny name for the Mountain Imperial Pigeon - but also everyone fell about laughing about the bird, saying yɛʔ malɛs nir klɨŋ - ‘I really don’t like the sound’, imitating the sound, and then laughing again. In the Batek’s forest, however, laughter can be taboo (lawac), and risks causing a storm - and in the recordings people can be heard warning each other - ‘watch out or we will be lawac from laughing so much’. As well as giving information about birds, the new recordings of people listening to these recordings therefore also document something about Batek humour and taboos more broadly.

The jayit srwal bawac bird - which in English is the Chestnut-capped Laughingthrush - has a name which translates as ‘sewing the trousers of the macaque’. This bird also has other messages - as it is also heard as saying cok buŋah kwaʔ and jŋʔɨl tlok kawah - telling the listener to prepare the kwaʔ flower to be worn in the hair and to jump into the water at kawah - a part of the nearby river. These messages are ‘phonological iconisms’ of the birds call. In other words, the words sound like the sound of the bird. This bird is therefore particularly inspiring to and well loved by the Batek, it is strongly associated with a particular place and with flowers that the Batek love, and its call often therefore prompts exclamations of feelings of longing and nostalgia, which the Batek call haɁip. You can listen to the sound of the bird, followed by ʔEyKtlət repeating its name, in the audio excerpt below:

Jayit srwal bawac

Through recording Batek people listening to the recordings, therefore it has been possible to preserve some of this complex and in-depth knowledge and love of birds that Batek people have, knowledge which is deeply connected to their forest home, and their daily experiences of the birds. The exercise has showed that wildlife recordings can have great use beyond documentation - in this case by providing a resource for eliciting, sharing, and in turn preserving, further unique knowledge, and providing a window onto important ways of thinking about the environment that challenge dominant discourses, and show the ways that human and avian lives can intertwine.

The Alice Rudge Collection is currently being deposited and catalogued with the World and Traditional Music collection as part of Alice's ongoing research with the Batek.

For more information on Batek people, see the following:

Endicott, K.M., 1979. Batek Negrito Religion: The Worldview and Rituals of a Hunting and Gathering People of Peninsular Malaysia, Oxford: Clarendon Press.

Lye, T.P., 2005 [2004]. Changing Pathways: Forest Degradation and the Batek of Pahang, Malaysia, Petaling Jaya, Malaysia: Strategic Information Research Development.

Rudge, A., forthcoming 2018. The sounds of people and birds: music, memory, and longing among the Batek. Hunter Gatherer Research. 

 

On 26 June 1968 Prime Minister Harold Wilson announced to the Commons the publication of the Fulton Report, the outcome of the first major inquiry into the civil service for more than 100 years.

Photo credit: Contemporary Record, 2 (2) 1988, p.49

The committee, appointed in 1966 to examine the service’s structure, recruitment, training and management, were a mixture of senior civil servants, MPs, academics and representatives from industry and the trade unions. Their task, according to Wilson, was to “ensure that the service is properly equipped for its role in the modern state”. One of the criticisms of its scope was that it did not look at the relationship between Ministers and their civil servants, the focus of a recent report from the House of Commons Public Administration and Constitutional Affairs Select Committee.

Here Fulton committee member Norman Hunt describes the work of his team ¹:

Norman Hunt (M5929)

Out of this intense scrutiny exercise came a list of 158 recommendations, the sheer volume of which hindered the report’s implementation. Some were promptly put into effect, such as the creation of a Civil Service Department and enhanced training provision through a Civil Service College, while others, for example the hiving-off of public services, took decades to filter through.

One of the report’s conclusions was that “many scientists, engineers and members of other specialist classes get neither the full responsibilities and corresponding authority, or the opportunities they ought to have.”² The civil service was built around a framework of vertical classes which inhibited the movement of specialists into the upper tiers. Consequently, management of the civil service was concentrated in the hands of generalists who rose up through the administrative class.³

Lord Fulton (T5341)

One of the more immediate changes post-Fulton came with the introduction of a unified grading system aimed at bringing coherence across the classes. This created resentment among some civil servants who felt they had been downgraded. Anthony Kelly, a materials scientist working at that time at the National Physical Laboratory, is one example.

Photo credit: The British Library

Anthony Kelly (C1379/54/12)

Nevertheless opportunities for career progression opened up as a result of the report. Roger Courtney, who was to become director of the Building Research Establishment, appreciated the changes that came out of it.

