World Records: Musician, Presenter, and Moderator Bios

Bruce Bollerud was born on a farm near Hollandale, Wisconsin, to Orville and Selma Venden Bollerud, both descendants of Norwegian immigrants. Bruce grew up in a musical house: his mother played piano and there were house parties where local musicians (usually some combination of fiddle, button accordion, and guitar or banjo) played waltzes, schottisches, polkas, and two steps. His father bought him a second-hand Bandoneon when he was 10 or 12. He played with local fiddlers Herman Erickson and Johnny Homme, the Roger Bright polka band, and the Dick Sherwood T.V. band. He was a member of the Goose Island Ramblers for nearly 40 years, and was also a member of the Goodtime polka band that played at the Essen Haus German restaurant for 24 years. He still loves playing.

Jeanette Casey has worked with fabulous historic recording collections throughout her career in music librarianship.  These include the Jacobson Collection of Recorded Sound, with 100,000+ American 78rpm discs; the Chicago Blues Archives, documenting the famous and obscure; and the ethnic-American 78s and Wisconsin field recordings at UW-Madison.  These have all been great fun – and a source of great frustration – in collecting, preserving, describing and connecting these wonderful resources to patrons.  A Master’s degree in Library Science with a specialty in music librarianship, a Master’s degree in Musicology and numerous workshops on copyright have helped in coping.  Colleagues, on the job training and professional experience, first as Recorded Sound Librarian and Assistant Head of the Music Information Center, Chicago Public Library; then Public Services Librarian at the Music Library of Northwestern University and now Head of Mills Music Library, UW-Madison, have proven most beneficial.

Tom Caw has been the Music Public Services Librarian at Mills Music Library since 2008. He is a member of the Music Library Association, currently serving as Sound Recording Reviews Editor of Notes: Quarterly Journal of the Music Library Association. He is a member of the Midwest Popular Culture Association/American Culture Association, serving as Area Chair for Libraries, Museums, and Collecting since 2004. He is also a member of the International Association for the Study of Popular Music, US Branch.

Jessica Courtier earned her PhD in musicology from the University of Wisconsin-Madison, where she teaches music and is the Assistant Director of the Mayrent Institute for Yiddish Culture. Her research interests focus on twentieth-century music, American music, and vernacular culture, sometimes all rolled into one. She is also an aspiring accordionist.

Ken Frazier served as the Director of the UW-Madison Libraries for nineteen years and as a proud member of Wisconsin’s library staff for more than thirty years.

As director he “stood on the shoulders of giants” in advancing UW’s standing as one the ten largest and greatest public university libraries in North America.  During his tenure Wisconsin developed a world class collection of digital and online materials, most of this content being freely accessible to students and scholars via the Internet.

Ken was also directly involved in working with donors who distinguished Wisconsin’s research holdings by entrusting the University of Wisconsin with their irreplaceable personal collections of specialized materials. Most notable among these are:

The Albert Collection on Optics and the Eye;
The Cole Chemistry Collection; and
The Mayrent Collection of Yiddish Music and Related Research Materials

Ken is currently preparing for a second thirty-year career, this time as a street busker, intending to travel the whole wide world with his constant canine companion Ollie the Singing Dog.

Shubha Ghosh earned his BA in History and Economics from Amherst College, his PhD in Economics from Michigan, and his JD from Stanford.  He writes, teaches and practices in all aspects of intellectual property law and is especially interested in the connections among intellectual property, technology transfer, and innovation.  He has written nearly a hundred articles and book chapters and several books, including the recent Identity, Invention, and the Culture of Personalized Medicine Patenting (Cambridge 2012).

Janet C. Gilmore: Associate Professor, Folklore and Landscape Architecture, University of Wisconsin-Madison; MA, PhD, Folklore, Indiana University; member, American Folklore Society Libraries and Archives Section. Gilmore has led Center for the Study of Upper Midwestern Cultures award-winning archiving project teams since 2002 in identifying, cataloging, and making accessible in searchable online formats, the past forty years of publicly-funded folklife documentary collections produced in the Upper Midwest. She is active in similar national developments with the American Folklore Society and the Preserving America’s Cultural Traditions collective of private and public non-profit folklore organizations. She presently directs CSUMC’s participation in testing the NEH-funded National Folklore Archiving Initiative’s open-access online resource that will provide searchable information about folklore archival collections in the United States. She brings a distinctive perspective to these processes as a folklorist who has often co-created ethnographic documentation in these collections, and relied on it for research and public programming.

