Category Archives: Audio Archive

Welcome to the Public Domain in 2025

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Image credit: Montage of materials moving into the public domain in 2025. Duke Law Center for the Study of the Public Domain.

Celebrate the public domain with the Internet Archive in the following ways:

  • Register for our Public Domain Day celebrations on January 22 – both virtual and in-person.
  • Submit a short film to our Public Domain Film Remix contest.
  • Explore the works that have entered the public domain in 2025, below.

On January 1, 2025, we celebrate published works from 1929 and published sound recordings from 1924 entering the public domain! The passage of these works into the public domain celebrates our shared cultural heritage. The ability to breathe new life into long forgotten works, remix the most popular and enduring works of the time, and to better circulate the oddities we find in thrift stores, attics, and on random pockets of the internet are now freely available for us all.

While not at the same blockbuster level as 2024 with Steamboat Willie’s passage into the public domain, works from 1929 still inhabit strong cultural significance today. The works of 1929 continue to capture the Lost Generation’s voice, the rise of sound film, and the emerging modern moment of the 1920s. 

Musical Compositions

Show tunes and Jazz dominated the year with many standards that we remember today first being published. While best known for the 1952 film of the same name, Singin’ in the Rain was first published in 1929 and serves as the inspiration for our remix contest this year. George Gershwin also officially published (and copyrighted) his suite An American in Paris following a premiere in late 1928.

Below is sheet music for some popular compositions of the time.

Literature

Reflections on World War I continued with A Farewell to Arms by Ernest Hemingway, the first English translation of All Quiet on the Western Front, and Richard Aldington’s Death of a Hero. William Faulkner published his modernist novel The Sound and the Fury. A. A. Milne followed up 1928’s The House at Pooh Corner by adapting The Wind in the Willows into the play Toad of Toad Hall. Detective fiction thrived in 1929, with The Maltese Falcon serialized in Black Mask, Agatha Christie captivating readers with The Seven Dials Mystery, and the first Ellery Queen novel, The Roman Hat Mystery, making its debut. Explore our 1929 periodicals to find more hidden detective gems.

While not a towering work of literature, the first set of comic strips featuring Popeye also are joining the public domain. Popeye first made an appearance in Thimble Theatre on January 17, 1929. Initially just a side character for an adventure arc featuring gambling and sailing, Popeye rose quickly to fame. By February 4, 1931 the Thimble Theatre would feature a subtitle, Starring Popeye, before being renamed just Popeye later on.

Below is a further selection of works from the year:

Dive into Archive’s literary collection to unearth more classics from 1929.

Films

Last year Mickey Mouse made a splash with Steamboat Willie cruising into the public domain. This year TWELVE more Mickey shorts join to flesh out the notable events of Mickey’s young career. He speaks his first words in The Karnival Kid, he wears gloves for the first time in The Opry House, and Ub Iwerks leaves the studio at year’s end with Wild Waves. Disney animation also kickstarted their Silly Symphonies series with the haunting tales The Skeleton Dance and Hell’s Bells.

In 1929, if your film wanted to have any attention it needed sound. Musical films were everywhere with The Broadway Melody winning the second ever Best Picture award at the Oscars, The Hollywood Revue introducing the world to “Singin’ in the Rain”, and the Marx Brothers making their big screen debut with The Cocoanuts.

Below is a list of more significant films from the year:

Our film remix contest is ongoing until January 17, 2025, so please upload your submissions! Read more here.

Additional resources

In honor of Public Domain Day, this post is published with a CC0 Waiver dedicating it to the public domain.

Celebrate the Public Domain with the Internet Archive

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On January 1, 2025, creative works from 1929 and sound recordings from 1924 will enter the public domain in the US.

1929 marked the last gasp of the roaring 20s and ushered in the Great Depression, a major economic crisis that would span the next 12 years. One thing we can see nearly a century later is that, in good times and bad, human creativity, knowledge, and culture persist. That year, Virginia Woolfe published her groundbreaking essay, “A Room of One’s Own,” advocating for female freedom of expression. The Museum of Modern Art (MoMA) opened in New York City, featuring the works of Van Gough, Cezanne, and Gauguin. Major movie studios put out not one, but two musicals starring all Black casts: “Halleluja” and “Hearts of Dixie.” Disney continued the Mickey Mouse trend with a dozen new animated shorts. And of course famous songs like “Puttin’ on the Ritz” and “Singin’ in the Rain” topped the charts.