Photo credit: The Building Research Establishment

Roger Courtney (C1802/01/09)

For him, the new Senior Professional Administrative Training Scheme (with its memorable acronym SPATS) led to a job at the heart of government in Cabinet Office.

However while the report’s aim of getting more specialists into management positions looked good on paper, in reality it was not so straightforward.

Sir John Charnley, an aeronautical engineer at the Royal Aircraft Establishment who went on to manage Ministry of Defence research programmes, explains the issue:

Photo credit: The British Library

John Charnley (C1379/30/16)

This tallies with Roger Courtney’s assessment:

Roger Courntey (C1802/01/09)

Fifty years later, the challenge of getting more scientific expertise into the policy-making environment remains a question debated at a national level, while historians continue to evaluate the Fulton report's long-term impact on today's civil service.

Blogpost by Emmeline Ledgerwood (@EmmeLedgerwood), AHRC collaborative doctoral student with the University of Leicester and the British Library Oral History department. Her PhD research is looking at governments’ attitudes to the management and funding of scientific research, 1970-2005.

---

¹  _{Crowther-Hunt, Norman, Government and the Civil Service [1], 16 October 1976. British Library catalogue reference M5929. Copyright BBC.}

² _{The Civil Service [Fulton report], (1968), Volume 1, para. 17, p. 12.}

³ _{Fulton, John, Fulton Report on the Civil Service, 28 June 1968. British Library catalogue reference T5341. Copyright BBC.}

This week's selection comes from Charlie Morgan, Oral History Archive & Administrative Assistant.

The last time I wrote a recording of the week post it was about the artist Michael Rothenstein’s memories of growing up in the Cotswolds (C466/02). For him, these were all mediated through sights and sounds. This week it’s another childhood memory but we’re heading north from Gloucestershire to Yorkshire, leaving rural life for industrial work, and swapping sounds for smells.

Frank Homer was interviewed by Alan Dein in 1992 as part of the Lives in Steel project. Frank grew up in Sheffield and spent his career in pre-privatisation British Steel. Like many, he followed his father into the industry, albeit against the desires of his parents. This recording specifically deals with how Frank remembers his father, how it seemed like he was always at work and how “you never got the chance to chat too much”. He says he has one memory but “it’s not visual”, it’s the smell of his father’s overalls in the house – “there was always the smell of the steel industry”. Decades on he describes how he can still smell that same smell.

Later on in the interview Frank tells us about another inter-generational relationship when he describes working in the same department as his son Michael. Frank says he now knows how his father felt, but at the same time he fears for the future and questions whether his children will be the last generation to work in the industry. Of course we now know he was right to be concerned; Sheffield currently produces more steel than any time in the past but the work is highly automated and only employs a fraction of what it once did.

Frank himself died in 2016 and we are left in the dark about whether Michael continued to work with steel. Likewise, we don’t have his memories of working with his father. What is it that sticks with him, what does he remember? Perhaps another smell? Well, that’s for a different interview.

Lives in Steel was a National Life Stories project that ran in the early 1990s and was the first national oral history of the British steel industry in the twentieth century. 88 life story interviews were recorded with interviewees from all levels of the industry including blastfurnacemen, rolling mill managers, fitters, crane drivers, stock takers, rollermen, melting shop managers, descaling inspectors and concast managers. You can access the full life story interview with Frank Homer online at British Library Sounds.

Follow @BL_OralHistory and @soundarchive for all the latest news.

June 23rd is International Women in Engineering Day 2018. To mark this and the 100th anniversary of (partial) women’s suffrage in the UK I decided to see what the British Library oral history collections could tell us about women whose careers involved both engineering and parliamentary politics. Neither of these areas was part of systematic oral history fieldwork until the 21st century, when An Oral History of British Science (2009) and The History of Parliament’s Oral History Project (2011) started to gather interviews.

Both projects began by targeting older interviewees and so have not yet captured the increase in participation of women in both fields since the 1970s. The History of Parliament collection concentrates on those who have left office, excluding current MPs such as Margaret Beckett (Labour, Lincoln 1974-79, South Derby 1983 – present), who worked as a metallurgist before moving into politics. She does appear in the recollections of others, including Kenneth Carlisle, interviewed in 2015 by John Barry. Carlisle recalls winning Lincoln for the Conservatives from Beckett in the 1979 general election.

