text:
Talk:Angel (1999 TV series)

Opening credits
There are a few whispered words (in a woman's voice) to the end of the opening credits, pretty much throughout the whole series. Unfortunately I don't understand what they are. Can anyone shed some light on that? Thanks. -- 79.192.208.104 (talk) 22:59, 9 March 2009 (UTC)

I think its probably the voice of one of the members of band Darling Violettas. The voice is heard more in the complete version Giogiotavares (talk) 23:26, 10 October 2015 (UTC)

Articles for deletion/List of Buffyverse objects closing in a few hours
FYI Ikip (talk) 12:42, 11 April 2009 (UTC)

plot summary mess
The plot summary badly needs cleaning up, or cutting out altogether. I mean take this sentence:

"She arrives in our world through manipulation of Cordelia and Connor, using them as a conduit into our world"

Who would ever know from this sentence that Jasmine was the child of Connor and Cordelia, born as the result of a Rosemary's-Baby type plot? CharlesTheBold (talk) 03:14, 21 June 2009 (UTC)

Angels?
Is there an article about mythological and biblical angels? —Preceding unsigned comment added by 67.48.17.47 (talk) 02:22, 4 July 2010 (UTC)

 * Did you try angel? If that's not what you're after, try angel (disambiguation). —Tamfang (talk) 05:37, 8 July 2010 (UTC)

Subliminal Foreshadowing
I'm not really sure if this something to mention in the article, however, I have noticed that there quite a numerous ammount of "forshadowing subliminals" and at least one "Buffy Subliminal" in Season One of Angel. (I only own season one on DVD.) These can be freeze-framed. —Preceding unsigned comment added by 165.138.95.59 (talk) 15:04, 6 October 2010 (UTC)

 * What exactly are you referring to specifically? Drovethrughosts (talk) 16:02, 6 October 2010 (UTC)
 * The flashes between scenes/acts in season 1 episodes. They depicted scenes to come in the episodes or later in the season (as with the Buffy example). Kusonaga (talk) 07:10, 7 October 2010 (UTC)

 * Can you give specific examples of it? Because I just remember the flashes feature shots of Los Angeles. Drovethrughosts (talk) 13:37, 7 October 2010 (UTC)

I will reveiew for specific episode numbers... —Preceding unsigned comment added by 165.138.95.59 (talk) 18:39, 9 October 2010 (UTC)

Season 3 - Angel is NOT in Sri Lanka!!
I changed the article about the third season - It's not true that Angel is in SriLanka! I watched the beginning of season three today: Gunn mentioned that a trip to Sri Lanka wouldn't help angel to come over his big loves death. But after the scene where angels is showed fighting he's NOT talking singhalese or any other language spoken in SriLanka. Even the peolpe he talks to don't look like SriLankan People, Tamil or else. to me they seem to be Chinese or maybe japanese, I'm not sure. But he does not stay in Sri Lanka ;) — Preceding unsigned comment added by 77.182.217.34 (talk) 12:50, 3 June 2011 (UTC)

 * Well their are not that many SriLankan actors/actresses.

Majinsnake (talk) 12:40, 29 December 2013 (UTC)

 * And not many Hollywood crew who'd know the difference :/ —Tamfang (talk) 00:20, 24 June 2016 (UTC)

yearly ratings coment pov
The statement in the opening section that "In two of the four seasons when both shows were in production, Buffy's overall yearly ratings were higher than Angel's" strikes me as being pov. It is also essentially meaningless, as if Buffy had higher ratings for two out of four years, then equaly Angel must have also had higher ratings for the other two years, making both shows equal in this respect. It would be much more npov to state that both shows had two years of higher ratings. To focus on Buffy in this way gives the impression that it had higher ratings than Angel altogether. I suggest this be changed or removed. Any opinions? 213.246.99.70 (talk) 02:33, 8 August 2011 (UTC)
 * I agree. I've always found that last paragraph in the lead a little awkward and unnecessary. First it says the show had a darker atmosphere, in a very small sentence, then says the ratings between the two shows—which is totally unrelated. Any ratings comparisons should be moved to the U.S. ratings subsection in article, it doesn't really belong in the lead. Drovethrughosts (talk) 12:41, 8 August 2011 (UTC)

Hero citation, not a direct link
Why is the reference to the Hero episode in the Season one section done as a citation rather than a direct Wikipedia Hero_(Angel) link? Can someone direct me to a Wikipedia guideline on this subject (assuming it's correct?) Thanks! —Durron597 (talk) 16:14, 31 January 2013 (UTC)
 * I wouldn't say there's any hard guidelines about that, such as using cite episode for plot summaries. They're useful in a longer plot synopsis (for example, a season) that doesn't mention episode titles. For example, if the article was under review, it's possible the reviewer might want citations for plot. From MOS:TV, "Since the episode is the primary source and the infobox provides details about it, citing the episode explicitly in the plot summary's section is not necessary." As for the citation itself, it's a bit odd given there's no other cite episode references in the plot summary. If you like, you could remove the reference and simply add a Wiki-link, I doubt anyone would object. Drovethrughosts (talk) 20:15, 31 January 2013 (UTC)
 * Ok, thanks! I changed it. Mostly I didn't like that you had to click twice to see the referred episode. —Durron597 (talk) 01:13, 1 February 2013 (UTC)

Requested move

 * The following discussion is an archived discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review. No further edits should be made to this section.

The result of the move request was: page moved. Consensus (and the additional South Korean show in the hatnote) indicates a need for further disambiguation.  Mini  apolis  12:43, 18 May 2013 (UTC)

Angel (TV series) → Angel (1999 TV series) – There exists an article entitled Angel (1960 TV series). We need further disambiguation for this, as we have two "(TV series)" that "Angel (TV series)" can equally apply to (WP:PRIMARYTOPIC does not apply to titles which are already disambiguated or partially disambiguated). Therefore this needs to be correctly disambiguated with the additional qualifier in order to distinguish it from the 1960 show. Rob Sinden (talk) 13:04, 30 April 2013 (UTC)
 * Support disambiguation should be non-ambiguous. In ictu oculi (talk) 13:22, 30 April 2013 (UTC)
 * A similar conversation happened over on Talk:Lost (TV series), in which it was opposed. This Angel series is clearly the primary topic of the two TV series'. Drovethrughosts (talk) 13:35, 30 April 2013 (UTC)
 * The editors involved clearly missed the point about disambiguation and WP:PRIMARYTOPIC. If you disambiguate, then you must disambiguate properly. WP:PRIMARYTOPIC only applies to un-disambiguated pages.  Maybe Lost (TV series) needs to be re-nominated.  --Rob Sinden (talk) 13:40, 30 April 2013 (UTC)