Celebrate the public domain with us:

1. Creators: Enter the Public Domain Film Remix Contest

We invite filmmakers and artists of all skill levels to celebrate the public domain by creating and uploading 2–3 minute short films to the Internet Archive! Top entries will be awarded prizes up to $1,500. Contest details.

2. Virtual Celebration: January 22nd @ 10am PT

Join us on January 22 to get “that glorious feeling” of singin’ in the public domain! We’ll have an amazing virtual lineup of academics, librarians, musicians, artists and advocates coming together to celebrate this new class of works being free for everyone to enjoy. Register now!

3. In-Person Celebration: January 22nd @ 6pm PT

Please join us at our headquarters in San Francisco for a Celebration of the Public Domain! This year, we’re honoring 1929 — the year of the very first Academy Awards, held at the historic Roosevelt Hotel in Hollywood, CA. Put on your finest attire and get ready for an award-worthy evening. Register now!

4. Explore the public domain

Check out our recent post for links to the newly opened public domain resources at the Internet Archive.

Additional resources

  • Learn more about what’s moving into the public domain in 2025 from Jennifer Jenkins and James Boyle of Duke Law’s Center for the Study of the Public Domain.
  • Public Domain Review has a festive countdown to 2025.
  • Interested in what’s happening with the public domain in Europe? Communia is hosting a one-day event on January 9 in Brussels.

Top Ten Most Popular Grateful Dead Recordings at the Internet Archive

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By Herb Greene – Billboard, page 9, 5 December 1970, Public Domain, https://commons.wikimedia.org/w/index.php?curid=27041998

As the Grateful Dead are honored at the Kennedy Center Honors broadcast on Sunday (airing December 22 at 8:30pm ET on CBS & streaming), we’re celebrating their legacy with a look at the top ten most popular recordings in the Internet Archive’s Grateful Dead collection. Home to over 17,000 live recordings spanning decades of performances, this collection reflects the band’s rich history, their loyal taper community, and the boundless creativity of their legendary shows. From mesmerizing jams to unforgettable setlists, these recordings represent the enduring magic of the Dead—and the timeless connection between the band and their fans. Listen in and rediscover the music that has kept the Grateful Dead’s spirit alive for generations:

Top Ten Grateful Dead Live Recordings at the Internet Archive

  1. Grateful Dead Live at Barton Hall, Cornell University on 1977-05-08 (1.3M views)
  2. Grateful Dead Live at Robert F. Kennedy Stadium on 1973-06-10 (1.2M views)
  3. Grateful Dead Live at Dane County Coliseum on 1973-02-15 (1.0M views)
  4. Grateful Dead Live at The Centrum on 1987-04-03 (782k views)
  5. Grateful Dead Live at Boston Garden on 1977-05-07 (772k views)
  6. Grateful Dead Live at Swing Auditorium on 1977-02-26 (741k views)
  7. Grateful Dead Live at Buffalo Memorial Auditorium on 1977-05-09 (704k views)
  8. Grateful Dead Live at Hollywood Palladium on 1971-08-06 (555k views)
  9. Grateful Dead Live at Soldier Field on 1995-07-09 (551k views)
  10. Grateful Dead Live at Barton Hall – Cornell University on 1977-05-08 (545k views)

Eagle-eyed viewers will notice that the legendary concert at Barton Hall, Cornell University, on May 8, 1977 appears twice on the list. The collection often features multiple recordings of the same show by different tapers from different vantage points in the crowd. A note on #10 indicates that recording was made “10 Feet From Stage=Great Instrement [sic] Pickup.”

Learning from Cyberattacks

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The Wayback Machine, Archive.org, Archive-it.org, and OpenLibrary.org came up in stages over the week after cyberattacks with some of the contributor features coming up over the last couple of weeks.  A few to go.  Much of the development during this time has been focused on securing the services so they can still run while attacks continue.  

The Internet Archive is adapting to a more hostile world, where DDOS attacks are recurring periodically (such as yesterday and today), and more severe attacks might happen. Our response has been to harden our services and learn from friends. This note is to share some high level findings, without being so detailed as to help those that are still attacking archive.org.

By tightening firewall technologies, we have changed how data flows through our systems to improve monitoring and control. The downside is these upgrades have forced changes to software, some of it quite old. 