In her interview Emma Nicholson, (Conservative then Liberal Democrat, Torridge and West Devon, 1987-97,) suggests some of the difficulties of combining political ambitions with a technical career. She explains to Emme Ledgerwood why it was only after she stopped working as a computer programmer and systems analyst that she was able to start fulfilling her early political ambitions.

Emma Nicholson on early political ambition (C1503/62/02}

Nicholson joined the industry in 1962, and like other women programmers of her generation benefitted from its willingness to consider entrants from a range of educational backgrounds, in her case one in music.

     Emma Nicholson   

Here she describes how she came to take the ‘entrance test’ for International Computers Ltd (ICL).

Emma Nicholson on ICL 'entrance  test' (C1503/62/01)

Once she had completed her training her gender proved decisive in selection for an assignment in Zambia involving setting up key IT infrastructure in the run up to independence in 1964.

Emma Nicholson on setting up Zambian IT infrastructure 1/2 (C1503/62/02)

Emma Nicholson on setting up Zambian IT infrastructure 2/2 (C1503/62/02)

After her election she found herself bombarded by requests from former colleagues eager for her to intervene on proposed legislation concerning software copyright.

Emma Nicholson on copyright legislation (C1503/62/02)

Nicholson now sits in the House of Lords, a chamber that only admitted women in 1958. Here her interests focus on human rights, education, international development and trade.

Perhaps the most vociferous voice for women in engineering to sit in the Lords was Beryl Platt, Baroness Platt of Writtle.

A wartime engineering graduate she joined Hawker Aircraft in 1943 and worked as an aeronautical engineer until her marriage in 1949. Her route into politics was at a local level and she served on Essex County Council for many years. Created a life peer in 1981, she became chair of the Equal Opportunities Commission in 1983, an appointment recalled in her interview by her predecessor Betty Lockwood, interviewed by Margaret Faull in 2014 (C1727/01).

In this role she did much to champion opportunities for women in engineering. This included collaborating with the Engineering Council to launch 1984 as Women into Science and Engineering year and acting as a mentor for a new generation of women engineers, including Joanna Kennedy, interviewed in 2017 by Tom Lean (C1379/126).

Joanna Kennedy on Beryl Platt (C1379/126/04)

A more recent addition to the House of Lords is Julia King, Baroness Brown of Cambridge, created a life peer in 2015. Interviewed by An Oral History of British Science in 2011, when she was vice-chancellor of Aston University, she described herself as ‘not a very political animal’. ) (track 2 31:14, transcript p. 60) Perhaps unsurprisingly she sits on the cross benches from where her contributions have been primarily on issues relating to technology, the environment and higher education.

Here I have concentrated on the relatively few women who made the transition from engineering to parliamentary politics, but a broader definition of engagement with the political sphere and the processes of government would have allowed me to include many more women who have provided advice to government, worked in government research establishments and been involved in campaigning in different ways. As the Oral History collections at the British Library continue to expand we can expect significant new insights into how women have combined engineering and politics to emerge.

Dr Sally Horrocks, Lecturer in Modern British History at the University of Leicester, and Senior Academic Advisor to the National Life Stories's project, An Oral History of British Science.

By Jonathan Summers, Curator of Classical Music

Tamás Vásáry at the Hotel Gellert restaurant (photo by Jonathan Summers)

Save our Sounds is the British Library’s programme to preserve the nation’s sound heritage.  Funded by the Heritage Lottery Fund, many collections will be digitised and made available to the public online through the Unlocking our Sound Heritage project.

One such is the collection of Hungarian pianist Tamás Vásáry who donated his tape archive of private and broadcast recordings to the British Library Sound Archive in 1994.  Internationally renowned as an interpreter of Chopin and Liszt, at that time he lived in London, so when the project needed to clear rights for his donation I wrote to him at the London address I had on file.  Having received no reply and it being twenty-four years since the donation, I checked the internet for an agent or contact details.  Nothing was to be found, so I asked an elderly Hungarian friend if she knew him as she was a contemporary in Budapest (she being born in 1928, he in 1933).  She did not, but thought she may have a friend who did.  The friend did not either, but reported that Vásáry had moved back to Budapest many years ago.