 * Strong oppose This is a legalistic solution to a nonexistent problem. Last month, this page received over 100,000 views compared to 648 for the older series. Even making the absurd supposition that everyone looking for the 1960 show would have looked here first and used the hatnote, that still leaves tens of thousands of readers that got what they wanted here. This is precisely the sort of thing WP:IAR is for. "If a rule prevents you from improving or maintaining Wikipedia"—in this case, following the rule is going to inconvenience a lot of readers. --BDD (talk) 16:02, 30 April 2013 (UTC)
 * Oppose. Unnecessary disambiguation; my reading of WP:PRIMARYTOPIC includes "second-level" disambiguation such as this. I could well believe a reader familiar with Wikipedia disambiguation styles would go directly to Angel (TV series), and they'd be much more likely to be looking for the 1999 series than the 1960 one. —me_and 16:25, 30 April 2013 (UTC)
 * Not all editors like the idea of sub-primary topics, but they've been upheld in practice. See the recent RM at Talk:Thriller (album). --BDD (talk) 18:44, 30 April 2013 (UTC)
 * Support; if an article needs a disambiguator it should be by definition unambiguous. Tassedethe (talk) 19:33, 30 April 2013 (UTC)
 * Support: Distinguish it from the other one. Illegitimate Barrister (talk) 12:59, 1 May 2013 (UTC)
 * Support if this isn't going to reside at the primary location, then it should not use an ambiguous disambiguator. The current title should become a disambiguation page (redirect to the disambiguation page) -- 17:53, 1 May 2013 (UTC) — Preceding unsigned comment added by 65.94.76.126 (talk)
 * Oppose: If Angel (TV series) were to become a disambiguation page, you know how many hundreds upon hundreds of articles would have to updated to rectify this unnecessary change? It's so unbelievably counter-intuitive. I agree completely with the sentiments of BDD. Unless I'm misunderstanding it, doesn't WP:2DAB apply to this? As this is clearly the primary topic of a TV series called Angel, a hatnote on this article leading to the other much more unknown TV series is suffice enough. This article has been titled like this for over a decade, and the 1960 series article has been in existence for over 5 years, and no problems have existed since then. Drovethrughosts (talk) 20:35, 1 May 2013 (UTC)
 * No, WP:2DAB does not apply to this - Angel (disambiguation) would be the relevant disambiguation page, with a redirect from Angel (TV series) to Angel (disambiguation). Also note the existence of Angel (2007 TV series) (which I was not aware of until I just looked at the dab page then) - there is no easy way for readers to find this currently.  --Rob Sinden (talk) 08:03, 2 May 2013 (UTC)
 * I see "hundreds upon hundreds of articles" refers to editing incoming links.
 * Nevertheless this kind of ambiguous disambiguation appears rather unusual - so far we've only identified 3 more. I could go with BDD's WP:IAR for Kiss (band), but Angel (TV series) is that really WP:IAR territory or just WP:RECENT? In ictu oculi (talk) 05:43, 7 May 2013 (UTC)

 * Support; partial disambiguation is misleading and unhelpful. Powers T 23:26, 3 May 2013 (UTC)
 * Support. From a long term histoical perspective, the dominance of hits of one over the other is a matter of temporary recentism. BDD, I cannot see how people wanting tis TV series will be inconvenienced by being taken straight to Angel (1999 TV series); if anything they'll be advantaged because they'll go there with more confidence that they are going where they want to go. –-SmokeyJoe (talk) 10:02, 12 May 2013 (UTC)
 * The above discussion is preserved as an archive of a requested move. Please do not modify it. Subsequent comments should be made in a new section on this talk page or in a move review. No further edits should be made to this section.

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title: Talk:Angel (1999 TV series)


text:
Talk:Beer

Beer-word?
From the section "Etymology":

 * In Old English and Old Norse, the beer-word did not denote a malted alcoholic drink like ale, but a sweet, potent drink made from honey and the juice of one or more fruits other than grapes, much less ubiquitous than ale, perhaps served in the kind of tiny drinking cups sometimes found in early mediaeval grave goods: a drink more like mead or cider. In German, however, the meaning of the beer-word expanded to cover the meaning of the ale-word already before our earliest surviving written evidence. As German hopped ale became fashionable in England in the late Middle Ages, the English word beer took on the German meaning, and thus in English too, beer came during the early modern period to denote hopped, malt-based alcoholic drinks.

What does "the beer-word" mean? Does it mean the literal word "beer" or whatever word meant "beer" in Old English and Old Norse?

This paragraph should be made clearer. J I P | Talk 18:05, 17 September 2023 (UTC)

 * Is the source Scandinavian? That actually looks to me like the way they would phrase it in Norse or Swedish, but it sounds odd in English. More than half of the most common English words in everyday use are Scandinavian in origin, but the influence of French played a larger role in our modern syntax. (Very little is left of its Germanic roots.) If so, then it would be talking about the word beer and the word ale, which is how it should be phrased.

 * It should probably also be mentioned (if it's not already) that another theory is that it might have come from the Latin word biber, meaning "a drink" (for example, the English word imbibe, meaning "to drink"), although beer was considered an exotic Egyptian drink on the Europe side of the Mediterranean, English has a tendency to adopt words from other languages and twist and change them to fit its own needs. There's no clar consensus, except that the in etymology the transition of a word from one meaning to another is often far more figurative than literal. Zaereth (talk) 00:28, 19 September 2023 (UTC)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Talk:Beer


text:
Loyd Jowers

Loyd Jowers (November 20, 1926 – May 20, 2000) was an American restaurateur and the owner of Jim's Grill, a restaurant near the Lorraine Motel in Memphis, Tennessee, where Martin Luther King Jr. was assassinated in 1968. For the first 25 years after the assassination of King, Jowers testified that he was in the restaurant at the time of the assassination, a fact supported by the other witnesses in the restaurant.

In 1993, Jowers appeared on the ABC News program Prime Time Live and claimed to be part of an alleged conspiracy involving the Mafia and the U.S. government to kill King. According to Jowers, the alleged assassin, James Earl Ray, was a scapegoat, and was not the only person responsible for assassinating King. Jowers named a number of different people as the alleged assassins, including a black man who was in the area, a man named Raoul named by Ray to have been involved, and someone he could not identify before finally settling on the story that he hired Memphis police Lieutenant Earl Clark to fire the fatal shot. A Memphis civil trial in 1999 supported this claim, not having been shown evidence of Jowers' contradictions. In 2000, the United States Department of Justice released a 150-page report denying allegations that there was a conspiracy to assassinate King.

Martin Luther King Jr. assassination
In a 1993 episode of ABC's Primetime Live, Jowers told reporter Sam Donaldson that he hired someone to kill King as a favor to a friend in the mafia, produce merchant Frank Liberto. Jowers said Liberto, who had died prior to the ABC interview, had paid him $100,000 to arrange the assassination. He did not name the person he claimed to have hired, but said it was not Ray.

Coretta Scott King v. Loyd Jowers
In 1998, the King family filed a wrongful death lawsuit against Jowers and "other unknown co-conspirators" for the murder of King. The King family was represented by attorney William Pepper, who had previously served as the attorney of James Earl Ray, King's formerly accused assassin, in a televised, mock trial. According to The Washington Post, Pepper had "for years claimed the assassination was the result of a vast conspiracy involving the FBI, CIA and the Army, organized crime and various state and local officials." After four weeks of testimony which involved over 70 witnesses and thousands of pages of new evidence, a Memphis jury unanimously found, on December 8, 1999, that Jowers was part of a conspiracy to kill King, and that the assassination plot also involved "others, including governmental agencies."

At a press conference following the verdict, Coretta Scott King stated that "there is abundant evidence of a major high level conspiracy in the assassination of my husband, Martin Luther King, Jr... the Mafia, local, state and federal government agencies, were deeply involved in the assassination of my husband. The jury also affirmed overwhelming evidence that identified someone else, not James Earl Ray, as the shooter, and that Mr. Ray was set up to take the blame."

Following statements by Dexter King and other family members, Dexter was subsequently asked by a reporter, "there are many people out there who feel that as long as these conspirators remain nameless and faceless there is no true closure, and no justice." He replied:

"No, he [Mr. Lloyd Jowers] named the shooter. The shooter was the Memphis Police Department Officer, Lt. Earl Clark who he named as the killer. Once again, beyond that you had credible witnesses that named members of a Special Forces team who didn't have to act because the contract killer succeeded, with plausible denial, a Mafia contracted killer."

The Memphis county prosecutor said on several occasions that Mr. Jowers' claims were without merit and that he was motivated to sell his story for a book or a movie. Ray's lawyer claimed two sisters who worked at Jowers' restaurant would corroborate Jowers' claim, but both recanted their stories. One sister said that Jowers had fabricated the story so he could make $300,000 from selling the story; she in turn corroborated his story in order to get money to pay taxes. In a telephone conversation taped by authorities, Jowers' main witness stated that his story was false.