The bright side is this is forcing upgrades that we have long planned or hoped for.  We are greatly helped by the free and open source community’s improving tools that can be used by large corporations as well as non-profit libraries because they are freely available.

Also, some commercial companies have offered assistance that would generally be prohibitively expensive.  We are grateful for the support.

Where the Internet Archive has always focused on building collections and preserving them, we have been starkly reminded how important reliable access is to researchers, journalists, and readers. This is leading us to install technical defenses and increase staff to improve service availability.

Libraries in general, and the Internet Archive in specific, have been under attack for many years now.  For us it started with the book publishers suing (about lending books), and now the recording industry (about 78rpm records), which is a drain on our staff and financial resources. Now recurring DDOS attacks distract us from the goals of preservation and access to our digital heritage.

We don’t know why these attacks have started recently and if they are coordinated, but we are building defenses.

We are grateful for the support from our patrons, through social media, through donations, and through offers of help, which frankly, makes it worthwhile to keep building a library for all of us.

– Brewster Kahle

Internet Archive Services Update: 2024-10-17

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[Washinton Post piece]

Last week, along with a DDOS attack and exposure of patron email addresses and encrypted passwords, the Internet Archive’s website javascript was defaced, leading us to bring the site down to access and improve our security. 

The stored data of the Internet Archive is safe and we are working on resuming services safely. This new reality requires heightened attention to cyber security and we are responding. We apologize for the impact of these library services being unavailable.

The Wayback Machine, Archive-It, scanning, and national library crawls have resumed, as well as email, blog, helpdesk, and social media communications.  Our team is working around the clock across time zones to bring other services back online. In coming days more services will resume, some starting in read-only mode as full restoration will take more time. 

We’re taking a cautious, deliberate approach to rebuild and strengthen our defenses. Our priority is ensuring the Internet Archive comes online stronger and more secure.

As a library community, we are seeing other cyber attacks—for instance the British Library, Seattle Public Library, Toronto Public Library, and now Calgary Public Library. We hope these attacks are not indicative of a trend.

For the latest updates, please check this blog and our official social media accounts: X/Twitter, Bluesky and Mastodon.

Thank you for your patience and ongoing support.

Vanishing Culture: On 78s

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The following guest post from audio preservation expert George Blood is part of our Vanishing Culture series, highlighting the power and importance of preservation in our digital age.

Thomas Edison produces the first machine that can record and playback sound in 1877. The flat disc is first patented in 1888. The concept is very simple: a sound wave is captured on the record as a physical wave in the disc, most often shellac (the shell of the lac beetle). Most discs spin at approximately 78 rpm, hence the name 78s. Other speeds, such as 80, 90 and 100 rpm are not uncommon. In addition to speed, the equalization and stylus size varies – either to improve the sound or to dodge someone else’s patent. In the 1950s they slowly give way to the LP or microgroove record, though in some parts of the world they remain common well into the 1960s.

Why is it important to preserve 78rpm discs?

The cultural record of the 20th century is different from all other periods of human history by the presence of audiovisual recordings. Prior to 1877, there was no way to record the sound of a nursery rhyme being read at bedtime, a musical or theatrical performance, or the world around us. During the ensuing 147 years, formats came and went as technology and preferences changed. Yet for nearly half that time, 78rpm discs were the way we learned about each other and entertained the world. It was a time when the world became a much smaller place. The invention of the automobile and the airplane, the expansion of the railroads, the telephone and radio, to the dawn of the space age, 78s were there. Through 78s, we could hear traditional music from Hawaii long before it was a state. American popular music – jazz, fox trot, big bands, even the Beatles – spread out across the globe, well ahead of Hollywood, and long before television. A thousand people might attend a concert, a theater performance, a speech, or a dramatic reading by Charles Dickens. With the 78, it became possible for those experiences to be shared and repeated, and spread far and wide, not once and done.