What to do next?  I asked pianist Leslie Howard if he knew Vásáry from the time he was living in London.  No, but he thought pianist Murray McLaclan knew him.  I emailed Mr McLaclan who did not, but he thought that pianist Peter Frankl definitely knew him.  Mr Frankl responded in the affirmative and, because I had not realised that Mr Frankl was living in London, I asked if I could interview him on his long career for the British Library.  Mr Frankl has known Mr Vásáry for more than 50 years and it was at my interview with him that he offered to talk to Mr Vásáry, because he is not on email and still tours a great deal as a conductor.  Mr Frankl visited Budapest in April and met with Mr Vásáry who kindly gave his permission and signed the relevant forms.

Mr Frankl gave me Mr Vásáry’s mobile phone number and I called to ask if I could interview him for the British Library.  He happily accepted and I went to Budapest a few weeks ago and met him.  

Jonathan Summers in Budapest

As a child my local record shop stocked the best classical records including many on the Deutsche Grammophon label so I grew up listening to most of Chopin’s works played by Mr Vásáry.

Vásáry at the height of his career in 1965 (1LP0175910 BL collections)

Jamie Owen, Intellectual Property Rights Co-ordinator writes:

We are very excited indeed to have made contact with Tamás Vásáry. The collection that Mr Vásáry donated to the British Library in 1994 represents the first, under the ‘Unlocking Our Sound Heritage’ project, to have  been both digitally preserved and to have agreements in place for a number of his recordings to be made publicly accessible once the project's website goes live next spring.

The British Library, in conjunction with ten partner organisations across the UK is aiming, through the Heritage Lottery funded  ‘Unlocking Our Sound Heritage’ project, to digitally preserve over half a million of the UK’s most important and at-risk audio recordings. We are hoping to make 100,000 of these recordings available through a website hosted by the British Library. More information on the project can be found here.

Here is an extract from Vásáry’s collection.  It is of his debut at the Proms on 25^th July 1961 when he played Liszt’s Piano Concerto No. 1 in E flat with the London Symphony Orchestra and John Pritchard.  The fourth movement is one of the shortest in the entire piano concerto repertoire at only four minutes.  The London audience was impressed and the applause continued for more than two minutes.

Vasary Liszt Concerto extract (C615/6)

For all the latest Classical news follow @BL_Classical

It's been 70 years since the first successful run of the Manchester Baby, arguably the worlds first modern computer. Built in a dreary laboratory at Manchester University, to designs by electronic engineers Freddy Williams, Tom Kilburn and Geoff Tootill, the Baby was built primarily to test the world's first computer memory. At its heart was a Cathode Ray Tube (CRT), the same component used in an old style television set to show a picture, but used in the Baby to store data and programs. Unlike any computing machine before it, Baby could be used for different purposes by simply changing the electronic instructions of its program, making it the first machine to share the basic architecture used most computers since.

In 2009-2010, Geoff Tootill, the last survivor of the original Baby team, was interviewed for An Oral History of British Science, and recounted the construction and first run of the machine in 1948:

Geoff Tootill: Building the Manchester Baby (C1379/02)

Geoff Tootill, circa 1950

For all its electronic complexity, logically Baby was a basic machine. Its circuitry could only do subtraction and its memory held a paltry 1 kilobit of data, about 1/32,000,000th of the memory of the computer I'm writing this on. However, “Baby demonstrated the fact that you could now make a programmable computer,” as Professor Dai Edwards, who joined the computing group a few months after Baby's first run, explains in this video.

This blog is by Tom Lean, National Life Stories Project Interviewer. Tom interviewed Geoff Tootill for An Oral History of British Science (reference C1379/02) in 2010.

This week's selection comes from Stephen Cleary, Lead Curator of Literary & Creative Recordings.

In this archive recording from the African Writers Club collection, South African poet and anti-apartheid activist Dennis Brutus reads the introductory poem from his debut volume Sirens Knuckles Boots. At the time of the book's publication - in Nigeria in 1963 - its author was in prison on Robben Island. The reading is extracted from an interview with Brutus on his poetic work, conducted by Cosmo Pieterse and recorded 5 October 1966. 

Listen to Dennis Brutus reading from 'Sirens Knuckles Boots'

The African Writers Club collection comprises over 250 hours of radio programmes recorded in the 1960s at the Transcription Centre, London, under its Director Dennis Duerden. The collection features interviews, readings and literary and current affairs discussions, and includes contributions by many of the leading African writers and artists of the time.

Follow @BL_DramaSound and @soundarchive for all the latest news.

In March this year the British Library began a new research project with the Archives and Research Center for Ethnomusicology American Institute of Indian Studies (ARCE) in India, focused around our South Asian audiovisual heritage collections.