According to the Los Angeles Times, "The trial relied heavily on second- and third-hand accounts, and the judge and jurors were often seen dozing off during testimony." John Campbell, an assistant district attorney in Memphis who was part of the criminal trial against James Earl Ray, said: "I'm not surprised by the verdict. This case overlooked so much contradictory evidence that never was presented, what other option did the jury have but to accept Mr. Pepper's version?"

Gerald Posner, an investigative journalist who wrote the book Killing the Dream in which he makes the case that Ray was the killer, said after the verdict: "It distresses me greatly that the legal system was used in such a callous and farcical manner in Memphis. If the King family wanted a rubber stamp of their own view of the facts, they got it."

Justice Department investigation
Prompted by the King family's acceptance of some of the conspiracy theories, United States Attorney General Janet Reno ordered a new investigation on August 26, 1998. On June 9, 2000, the United States Department of Justice released a 150-page report rejecting allegations that there was a conspiracy to assassinate King, including the findings of the Memphis civil court jury. The DOJ considered suggestions by the U.S. House Select Committee on Assassinations in 1979 and the district attorney of Shelby County, Tennessee in 1998 that Ray's brothers may have been co-conspirators and stated that they "found insufficient evidentiary leads remaining after 30 years to justify further investigation."

Death
On May 20, 2000, Jowers died of a heart attack at Baptist Memorial Hospital in Union City, Tennessee. He was reported to have suffered from lung cancer at the time of his death.

title: Loyd Jowers


text:
Tula, Russia

Tula (Тула, ) is the largest city and the administrative center of Tula Oblast in Russia, located 193 km south of Moscow. Tula is located in the northern Central Russian Upland on the banks of the Upa River, a tributary of the Oka. At the 2010 census, Tula had a population of 501,169, an increase from 481,216 in 2002, making it the 32nd-largest city in Russia by population.A primarily industrial city, Tula was a fortress at the border of the Principality of Ryazan. The city was seized by Ivan Bolotnikov during the Time of Troubles and withstood a four-month siege by the Tsar's army. Historically, Tula has been a major centre for the manufacture of armaments. The Demidov family built the first armament factory in Russia in the city, in what would become the Tula Arms Plant, which still operates to this day.

Tula is home to the Klokovo air base, Tula State University, the Tula Kremlin, Tula State Museum of Weapons, and Kazanskaya Embankment. Tula has a historical association with the samovar, a metal container used to heat and boil water; the city was a major center of Russian samovar production. Yasnaya Polyana, the former home of the writer Leo Tolstoy, is located 12 km southwest of Tula. Additionally, Tula is known for its imprinted gingerbread (pryanik), which has been made in Tula since the 17th century.

Etymology
The name of the city is likely pre-Russian, probably of Baltic origin.

History
Tula was first mentioned in the Nikon Chronicle (year 1146).

In the Middle Ages, Tula was a minor fortress at the border of the Principality of Ryazan. As soon as it passed to the Grand Duchy of Moscow, a brick citadel, or kremlin, was constructed in 1514–1521. It was a key fortress of the Great Abatis Belt and successfully resisted a siege by the Tatars in 1552. In 1607, Ivan Bolotnikov and his supporters seized the citadel and withstood a four-months siege by the Tsar's army. In the 18th century, some parts of the kremlin walls were demolished. Despite its archaic appearance, the five-domed Assumption Cathedral in the kremlin was built as late as 1764.

In 1712, Tula was visited by Peter the Great, who commissioned the Demidov blacksmiths to build the first armament factory in Russia. Several decades later, Tula was turned by the Demidovs into the greatest ironworking center of Eastern Europe. The oldest museum in the city, showcasing the history of weapons, was inaugurated by the Demidovs in 1724, and Nicholas-Zaretsky Church in the city houses their family vault. The first factory to produce samovars industrially was also established there in the course of the 18th century. After the Demidovs moved the center of their manufacture to the Urals, Tula continued as a center of heavy industry, particularly in the manufacture of matériel.

In the 1890s, Ivan Savelyev, a medical orderly, became the founder of social democracy in Tula and set up a workers' study circle.

During World War II, the city was important in the production of armaments. Tula became the target of a German offensive to break Soviet resistance in the Moscow area between 24 October and 5 December 1941. According to Erik Durschmied in The Weather Factor: How Nature has Changed History, one German general reached the southwestern outskirts of Tula on 29–30 October 1941.

The heavily fortified city held out, however, and Guderian's Second Panzer Army was stopped near Tula. The city secured the southern flank during the Battle of Moscow and the subsequent counter-offensive. Tula was awarded the title Hero City in 1976. It is home to the Klokovo air base and the Tula Arms Plant.

Administrative and municipal status
Tula serves as the administrative center of the oblast. Within the framework of administrative divisions, it is incorporated as Tula City Under Oblast Jurisdiction—an administrative unit with the status equal to that of the districts. As a municipal division, the territories of Tula City Under Oblast Jurisdiction and of Leninsky District are incorporated as Tula Urban Okrug.

Mayors

 * Sergey Kazakov (1997–2005)
 * Vladimir Mogilnikov (2005–2010)
 * Alisa Tolkachyova (2010–2011)
 * Yevgeny Avilov (2011–2012)
 * Aleksandr Prokopuk (2012–2014)
 * Yuri Tskipuri (2014–2019)
 * Olga Slyusareva (2019–present time)

Economy
For more than four centuries Tula has been known as a center of crafts and metalworking. Tula is a developed industrial center. Importance in the industrial structure of Tula are metallurgy, machinery and metal with a high share of the military-industrial complex and food manufacturing.

Armaments industry

 * Almaz-Antey Concern: Scientific Production Association Strela (Russian: ОАО НПО «Стрела»)
 * Splav (Russian: ОАО НПО «СПЛАВ») part of the Techmash holding of Rostec; only manufacturer of multiple rocket launchers in Russia: BM-21 Grad, BM-27 Uragan, BM-30 Smerch
 * KBP Instrument Design Bureau
 * Shcheglovsky Val plant (Russian: «Щегловский вал» завод): manufacturer of the Bumerang-BM for the T-15 Armata
 * Tactical Missiles Corporation: TsKBA (Russian: ОАО «ЦКБА»)Tula asv2019-09 img05 Uspensky Convent aerial view.jpg
 * Tula Arms Plant
 * Tulamashzavod
 * Tula Cartridge Plant

Other companies

 * Shtamp Machine-Building Plant
 * Oktava
 * Yasnaya Polyana: a confectionery factory established in 1973 under the holding of United Confectioners (Russian: Холдинг «Объединенные кондитеры») that produces 340 different candies including "Yasnaya Polyana"

Culture
A musical instrument, the Tula accordion, is named after the city, which is a center of manufacture for such instruments sold throughout Russia and the world. Tula is also renowned for traditional Russian pryanik, cookies made with honey and spices (see Tula pryanik). In the West, Tula is perhaps best known as the center of arms manufacturing, mainly by TT pistol, as well as samovar production: the Russian equivalent of "coals to Newcastle" is "You don't take a samovar to Tula". (The saying is falsely ascribed to the writer and playwright Anton Chekhov, whose made a satirical portrait of one of his characters saying "Taking your wife to Paris is the same as taking your own samovar to Tula".)

The most popular tourist attraction in Tula Oblast is Yasnaya Polyana, the home and burial place of the writer Leo Tolstoy. It is situated 14 km southwest of the city. It was here that Tolstoy wrote his celebrated novels War and Peace and Anna Karenina. The largest public park in Tula is the P. Belousov Central Park of Culture and Recreation.