The period of 78s doesn’t just parallel other historical developments. The sounds on 78s document cultural norms, performance practices, tastes, and the interests of people who, after centuries of drudgery and lives spent in the fields and hard labor, finally had free time. My mother liked to remind me that nothing tells you more about a person than what makes them laugh. The comedy routines and lyrics give us a window into a time when groups of people were preyed upon, disparaged, and disrespected in stereotypes and bigotry, which shines a mirror on how we can still do better to our fellow beings. We hear the buoyant sounds of the roaring ‘20s, a happy, hopeful time, of liberation and greed. Music borne of the heavy hand of oppression and poverty that conveys gospel, blues, and gives us jazz—all quintessentially American. On 78s, we can hear and learn of the other peoples of the world: of ragas and gamalans, performers who do not traverse great oceans, the cultures of foreign lands we could only read about. We can feel the despondency of the Great Depression in the songs that empathize with the struggles of a nation. Through 78s we can hear firsthand accounts of the attack on Pearl Harbor, the angry, vile speeches of dictators, the songs that inspired a once divided nation to pull together in a common cause against evil, to fight for peace for our time, for days that will live in infamy. Bursting out of the war to end all wars, big bands, swing, then rock n’ roll. It makes one long to hear Bach play the organ, Mozart play the piano, Paganini play the violin, or Orpheus beg for the turn of Euridice, and know, that if we preserved these 78rpm recordings, future generations will understand our joys and pains, to have a window, through sound, into the arc of history, the slow advance of progress of the human condition.

To remember half of recorded history, it is important to preserve 78rpm discs.

About the author

George Blood is an expert in the audio and video preservation industry.

Coming this October: The Vanishing Culture Report

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This October, we are publishing The Vanishing Culture Report, a new open access report examining the power and importance of preservation in our digital age. 

As more content is created digitally and provided to individuals and memory institutions through temporary licensing deals rather than ownership, materials such as sound recordings, books, television shows, and films are at constant risk of being removed from streaming platforms. This means they are vanishing from our culture without ever being archived or preserved by libraries.

But the threat of vanishing is not exclusive to digital content. As time marches on, analog materials on obsolete formats—VHS tapes, 78rpm recordings, floppy disks—are deteriorating and require urgent attention to ensure their survival. Without proper archiving, digitization, and access, the cultural artifacts stored in these formats are in danger of being lost forever.

By highlighting the importance of ownership and preservation in the digital age, The Vanishing Culture Report aims to inform individuals, institutions, and policymakers about the breadth and scale of cultural loss thus far, and inspire them to take proactive steps in ensuring that our cultural record remains accessible for future generations.

Share Your Story!

As part of the Vanishing Culture report, we’d like to hear from you. We invite you to share your stories about why preservation is important for the media you use on our site. Whether it’s a website crawl in the Wayback Machine, a rare book that shaped your perspective, a vintage film that captured your imagination, or a collection that you revisit often, we want to know why preserving these items is important to you. Share your story now!

TV Historian Relies on Internet Archive for Teaching and TikTok

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Whether Taylor Cole Miller is assigning a project for his communication studies classes or putting together a video for TikTok (@tvdoc), this TV historian says he appreciates tapping into vintage video and audio material from the Internet Archive.

The vast collection of old radio and television shows available at archive.org has allowed his students to analyze the early days of broadcasting and inform their work, says Miller, an assistant professor of media studies at the University of Wisconsin-La Crosse. While the wide variety of materials help students understand the breadth of media history, one item in particular has become an indispensable part of Miller’s curriculum: On September 21, 1939, CBS affiliate WJSV was asked by the National Archive to record an entire day of radio programming — a gem now for students to get a glimpse at 19 hours of news, soap operas, and commercials that aired.

Listen to Complete Broadcast Day (1939) at the Internet Archive

“What you get is basically everyday radio, which you wouldn’t normally have access to,” Miller said of the resource available through the Internet Archive. “It’s a real opportunity for my students to listen and get a sense of what broadcasting was like.”

What his students hear that day is Franklin Roosevelt addressing the U.S. Congress about the proposed revision to the country’s Neutrality Act in WWII. Students are exposed to racism in the dramas, and ways advertisers were influencing people to buy products from Alka-Seltzer to Mounds candy bars. 

At the time, federal regulations mandated and enforced balanced coverage of news — rules like the Mayflower Doctrine and its predecessor the Fairness Doctrine, which President Ronald Reagan eliminated in 1987. This provides an important lesson in navigating today’s media landscape. “Getting them to experience what news was, in order to understand what news is, is also broadly useful,” said Miller, who is director of the university’s Communication and Media Lab. 