Nancy Groce, Senior Folklife Specialist and Acting Head of Research and Programs at the Library of Congress‚Äôs American Folklife Center, is an ethnomusicologist, folklorist, and historian specializing in the study of American music, occupational folklore, and urban culture. She has authored numerous books and articles on folklore, music, musical instrument-making, history, and folklore. Her most recent publication, Lox, Stocks, and Backstage Broadway: Iconic Trades of New York City (Smithsonian/Rowman Littlefield, 2010), focuses on urban occupational folklore.¬† Previously employed by such notable institutions as the Smithsonian, the New York Council for the Humanities, and the Metropolitan Museum of Art, her responsibilities at the Library of Congress include directing the Benjamin Botkin Lecture Series and curating symposia, including 2012’s ‚ÄúThe Stations That Spoke Your Language:¬† Radio and the Yiddish American Cultural Renaissance.‚Äù

Robert Glenn Howard is Professor of Communication Arts, Director of Digital Studies, and Director of the Folklore Program. He is also editor of the journal Western Folklore. Most broadly, his research seeks to uncover the possibilities and limits of empowerment through everyday expression in network communication technologies by focusing on the intersection of individual agency and participatory performance. He combines communication theory, critical cultural theories, and theories of performance and performativity with network graphing methods as well as more traditional ethnography. Howard is the author of over 30 academic articles and has published three books:  Digital Jesus (New York University Press, 2011), Network Apocalypse (Sheffield University Press, 2011), and Tradition in the 21st Century (Utah State University Press, 2013).

Sally Jacobs has two degrees from the UW-Madison: A Bachelor’s in History & Anthropology and a Master’s in Library Science with a Specialization in Archives Management. Her career includes stints at American Girl, the Library of Congress Prints and Photos Division, the Dictionary of American Regional English as well as the Wisconsin Historical Society Archives where she currently works as Audio & Accessioning Archivist.

Jim Leary is a professor of Folklore and Scandinavian Studies at UW-Madison where he directs the Center for the Study of Upper Midwestern Cultures and co-edits Journal of American Folklore. A frequent consultant for the Library of Congress, the National Endowment for the Arts, the Smithsonian Institution, and independent filmmakers, Leary has produced more than 150 documentary CDs and public radio programs, along with scores of publications regarding North America’s traditional music and its Old World connections. His Polkabilly: How the Goose Island Ramblers Redefined American Folk Music was awarded the 2007 Chicago Folklore Prize for the best book in the field.

Bill C. Malone is a retired professor of history from Tulane University in New Orleans. He wrote the first academic history of country music (Country Music, USA, pub. in 1968 and later revised). He is also the author of “Southern Music/American Music”: “Don’t Get Above Your Raising: CountryMusic and the Southern Working Class”‘; and “Music from the True Vine: Mike Seeger’s Life and Musical Journey”). Malone now lives with his wife Bobbie in Madison, Wisconsin, where he is the host of a radio show, “Back to the Country,” which is broadcast each Wednesday morning from 9 to noon.

Richard March is a leading public folklorist having served more than a quarter century as the state folk arts specialist for Wisconsin. He earned a Ph.D. in Folklore from Indiana University. For fourteen years he shared his deep knowledge of the traditional and ethnic music traditions of the Midwest on Wisconsin Public Radio’s “Down Home Dairyland” program. He has a lifelong familiarity with the tamburitza tradition, raised in the Croatian-American communities of Chicago and Los Angeles.

Sherry Mayrent has been the Associate Director of KlezKamp, the Living Traditions Yiddish Folk Arts program, since 2001. For 16 years, she was the clarinetist and musical director of the Wholesale Klezmer band, before turning her attention to amassing the Mayrent Collection, the largest and most comprehensive private collection of Yiddish and Hebrew 78rpm commercial recordings, which she is in the process of digitizing and donating to the Mills Music Library at the University of Wisconsin at Madison. She is also a record producer and a prolific composer of traditional klezmer tunes, and has published several books of klezmer charts, as well as creating a volume of traditional klezmer styles for PG Music’s auto-accompaniment program, “Band in a Box.” Her passion for traditional Yiddish culture is equaled only by her passion for traditional Hawaiian culture.

Anne Pryor, Folk and Traditional Arts Specialist with the Wisconsin Arts Board, uses that position to advance recognition of and support to Wisconsin’s traditional arts and artists. She directs the Folk Arts Apprenticeship Program and the Midwest Folklife Festival, and co-directs Wisconsin Teachers of Local Culture. She is an Honorary Fellow in the UW-Madison Folklore Program.

Anna Rue is a PhD candidate in the Department of Scandinavian Studies with a concentration in Folklore. In 2010 she participated in the Norwegian American Folk Music Project under the direction of Jim Leary and with major funding from the Folk Arts Program of the National Endowment for the Arts, which resulted in the Norwegian American Folk Music Portal, an online guide to Norwegian American music collections, organizations, and practitioners. Anna is currently writing her dissertation on Norwegian American folk music in the Upper Midwest from the height of the folk music revival to the present.

Henry Sapoznik is an award winning author, radio and record producer and performer of traditional Yiddish and American music. He founded “KlezKamp: The Yiddish Folk Arts Program,” is the Director of the UW-Madison Mayrent Institute for Yiddish Culture, and is the Executive Director of Living Traditions. He is a five-time Grammy nominee and the author of Klezmer! Jewish Music from Old World to Our World, which won the 2000 ASCAP Deems Taylor Award for Excellence in Music Scholarship.

In addition to his work with Yiddish culture, he is Vice President of Piedmont Folk Legacies the organization which runs the annual Charlie Poole Music Festival and the forthcoming National Banjo Museum and Center in Eden, North Carolina.

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