Education
Tula is home to:
 * Tula State University
 * Tula State Pedagogical University
 * The Tula artillery and Engineering Institute
 * A branch of All Russia Economic and Finance Institute
 * A branch of Moscow Economics and Management Institute

Transportation
Since 1867, there has been a railway connection between Tula and Moscow. Tula is a major railway junction with trains to Moscow, Oryol, Kursk and Kaluga. The Moscow to Simferopol M2 motorway runs past the city. City transport is provided by trams, trolleybuses, buses, and marshrutkas. Tula trams, trolleybuses, and bus routes are operated by "Tulgorelectrotrans" (Tula city electrotransport company). The Russian Air Force base Klokovo is located nearby.

Religion
Most of Tula's churches are Russian Orthodox churches. Next in number are Catholics and Protestants. Other religions present in the city include Muslims, Jews, Hare Krishna, Buddhists and Taoists.

All Orthodox organizations in Tula and the Tula Oblast are under the Diocese of Tula and Yefremov. The oldest churches in Tula include the Saints' Cathedral (built from 1776-1800), the Annunciation Church (1692), and the Assumption Cathedral of the Tula Kremlin (1762-1764). The Shcheglovsky Monastery of Holy Mother of God is also located within the city, built in the mid-19th century and consecrated in 1860. Old Believers' community services are performed in the church of St. John Chrysostom.

The only Roman Catholic church in Tula is the Holy Apostles Peter and Paul. Since the 1990s, several Protestant denominations have grown, the largest of which is a Baptist church with a prayer house in Tula. Representatives of other Protestant churches in Tula are Seventh-day Adventists, Presbyterians (Church of the Holy Trinity, The Glorious Jesus the Lord, the Good News), Pentecostals (Tula Christian Center, Church of the New Testament) and other evangelical churches (Word of Life, the Vine Gypsy Church).

The city also has a synagogue and the Jewish Community House.

Sports
In Russian fist fighting, Tula was considered to have some of the most famous fighters.

The city association football club, FC Arsenal Tula, played in the Russian Premier League in 2014/2015 and 2016/2017 seasons.

Arts

 * Leo Tolstoy (1828-1910), Writer
 * Leonid Bobylev (born 1949), composer
 * German Galynin (1922–1966), composer
 * Vladimir Mashkov (born 1963), theater and film actor and director
 * Vyacheslav Nevinny (1934–2009), theater and film actor
 * Maria Ouspenskaya (1876–1949), actress and acting teacher
 * Vsevolod Sanayev (1912–1996), theater and film actor, acting teacher
 * Sofia Sotnichevskaya (1916–2011), actress
 * Irina Skobtseva (1927–2020), actress
 * Gleb Uspensky (1843–1901), writer
 * Vikenty Veresaev (1867–1945), writer
 * Alexey Vorobyov (born 1988), singer, actor and model
 * Alexey Goloborodko (born 1994), dance contortionist

Public servants

 * Vyacheslav Dudka (born 1960), governor of Tula Oblast (2005–2011)
 * Vladimir Ivanov (1893–1938), Soviet politician
 * Yury Afonin, politician
 * Viktor Ilyich Baranov, Soviet Army lieutenant general
 * Ivan Bakhtin, governor of the Kharkov Governorate

Sciences, technologies

 * Nikolay Artemov (1908–2005) physiologist
 * Vladimir Bazarov (1874–1939), philosopher and economist
 * Vasily Degtyaryov (1880–1949), weapons engineer
 * Valery Legasov (1936–1988), inorganic chemist
 * Valery Polyakov (1942-2022), cosmonaut
 * Ivan Sakharov (1807–1863), folklorist, ethnographer
 * Petr Sushkin (1868–1928), ornithologist
 * Sergei Tokarev (1899–1985), historian, ethnographer

Sports

 * Ksenia Afanasyeva (born 1991), Olympic artistic gymnast, world and European champion
 * Evgeniya Augustinas (born 1988), racing cyclist, European champion
 * Ekaterina Gnidenko (born 1992), track cyclist
 * Yevgeny Grishin (1931–2005), speedskater, Olympic and European champion
 * Oksana Grishina (born 1968), track cyclist
 * Irina Kirillova (born 1965), volleyball player, Olympic, world and European champion
 * Sergei Kopylov (born 1960), racing cyclist
 * Alexander Kotov (1913–1981), chess player, international grandmaster, SSSR champion, author, mechanical engineer
 * Viktor Kudriavtsev (born 1937), figure skating coach
 * Andrey Kuznetsov (born 1991), tennis player
 * Vladimir Leonov (born 1937), cyclist
 * Valentina Maksimova (born 1937), track cyclist
 * Ihor Nadein (1948–2014), football player and coach
 * Nikolay Novikov, (born 15 May 1946), boxer
 * Alexandra Obolentseva (born 2001), chess player
 * Yelena Posevina (born 1986), rhythmic gymnast, Olympic, world and European champion
 * Anastasia Voynova (born 1993), racing cyclist, world and European champion

Others

 * Nikita Demidov (1656–1725), industrialist, founder of Demidov dynasty

Climate
Tula has a humid continental climate, featuring warm summers, and cold, but not particularly severe winters by Russian standards.

Twin towns – sister cities
Tula is twinned with:

 * 🇺🇸 Albany, United States
 * 🇨🇴 Barranquilla, Colombia
 * 🇺🇦 Kerch, Ukraine
 * 🇧🇾 Mogilev, Belarus
 * 🇩🇪 Villingen-Schwenningen, Germany

title: Tula, Russia


text:
Normal (geometry)

In geometry, a normal is an object (e.g. a line, ray, or vector) that is perpendicular to a given object. For example, the normal line to a plane curve at a given point is the line perpendicular to the tangent line to the curve at the point.

A normal vector of length one is called a unit normal vector. A curvature vector is a normal vector whose length is the curvature of the object. Multiplying a normal vector by $-1$ results in the opposite vector, which may be used for indicating sides (e.g., interior or exterior).

In three-dimensional space, a surface normal, or simply normal, to a surface at point $P$ is a vector perpendicular to the tangent plane of the surface at $P$. The word normal is also used as an adjective: a line normal to a plane, the normal component of a force, the normal vector, etc. The concept of normality generalizes to orthogonality (right angles).

The concept has been generalized to differentiable manifolds of arbitrary dimension embedded in a Euclidean space. The normal vector space or normal space of a manifold at point $$P$$ is the set of vectors which are orthogonal to the tangent space at $$P.$$ Normal vectors are of special interest in the case of smooth curves and smooth surfaces.

The normal is often used in 3D computer graphics (notice the singular, as only one normal will be defined) to determine a surface's orientation toward a light source for flat shading, or the orientation of each of the surface's corners (vertices) to mimic a curved surface with Phong shading.

The foot of a normal at a point of interest Q (analogous to the foot of a perpendicular) can be defined at the point P on the surface where the normal vector contains Q. The normal distance of a point Q to a curve or to a surface is the Euclidean distance between Q and its foot P.

Calculating a surface normal
For a convex polygon (such as a triangle), a surface normal can be calculated as the vector cross product of two (non-parallel) edges of the polygon.

For a plane given by the equation $$ax + by + cz + d = 0,$$ the vector $$\mathbf n = (a, b, c)$$ is a normal.