Just as an English professor needs books to teach, Miller said, he relies on the artifacts at the Internet Archive to show his students different samples of media over time. Miller’s students review episodes of The Shadow and listen to War of the Worlds to discuss media literacy as the supposed panic from the fictional radio show about a Martian invasion was more likely newspapers perpetuating a myth to delegitimize radio news.

Miller also teaches digital media production, where students make their own podcasts, and the historic audio can demonstrate techniques of storytelling, the power of sound effects, and the influence of advertising on the process. Students choose events to research and make their own radio dramas or TikToks.

Miller said he finds students invest more time in the research and production of assignments that are posted for the public since they know they will be seen by a wider and more critical audience.

That reach is also why Miller himself has been active on TikTok since 2021. As @tvdoc, Miller regularly creates 3–6 minute videos about everything from coverage of the O.J. Simpson car chase to behind-the-scenes tales from the classic sitcom, Bewitched. Miller said he likes to introduce viewers to publicly available resources so they can discover more about TV history on their own.

“The Internet Archive provides opportunities for amateur researchers to make a difference in our understanding of media history — and that is so critically important, particularly for local or syndicated television,” Miller said.

Miller’s TikTok audience includes other academics, fans of early TV, and the public at large.

“I think of it as an extension of my teaching,” Miller said. “I’m providing an opportunity to show the nuance of media history as it relates to American cultural history.”

Miller hopes his efforts bring needed attention to the role of preserving and analyzing media history. He was recently asked by the U.S. Library of Congress and its National Radio Preservation Task Force to promote the work of scholars in this field.

“Teaching the public is not only rewarding, personally, but it’s important for helping expand media literacy,” Miller said.

New Audiobook Anthology Highlights Public Domain Folktales from 1928

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After Laura Gibbs retired from teaching mythology and folklore at the University of Oklahoma, she wanted to continue sharing her love of storytelling with digital learners everywhere. Following her own passion for making folk stories as accessible to all as possible, she began volunteering with a nonprofit that produces free audio books for the public.

Gibbs, who now lives in Austin, devotes one to two hours each day to recording and reviewing audio for LibriVox, a volunteer community of readers who record free public domain audiobooks. Her most recent project involved finding folktales, fairy tales and mythology in the Internet Archive that were recently released into the public domain to compile an anthology, “Tales from 1928,” available to read at Internet Archive or listen via LibriVox.

Tales of 1928: Listen | Read

Gibbs selected short stories from 20 books that were published in 1928, as those works are now in the public domain in the U.S. and can be shared, remixed and reused without copyright restrictions. In curating her collection, she was thoughtful about how to remix the creative works in a package that would appeal to listeners. 

“The variety of folktales and fairy tales in the world is just enormous. So many think it begins and ends with the Brothers Grimm,” said Gibbs, of the German folklorists. “My number one goal was to have worldwide coverage—stories not just from Europe, but also from Africa, the Middle East, South Asia, East Asia, and the Americas.”

Overall, Gibbs has recorded nine books of African folktales with more than 200 stories available for listening here.

Gibbs also wanted stories with accessible language—not too many old fashioned “thee” or “thou” references. Once she decided on the line up, she invited people to record each story, and was pleased with the response from new and experienced readers to volunteer for the project.

In addition to producing the anthology, Gibbs “proof listens” to book chapters by other readers before they are shared with the LibriVox community. The work involves careful attention to detail—listening for background noise (a car honking, phone ringing, etc.) or misspoken words. Gibbs flags the noise by marking the exact time, which she then reports back to the readers for re-recording.

Gibbs said she’s enjoyed the range of materials she gets to review. “It’s fun discovering weird, random stuff in the public domain,” she said. Her proof listening projects are listed here.

Bambi: A Life in the Woods: Listen

Recently, Gibbs proof listened to the English translation of the 1928 classic, “Bambi: A Life in the Woods,” by Felix Salton, translated by Whittaker Chambers. “The book is fantastic, and the reader is the best…she performed all the different voices of the animals and even the individual fawns,” she said. “If anybody wants something beautiful and inspiring to listen to, it’s now available at LibriVox and also at the Internet Archive, where LibriVox hosts all its audio files.” 

Gibbs plans to continue creating audio folktale anthologies by year. She’s already started on works from 1927. She added: “For the rest of my life, we are going to have new content entering the public domain, year by year, so I’ll keep going.”