Funded through a grant from the Department for Business, Energy and Industrial Strategy, the project is part of  the Rutherford Fund – a major UK Government investment launched in 2017 to promote international research collaboration.

In this post, Dr Sangeeta Dutta, ARCE Archivist, discusses the research fellowship she has been undertaking as part of the project, in the World and Traditional Music section of British Library Sound Archive.

 

Dr Sangeeta Dutta

The ‘International Fellowship in South Asian Audiovisual Heritage: Preservation, Research and Engagement’ is a collective endeavour, involving the exchange and sharing of resources of two audiovisual archives - the British Library Sound Archive and the Archives and Research Center for Ethnomusicology American Institute of Indian Studies (ARCE), India. It aims to facilitate the exchange of knowledge of archival practices and of collections, or information about collections, held in each location. A particular objective is to exchange historical recordings made in the first decades of the 20^th Century on wax cylinders, and to make them accessible for users at both the archives.

In India, ARCE is one of the pioneers of audiovisual archiving. It was established in 1982, with a vision to bring together the recorded collections of music and oral traditions of South Asia. It has collections of field and published recordings, voluntarily deposited or donated by foreign and Indian scholars and institutions, which are preserved in climate controlled storage and made available for users in a well-equipped listening and viewing room. It has recording, transferring and audio and video archiving facilities, across different technologies and formats. It follows global standards of preservation in audio and video formats in the digital era.

Since I began my fellowship in March, I have had the opportunity to explore various South Asian collections, specially the recordings made in India, and to become familiar with the workflows of the British Library Sound Archive. This fellowship has also been instrumental in providing the opportunity to contribute to the Library’s major digitisation programme, the Save Our Sounds Unlocking Our Sound Heritage project. As part of my contribution I have created collection preparation documents for 11 South Asian collections, which have been prioritised for digitisation.  

M. Umashankar in the audio lab at ARCE

I have also been involved in the cataloguing process of both the field and published recordings in the World and Traditional Music section of British Library Sound Archive, creating catalogue entries, working with newly acquired collection items and dealing with born-digital collections. These experiences have been a brilliant learning opportunity for me as Rutherford Fellow. The project has also allowed me to compare, develop and share approaches towards making sound heritage accessible for wider dissemination.

During the Fellowship I have had the opportunity to attend various training courses, ranging from metadata creation to developing dissemination processes. Through these I have learnt something of the tools and practices that will be applicable at various stages of audiovisual archiving in future. The Fellowship has also made it possible for me to visit related institutions and exhibitions in and around London, and to meet scholars of various disciplines - archivists, museum curators, ethnomusicologists, etc. These meetings and discussions have immensely influenced my thought processes involving audiovisual archiving in relation to ethnomusicology.

Another component of the project has been the engagement of two Collections Assistants, one at the British Library Sound Archive (Christian Poske) the other at ARCE in India (Dr Divya Shrivastava). The assistants have contributed towards the preparation of the recordings shared between the two archives, exchanging knowledge around respective cataloguing formats, and developing a model for the classification and cataloguing of musical instruments. Both the Collections Assistants have had the opportunity to make short visits to the partner archives, thereby having hands on experience of archival processes in both institutions.  

Dr Janet Topp Fargion (Lead, Curator of World and Traditional Music, centre) with Collections Assistants Christian Poske and Divya Shrivastava during her visit to the British Library  

One of the most useful outcomes of the sharing of recordings between our two audiovisual archives will be the wider level of dissemination, particularly where users cannot visit the actual site where the recordings are preserved. The project will make information and expert knowledge of ARCE collections available for the first time to British Library users and audiences in the UK. In India, on the other hand, where ARCE is one of the primary research centres for ethnomusicology, being able to provide access to British Library collections will be of great value to users – a mixture of Indian and international scholars.

Thus the Rutherford Fellowship has facilitated a substantial international collaboration between the British Library and the ARCE. This has enabled the Library to share resources preserved in London with the region of origin. At the same time detailed knowledge held at the ARCE, for example of particular instruments and instrument classification systems, will allow these resources to be more usefully described and discovered. We thank our funders for helping to create this new pathway for the circulation of knowledge among the institutions, building a bridge between the archives and their users. 

 

Follow @BL_WorldTrad, @BLSoundHeritage and @soundarchive for all the latest news.