For a plane whose equation is given in parametric form $$\mathbf{r}(s,t) = \mathbf{r}_0 + s \mathbf{p} + t \mathbf{q},$$ where $$\mathbf{r}_0$$ is a point on the plane and $$\mathbf{p}, \mathbf{q}$$ are non-parallel vectors pointing along the plane, a normal to the plane is a vector normal to both $$\mathbf{p}$$ and $$\mathbf{q},$$ which can be found as the cross product $$\mathbf{n}=\mathbf{p}\times\mathbf{q}.$$

If a (possibly non-flat) surface $$S$$ in 3D space $$\R^3$$ is parameterized by a system of curvilinear coordinates $$\mathbf{r}(s, t) = (x(s, t), y(s, t), z(s, t)),$$ with $$s$$ and $$t$$ real variables, then a normal to S is by definition a normal to a tangent plane, given by the cross product of the partial derivatives $$\mathbf{n}=\frac{\partial \mathbf{r}}{\partial s} \times \frac{\partial \mathbf{r}}{\partial t}.$$

If a surface $$S$$ is given implicitly as the set of points $$(x, y, z)$$ satisfying $$F(x, y, z) = 0,$$ then a normal at a point $$(x, y, z)$$ on the surface is given by the gradient $$\mathbf{n} = \nabla F(x, y, z).$$ since the gradient at any point is perpendicular to the level set $$S.$$

For a surface $$S$$ in $$\R^3$$ given as the graph of a function $$z = f(x, y),$$ an upward-pointing normal can be found either from the parametrization $$\mathbf{r}(x,y)=(x,y,f(x,y)),$$ giving $$\mathbf{n} = \frac{\partial \mathbf{r}}{\partial x} \times \frac{\partial \mathbf{r}}{\partial y} = \left(1,0,\tfrac{\partial f}{\partial x}\right) \times \left(0,1,\tfrac{\partial f}{\partial y}\right) = \left(-\tfrac{\partial f}{\partial x}, -\tfrac{\partial f}{\partial y},1\right);$$ or more simply from its implicit form $$F(x, y, z) = z-f(x,y) = 0,$$ giving $$\mathbf{n} = \nabla F(x, y, z) = \left(-\tfrac{\partial f}{\partial x}, -\tfrac{\partial f}{\partial y}, 1 \right).$$ Since a surface does not have a tangent plane at a singular point, it has no well-defined normal at that point: for example, the vertex of a cone. In general, it is possible to define a normal almost everywhere for a surface that is Lipschitz continuous.

Orientation
The normal to a (hyper)surface is usually scaled to have unit length, but it does not have a unique direction, since its opposite is also a unit normal. For a surface which is the topological boundary of a set in three dimensions, one can distinguish between two normal orientations, the inward-pointing normal and outer-pointing normal. For an oriented surface, the normal is usually determined by the right-hand rule or its analog in higher dimensions.

If the normal is constructed as the cross product of tangent vectors (as described in the text above), it is a pseudovector.

Transforming normals
When applying a transform to a surface it is often useful to derive normals for the resulting surface from the original normals.

Specifically, given a 3×3 transformation matrix $$\mathbf{M},$$ we can determine the matrix $$\mathbf{W}$$ that transforms a vector $$\mathbf{n}$$ perpendicular to the tangent plane $$\mathbf{t}$$ into a vector $$\mathbf{n}^{\prime}$$ perpendicular to the transformed tangent plane $$\mathbf{Mt},$$ by the following logic:

Write n′ as $$\mathbf{Wn}.$$ We must find $$\mathbf{W}.$$ $$\begin{alignat}{5} W\mathbb n \text{ is perpendicular to } M\mathbb t \quad \, &\text{ if and only if } \quad 0 = (W \mathbb n) \cdot (M \mathbb t) \\ &\text{ if and only if } \quad 0 = (W \mathbb{n})^\mathrm{T} (M \mathbb{t}) \\ &\text{ if and only if } \quad 0 = \left(\mathbb{n}^\mathrm{T} W^\mathrm{T}\right) (M \mathbb{t}) \\ &\text{ if and only if } \quad 0 = \mathbb{n}^\mathrm{T} \left(W^\mathrm{T} M\right) \mathbb{t} \\ \end{alignat}$$

Choosing $$\mathbf{W}$$ such that $$W^\mathrm{T} M = I,$$ or $$W = (M^{-1})^\mathrm{T},$$ will satisfy the above equation, giving a $$W \mathbb n$$ perpendicular to $$M \mathbb t,$$ or an $$\mathbf{n}^{\prime}$$ perpendicular to $$\mathbf{t}^{\prime},$$ as required.

Therefore, one should use the inverse transpose of the linear transformation when transforming surface normals. The inverse transpose is equal to the original matrix if the matrix is orthonormal, that is, purely rotational with no scaling or shearing.

Hypersurfaces in n-dimensional space
For an $$(n-1)$$-dimensional hyperplane in $n$-dimensional space $$\R^n$$ given by its parametric representation $$\mathbf{r}\left(t_1, \ldots, t_{n-1}\right) = \mathbf{p}_0 + t_1 \mathbf{p}_1 + \cdots + t_{n-1}\mathbf{p}_{n-1},$$ where $$\mathbf{p}_0$$ is a point on the hyperplane and $$\mathbf{p}_i$$ for $$i = 1, \ldots, n - 1$$ are linearly independent vectors pointing along the hyperplane, a normal to the hyperplane is any vector $$\mathbf n$$ in the null space of the matrix $$P = \begin{bmatrix}\mathbf{p}_1 & \cdots &\mathbf{p}_{n-1}\end{bmatrix},$$ meaning $$P\mathbf n = \mathbf 0.$$ That is, any vector orthogonal to all in-plane vectors is by definition a surface normal. Alternatively, if the hyperplane is defined as the solution set of a single linear equation $$a_1x_1+\cdots+a_nx_n = c,$$ then the vector $$\mathbb{n} = \left(a_1, \ldots, a_n\right)$$ is a normal.

The definition of a normal to a surface in three-dimensional space can be extended to $$(n - 1)$$-dimensional hypersurfaces in $$\R^n.$$ A hypersurface may be locally defined implicitly as the set of points $$(x_1, x_2, \ldots, x_n)$$ satisfying an equation $$F(x_1, x_2, \ldots, x_n) = 0,$$ where $$F$$ is a given scalar function. If $$F$$ is continuously differentiable then the hypersurface is a differentiable manifold in the neighbourhood of the points where the gradient is not zero. At these points a normal vector is given by the gradient: $$\mathbb n = \nabla F\left(x_1, x_2, \ldots, x_n\right) = \left( \tfrac{\partial F}{\partial x_1}, \tfrac{\partial F}{\partial x_2}, \ldots, \tfrac{\partial F}{\partial x_n} \right)\,.$$

The normal line is the one-dimensional subspace with basis $$\{\mathbf{n}\}.$$

Varieties defined by implicit equations in n-dimensional space
A differential variety defined by implicit equations in the $$n$$-dimensional space $$\R^n$$ is the set of the common zeros of a finite set of differentiable functions in $$n$$ variables $$ f_1\left(x_1, \ldots, x_n\right), \ldots, f_k\left(x_1, \ldots, x_n\right).$$ The Jacobian matrix of the variety is the $$k \times n$$ matrix whose $$i$$-th row is the gradient of $$f_i.$$ By the implicit function theorem, the variety is a manifold in the neighborhood of a point where the Jacobian matrix has rank $$k.$$ At such a point $$P,$$ the normal vector space is the vector space generated by the values at $$P$$ of the gradient vectors of the $$f_i.$$

In other words, a variety is defined as the intersection of $$k$$ hypersurfaces, and the normal vector space at a point is the vector space generated by the normal vectors of the hypersurfaces at the point.

The normal (affine) space at a point $$P$$ of the variety is the affine subspace passing through $$P$$ and generated by the normal vector space at $$P.$$

These definitions may be extended to the points where the variety is not a manifold.

Example
Let V be the variety defined in the 3-dimensional space by the equations $$x\,y = 0, \quad z = 0.$$ This variety is the union of the $$x$$-axis and the $$y$$-axis.