For more on Gibbs’s curation of African folk tales see: Library as Laboratory Recap: Curating the African Folktales in the Internet Archive’s Collection | Internet Archive Blogs

For more on the public domain works from 1928, see: Public Domain Day Celebrates Creative Works from 1928 | Internet Archive Blogs

Essential Music Concerts From Home: The Variety

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In early March 2020, much like the rest of the United States, the staff of the Internet Archive transitioned to fully remote work in anticipation of the prolonged pandemic. This change was monumental and, like all workplaces, we discovered the challenge of sustaining a feeling of connection, morale, and joy within the team.

Recognizing this challenge, our Director of Media & Access, Alexis Rossi, came up with a creative solution. It was already part of our workplace culture to have two weekly all-staff meetings—one at 10am PT Monday morning, and another at Friday lunch. As everyone moved to joining those meetings from home, Alexis began hosting short concerts before them by performers, particularly musicians, to uplift our team’s spirits. These concerts provided not only entertainment, but also a means of keeping our team engaged and the performers booked during uncertain times.

The initiative began with a performance by Alexis’s friend, Jefferson Bergey, whose talent for musical theater and captivating stage presence set the stage. At the time, we envisioned organizing these concerts for just a few months, as none of us could predict the duration of the pandemic.

Fast forward several years and our work world has undergone a profound transformation. Encouraged by the overwhelmingly positive response from our now mostly remote staff, we decided to continue the program, thus giving birth to “Essential Music Concerts From Home.” As we approach our fourth anniversary in April, we reflect on how this simple yet impactful idea has helped sustain our remote workplace culture through the years. We thought it would be fun to offer you a glimpse into some of the unique musical encounters enjoyed by the Internet Archive staff with some exceptionally talented musicians.

Jefferson Bergey

Jefferson Bergey is a professional musician and cherished figure in the Bay Area, known as “Fun for Hire.” His musical style epitomizes versatility, adapting to any desired vibe or genre with ease. Drawing from the rich foundations of jazz, blues, pop, folk, bluegrass, and rock, his songs are crafted with a distinct flair for musical theater. He is such a popular Bay Area performer, there’s even a burger named after him.

Jeanie & Chuck Poling

Jeanie & Chuck Poling have been making music together since 1982. Their act, Jeanie and Chuck’s Country Roundup, specializes in honky tonk and bluegrass tunes played on acoustic instruments. Their performances are known for blending music, humor, and showmanship to entertain audiences. Additionally, Chuck has served as the emcee at the Rooster Stage at Hardly Strictly Bluegrass since 2012.

Joliet

Joliet, hailing from Kansas City, is an independent singer/songwriter and live music streamer. Her vocal style is both distinctive and commanding. With her bold and expansive sound, Joliet offers up heartfelt and captivating charm. She plays live on platforms such as Smule and Twitch, where she has introduced her original compositions to audiences worldwide.

Ben Cosgrove

Ben Cosgrove is a nomadic composer, pianist, and multi-instrumentalist rooted in northern New England. Across his artistic journey, Ben’s compositions and performances have been shaped by his profound fascination with landscape, geography, place, and the environment.

Cello Joe

Cello Joe, also known as Joey Chang, defies convention within the realm of cellists. Cello Joe combines the cello with beatboxing, vocals, and live looping to create a unique fusion. His performances blend classical music with hip hop elements, showcasing his ability to generate rhythmic beats using both his cello and vocal talents in real-time. He is known for being the “Wildest Beatboxing Cellist in the West”.

Glitterfox

Glitterfox is a Portland Oregon based band. At the heart of Glitterfox are the band’s songwriters and frontpersons, the married couple Solange Igoa and Andrea Walker. Drawing from their personal struggles and experiences as queer, neurodivergent individuals, they infuse their songwriting with raw emotion. They imbue their music with a passion for Americana, grunge, and dance genres.

Rob Reich

Rob Reich epitomizes the essence of the San Francisco music scene, serving as a cornerstone of its vibrant underground community. Renowned for his eclectic style, he blends robust melodic concepts, rhythmic dynamism, and a penchant for irreverence and innovation. 

Please note that these recordings were conducted via Zoom, which often leads to lower fidelity audio quality. For a more immersive experience, we encourage you to explore these artists further on their respective websites.

If you would like to perform for one our 10 minute concerts please contact bz@archive.org.