At a point $$(a, 0, 0),$$ where $$a \neq 0,$$ the rows of the Jacobian matrix are $$(0, 0, 1)$$ and $$(0, a, 0).$$ Thus the normal affine space is the plane of equation $$x = a.$$ Similarly, if $$b \neq 0,$$ the normal plane at $$(0, b, 0)$$ is the plane of equation $$y = b.$$

At the point $$(0, 0, 0)$$ the rows of the Jacobian matrix are $$(0, 0, 1)$$ and $$(0, 0, 0).$$ Thus the normal vector space and the normal affine space have dimension 1 and the normal affine space is the $$z$$-axis.

Uses

 * Surface normals are useful in defining surface integrals of vector fields.
 * Surface normals are commonly used in 3D computer graphics for lighting calculations (see Lambert's cosine law), often adjusted by normal mapping.
 * Render layers containing surface normal information may be used in digital compositing to change the apparent lighting of rendered elements.
 * In computer vision, the shapes of 3D objects are estimated from surface normals using photometric stereo.
 * The normal vector may be obtained as the gradient of the signed distance function.

Normal in geometric optics

The  is the outward-pointing ray perpendicular to the surface of an optical medium at a given point. In reflection of light, the angle of incidence and the angle of reflection are respectively the angle between the normal and the incident ray (on the plane of incidence) and the angle between the normal and the reflected ray.

title: Normal (geometry)


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Alan Lomax

Alan Lomax (January 31, 1915 – July 19, 2002) was an American ethnomusicologist, best known for his numerous field recordings of folk music of the 20th century. He was a musician, folklorist, archivist, writer, scholar, political activist, oral historian, and film-maker. Lomax produced recordings, concerts, and radio shows in the US and in England, which played an important role in preserving folk music traditions in both countries, and helped start both the American and British folk revivals of the 1940s, 1950s, and early 1960s. He collected material first with his father, folklorist and collector John Lomax, and later alone and with others, Lomax recorded thousands of songs and interviews for the Archive of American Folk Song, of which he was the director, at the Library of Congress on aluminum and acetate discs.

After 1942, when Congress terminated the Library of Congress's funding for folk song collecting, Lomax continued to collect independently in Britain, Ireland, Caribbean region, Italy, Spain, and United States, using the latest recording technology, assembling an enormous collection of American and international culture. In March 2004, the material captured and produced without Library of Congress funding was acquired by the Library, which "brings the entire seventy years of Alan Lomax's work together under one roof at the Library of Congress, where it has found a permanent home." With the start of the Cold War, Lomax continued to advocate for a public role for folklore, even as academic folklorists turned inward. He devoted much of the latter part of his life to advocating what he called Cultural Equity, which he sought to put on a solid theoretical foundation through to his Cantometrics research (which included a prototype Cantometrics-based educational program, the Global Jukebox). In the 1970s and 1980s, Lomax advised the Smithsonian Institution's Folklife Festival and produced a series of films about folk music, American Patchwork, which aired on PBS in 1991. In his late 70s, Lomax completed the long-deferred memoir The Land Where the Blues Began (1993), linking the birth of the blues to debt peonage, segregation, and forced labor in the American South.

Lomax's greatest legacy is in preserving and publishing recordings of musicians in many folk and blues traditions around the US and Europe. Among the artists Lomax is credited with discovering and bringing to a wider audience include blues guitarist Robert Johnson, protest singer Woody Guthrie, folk artist Pete Seeger, country musician Burl Ives, Scottish Gaelic singer Flora MacNeil, and country blues singers Lead Belly and Muddy Waters, among many others. "Alan scraped by the whole time, and left with no money," said Don Fleming, director of Lomax's Association for Culture Equity. "He did it out of the passion he had for it, and found ways to fund projects that were closest to his heart".

Early life
Lomax was born in Austin, Texas in 1915, the third of four children born to Bess Brown and pioneering folklorist and author John A. Lomax. Two of his siblings also developed significant careers studying folklore: Bess Lomax Hawes and John Lomax Jr.

The elder Lomax, a former professor of English at Texas A&M University and a celebrated authority on Texas folklore and cowboy songs, had worked as an administrator, and later Secretary of the Alumni Society, of the University of Texas.

Due to childhood asthma, chronic ear infections, and generally frail health, Lomax had mostly been home schooled in elementary school. In Dallas, he entered the Terrill School for Boys (a tiny prep school that later became St. Mark's School of Texas). Lomax excelled at Terrill and then transferred to the Choate School (now Choate Rosemary Hall) in Connecticut for a year, graduating eighth in his class at age 15 in 1930.

Owing to his mother's declining health, however, rather than going to Harvard University as his father had wished, Lomax matriculated at the University of Texas at Austin. A roommate, future anthropologist Walter Goldschmidt, recalled Lomax as "frighteningly smart, probably classifiable as a genius", though Goldschmidt remembers Lomax exploding one night while studying: "Damn it! The hardest thing I've had to learn is that I'm not a genius." At the University of Texas Lomax read Nietzsche and developed an interest in philosophy. He joined and wrote a few columns for the school paper, The Daily Texan but resigned when it refused to publish an editorial he had written on birth control.

At this time he also he began collecting "race" records and taking his dates to black-owned night clubs, at the risk of expulsion. During the spring term his mother died, and his youngest sister Bess, age 10, was sent to live with an aunt. Although the Great Depression was rapidly causing his family's resources to plummet, Harvard came up with enough financial aid for the 16-year-old Lomax to spend his second year there. He enrolled in philosophy and physics and also pursued a long-distance informal reading course in Plato and the Pre-Socratics with University of Texas professor Albert P. Brogan. He also became involved in radical politics and came down with pneumonia. His grades suffered, diminishing his financial aid prospects.

Lomax, now 17, therefore took a break from studying to join his father's folk song collecting field trips for the Library of Congress, co-authoring American Ballads and Folk Songs (1934) and Negro Folk Songs as Sung by Lead Belly (1936). His first field collecting without his father was done with Zora Neale Hurston and Mary Elizabeth Barnicle in the summer of 1935. He returned to the University of Texas that fall and was awarded a BA in Philosophy, summa cum laude, and membership in Phi Beta Kappa in May 1936. Lack of money prevented him from immediately attending graduate school at the University of Chicago, as he desired, but he later corresponded with and pursued graduate studies with Melville J. Herskovits at Columbia University and with Ray Birdwhistell at the University of Pennsylvania.

Alan Lomax married Elizabeth Harold Goodman, then a student at the University of Texas, in February 1937. They were married for 12 years and had a daughter, Anne (later known as Anna). Elizabeth assisted him in recording in Haiti, Alabama, Appalachia, and Mississippi. Elizabeth also wrote radio scripts of folk operas featuring American music that were broadcast over the BBC Home Service as part of the war effort.

During the 1950s, after she and Lomax divorced, she conducted lengthy interviews for Lomax with folk music personalities, including Vera Ward Hall and the Reverend Gary Davis. Lomax also did important field work with Elizabeth Barnicle and Zora Neale Hurston in Florida and the Bahamas (1935); with John Wesley Work III and Lewis Jones in Mississippi (1941 and 42); with folksingers Robin Roberts and Jean Ritchie in Ireland (1950); with his second wife Antoinette Marchand in the Caribbean (1961); with Shirley Collins in Great Britain and the Southeastern U.S. (1959); with Joan Halifax in Morocco; and with his daughter. All those who assisted and worked with him were accurately credited on the resultant Library of Congress and other recordings, as well as in his many books, films, and publications.

Assistant in charge as well as commercial records and radio broadcasts
From 1937 to 1942, Lomax was Assistant in Charge of the Archive of Folk Song of the Library of Congress to which he and his father and numerous collaborators contributed more than ten thousand field recordings. A pioneering oral historian, Lomax recorded substantial interviews with many folk and jazz musicians, including Woody Guthrie, Lead Belly, Jelly Roll Morton and other jazz pioneers, and Big Bill Broonzy. On one of his trips in 1941, he went to Clarksdale, Mississippi, hoping to record the music of Robert Johnson. When he arrived, he was told by locals that Johnson had died but that another local man, Muddy Waters, might be willing to record his music for Lomax. Using recording equipment that filled the trunk of his car, Lomax recorded Waters' music; it is said that hearing Lomax's recording was the motivation that Waters needed to leave his farm job in Mississippi to pursue a career as a blues musician, first in Memphis and later in Chicago.

As part of this work, Lomax traveled through Michigan and Wisconsin in 1938 to record and document the traditional music of that region. Over four hundred recordings from this collection are now available at the Library of Congress. "He traveled in a 1935 Plymouth sedan, toting a Presto instantaneous disc recorder and a movie camera. And when he returned nearly three months later, having driven thousands of miles on barely paved roads, it was with a cache of 250 discs and 8 reels of film, documents of the incredible range of ethnic diversity, expressive traditions, and occupational folklife in Michigan."

In late 1939, Lomax hosted two series on CBS's nationally broadcast American School of the Air, called American Folk Song and Wellsprings of Music, both music appreciation courses that aired daily in the schools and were supposed to highlight links between American folk and classical orchestral music. As host, Lomax sang and presented other performers, including Burl Ives, Woody Guthrie, Lead Belly, Pete Seeger, Josh White, and the Golden Gate Quartet. The individual programs reached ten million students in 200,000 U.S. classrooms and were also broadcast in Canada, Hawaii, and Alaska, but both Lomax and his father felt that the concept of the shows, which portrayed folk music as mere raw material for orchestral music, was deeply flawed and failed to do justice to vernacular culture.

In 1940, under Lomax's supervision, RCA made two groundbreaking suites of commercial folk music recordings: Woody Guthrie's Dust Bowl Ballads and Lead Belly's The Midnight Special and Other Southern Prison Songs. Though they did not sell especially well when released, Lomax's biographer John Szwed calls these "some of the first concept albums."

In 1940, Lomax and his close friend Nicholas Ray wrote and produced the 15-minute program Back Where I Came From, which aired three nights per week on CBS and featured folk tales, proverbs, prose, and sermons, as well as songs, organized thematically. Its racially integrated cast included Burl Ives, Lead Belly, Josh White, Sonny Terry, and Brownie McGhee. In February 1941, Lomax spoke and gave a demonstration of his program along with talks by Nelson A. Rockefeller from the Pan American Union, and the president of the American Museum of Natural History, at a global conference in Mexico of a thousand broadcasters CBS had sponsored to launch its worldwide programming initiative. Mrs. Roosevelt invited Lomax to Hyde Park.

Despite its success and high visibility, Back Where I Come From never picked up a commercial sponsor. The show ran for only twenty-one weeks before it was suddenly canceled in February 1941. On hearing the news, Woody Guthrie wrote Lomax from California, "Too honest again, I suppose? Maybe not purty enough. O well, this country's a getting to where it can't hear its own voice. Someday the deal will change." Lomax himself wrote that in all his work he had tried to capture "the seemingly incoherent diversity of American folk song as an expression of its democratic, inter-racial, international character, as a function of its inchoate and turbulent many-sided development."

On December 8, 1941, as "Assistant in Charge at the Library of Congress", he sent telegrams to fieldworkers in ten different localities across the United States, asking them to collect reactions of ordinary Americans to the bombing of Pearl Harbor and the subsequent declaration of war by the United States. A second series of interviews, called "Dear Mr. President", was recorded in January and February 1942.

While serving in the United States Army in World War II, Lomax produced and hosted numerous radio programs in connection with the war effort. The 1944 "ballad opera", The Martins and the Coys, broadcast in Britain (but not the USA) by the BBC, featuring Burl Ives, Woody Guthrie, Will Geer, Sonny Terry, Pete Seeger, and Fiddlin' Arthur Smith, among others, was released on Rounder Records in 2000.

In the late 1940s, Lomax produced a series of commercial folk music albums for Decca Records and organized a series of concerts at New York's Town Hall and Carnegie Hall, featuring blues, calypso, and flamenco music. He also hosted a radio show, Your Ballad Man, in 1949 that was broadcast nationwide on the Mutual Radio Network and featured a highly eclectic program, such as gamelan music; Django Reinhardt; klezmer music; Sidney Bechet; Wild Bill Davison; jazzy pop songs by Maxine Sullivan and Jo Stafford; readings of the poetry of Carl Sandburg; hillbilly music with electric guitars; and Finnish brass bands. He also was a key participant in the V.D. Radio Project in 1949, creating a number of "ballad dramas" featuring country and gospel superstars, including Roy Acuff, Woody Guthrie, Hank Williams, and Sister Rosetta Tharpe (among others), that aimed to convince men and women suffering from syphilis to seek treatment.

Move to Europe and later life
In December 1949 a newspaper printed a story, "Red Convictions Scare 'Travelers, that mentioned a dinner given by the Civil Rights Association to honor five lawyers who had defended people accused of being Communists. The article mentioned Alan Lomax as one of the sponsors of the dinner, along with C. B. Baldwin, campaign manager for Henry A. Wallace in 1948; music critic Olin Downes of The New York Times; and W.E.B. Du Bois, all of whom it accused of being members of Communist front groups. The following June, Red Channels, a pamphlet edited by former F.B.I. agents which became the basis for the entertainment industry blacklist of the 1950s, listed Lomax as an artist or broadcast journalist sympathetic to Communism. (Others listed included Aaron Copland, Leonard Bernstein, Yip Harburg, Lena Horne, Langston Hughes, Burl Ives, Dorothy Parker, Pete Seeger, and Josh White.) That summer, Congress was debating the McCarran Act, which required the registration and fingerprinting of all "subversives" in the United States, restrictions of their right to travel, and detention in case of "emergencies", while the House Un-American Activities Committee was broadening its hearings. Feeling sure that the Act would pass and realizing that his career in broadcasting was in jeopardy, Lomax, who was newly divorced and already had an agreement with Goddard Lieberson of Columbia Records to record in Europe, hastened to renew his passport, cancel his speaking engagements, and plan for his departure, telling his agent he hoped to return in January "if things cleared up." He set sail on September 24, 1950, on board the steamer RMS Mauretania (1938). Sure enough, in October, FBI agents were interviewing Lomax's friends and acquaintances. Lomax never told his family exactly why he went to Europe, only that he was developing a library of world folk music for Columbia. Nor did he allow anyone to say he was forced to leave. In a letter to the editor of a British newspaper, Lomax took a writer to task for describing him as a "victim of witch-hunting," insisting that he was in the UK only to work on his Columbia Project.

Lomax spent the 1950s based in London, from where he edited the 18-volume Columbia World Library of Folk and Primitive Music, an anthology issued on newly invented LP records. He spent seven months in Spain, where, in addition to recording three thousand items from most of the regions of Spain, he made copious notes and took hundreds of photos of "not only singers and musicians but anything that interested him – empty streets, old buildings, and country roads", bringing to these photos, "a concern for form and composition that went beyond the ethnographic to the artistic". He drew a parallel between photography and field recording:

"Recording folk songs works like a candid cameraman. I hold the mike, use my hand for shading volume. It's a big problem in Spain because there is so much emotional excitement, noise all around. Empathy is most important in field work. It's necessary to put your hand on the artist while he sings. They have to react to you. Even if they're mad at you, it's better than nothing."

When Columbia Records producer George Avakian gave jazz arranger Gil Evans a copy of the Spanish World Library LP, Miles Davis and Evans were "struck by the beauty of pieces such as the 'Saeta', recorded in Seville, and a panpiper's tune ('Alborada de Vigo') from Galicia, and worked them into the 1960 album Sketches of Spain."

For the Scottish, English, and Irish volumes, he worked with the BBC and folklorists Peter Douglas Kennedy, Scots poet Hamish Henderson, and with the Irish folklorist Séamus Ennis, recording among others, Margaret Barry and the songs in Irish of Elizabeth Cronin; Scots ballad singer Jeannie Robertson; and Harry Cox of Norfolk, England, and interviewing some of these performers at length about their lives. In 1953 a young David Attenborough commissioned Lomax to host six 20-minute episodes of the BBC TV series The Song Hunter, which featured performances by a wide range of traditional musicians from all over Britain and Ireland, as well as Lomax himself. In 1957, Lomax hosted a folk music show on BBC's Home Service titled A Ballad Hunter and organized a skiffle group, Alan Lomax and the Ramblers (who included Ewan MacColl, Peggy Seeger, and Shirley Collins), which appeared on British television. His ballad opera Big Rock Candy Mountain premiered December 1955 at Joan Littlewood's Theatre Workshop and featured Ramblin' Jack Elliot. In Scotland, Lomax is credited with being an inspiration for the School of Scottish Studies, founded in 1951, the year of his first visit there. Lomax and Diego Carpitella's survey of Italian folk music for the Columbia World Library, conducted in 1953 and 1954, with the cooperation of the BBC and the Accademia Nazionale di Santa Cecilia in Rome, helped capture a snapshot of a multitude of important traditional folk styles shortly before they disappeared. The pair amassed one of the most representative folk song collections of any culture. From Lomax's Spanish and Italian recordings emerged one of the first theories explaining the types of folk singing that predominate in particular areas, a theory that incorporates work style, the environment, and the degrees of social and sexual freedom.

Return to the United States
Upon his return to New York in 1959, Lomax produced a concert, Folksong '59, in Carnegie Hall, featuring Arkansas singer Jimmy Driftwood; the Selah Jubilee Singers and Drexel Singers (gospel groups); Muddy Waters and Memphis Slim (blues); Earl Taylor and the Stoney Mountain Boys (bluegrass); Pete Seeger, Mike Seeger (urban folk revival); and The Cadillacs (a rock and roll group). The occasion marked the first time rock and roll and bluegrass were performed on the Carnegie Hall Stage. "The time has come for Americans not to be ashamed of what we go for, musically, from primitive ballads to rock 'n' roll songs", Lomax told the audience. According to Izzy Young, the audience booed when he told them to lay down their prejudices and listen to rock 'n' roll. In Young's opinion, "Lomax put on what is probably the turning point in American folk music...At that concert, the point he was trying to make was that Negro and white music were mixing, and rock and roll was that thing."

Alan Lomax had met 20-year-old English folk singer Shirley Collins while living in London. The two were romantically involved and lived together for some years. When Lomax obtained a contract from Atlantic Records to re-record some of the American musicians first recorded in the 1940s, using improved equipment, Collins accompanied him. Their folk song collecting trip to the Southern states, known colloquially as the Southern Journey, lasted from July to November 1959 and resulted in many hours of recordings, featuring performers such as Almeda Riddle, Hobart Smith, Wade Ward, Charlie Higgins and Bessie Jones and culminated in the discovery of Fred McDowell. Recordings from this trip were issued under the title Sounds of the South and some were also featured in the Coen brothers' 2000 film O Brother, Where Art Thou?. Lomax wished to marry Collins but when the recording trip was over, she returned to England and married Austin John Marshall. In an interview in The Guardian newspaper, Collins expressed irritation that The Land Where The Blues Began, Lomax's 1993 account of the journey, barely mentioned her. "All it said was, 'Shirley Collins was along for the trip'. It made me hopping mad. I wasn't just 'along for the trip'. I was part of the recording process, I made notes, I drafted contracts, I was involved in every part". Collins addressed the perceived omission in her memoir, America Over the Water, published in 2004. Collins described her arrival in America 1959 in an interview with Johan Kugelberg:

"Kugelberg: Lomax met you?

Collins: He was on the dockside with Anne, his daughter...I think I arrived in April and I don't think we went south until August. It took quite a long time to get the money together; it kept falling through. I think Columbia was going to pay for it at one point, but they insisted he have a union engineer with him and someone extra like that—in situations we were going to be in would have been hopeless. So he refused, and they withdrew their funding. It was very last minute that the Ertegun brothers at Atlantic gave us the cash and we were gone within days of getting that money. Alan had wanted to do it earlier, but there was just no money to do it with. He had no money, ever. He was always living hand to mouth.

Kugelberg: That's the nature of somebody who is making the path as he's going along. Also as a sidebar, considering who the Ertegun brothers were at that point in time, it's surprising to me that they greenlighted that project at that point in time. I love that series, I think it's one of the great series of albums ever. It's surprising that Atlantic Records made that leap of faith because the series is sort of outside of their paradigm. So, those months were spent in New York?

Collins: We went to another place actually, we went to California, to the California Folk festival in Berkeley, this was sometime in the summer. And we stopped off in Chicago and stayed with Studs Terkel who was a hospitable man and his wonderful hospitable wife. Caught the train out to San Francisco from Chicago, which was an incredible experience. Sang at the Berkeley festival and met Jimmy Driftwood there for the first time. We all hit it off wonderfully.

Kugelberg: Your friends in England were dying of envy.

Collins: No, they didn't know."

Lomax married Antoinette Marchand on August 26, 1961. They separated the following year and divorced in 1967.

In 1962, Lomax and singer and Civil Rights Activist Guy Carawan, music director at the Highlander Folk School in Monteagle, Tennessee, produced the album, Freedom in the Air: Albany Georgia, 1961–62, on Vanguard Records for the Student Nonviolent Coordinating Committee.

Lomax was a consultant to Carl Sagan for the Voyager Golden Record sent into space on the 1977 Voyager Spacecraft to represent the music of the earth. Music he helped choose included the blues, jazz, and rock 'n' roll of Blind Willie Johnson, Louis Armstrong, and Chuck Berry; Andean panpipes and Navajo chants; Azerbaijani mugham performed by two balaban players, a Sicilian sulfur miner's lament; polyphonic vocal music from the Mbuti Pygmies of Zaire, and the Georgians of the Caucasus; and a shepherdess song from Bulgaria by Valya Balkanska; in addition to Bach, Mozart, and Beethoven, and more. Sagan later wrote that it was Lomax "who was a persistent and vigorous advocate for including ethnic music even at the expense of Western classical music. He brought pieces so compelling and beautiful that we gave in to his suggestions more often than I would have thought possible. There was, for example, no room for Debussy among our selections because Azerbaijanis play bagpipe-sounding instruments [balaban] and Peruvians play panpipes and such exquisite pieces had been recorded by ethnomusicologists known to Lomax."

Death
Alan Lomax died in Safety Harbor, Florida on July 19, 2002 at the age of 87.

Cultural equity
"The dimension of cultural equity needs to be added to the humane continuum of liberty, freedom of speech and religion, and social justice."

"Folklore can show us that this dream is age-old and common to all mankind. It asks that we recognize the cultural rights of weaker peoples in sharing this dream. And it can make their adjustment to a world society an easier and more creative process. The stuff of folklore—the orally transmitted wisdom, art and music of the people can provide ten thousand bridges across which men of all nations may stride to say, 'You are my brother.'"

As a member of the Popular Front and People's Songs in the 1940s, Alan Lomax promoted what was then known as "One World" and today is called multiculturalism. In the late forties he produced a series of concerts at Town Hall and Carnegie Hall that presented flamenco guitar and calypso, along with country blues, Appalachian music, Andean music, and jazz. His radio shows of the 1940s and 1950s explored musics of all the world's peoples.

Lomax recognized that folklore (like all forms of creativity) occurs at the local and not the national level and flourishes not in isolation but in fruitful interplay with other cultures. He was dismayed that mass communications appeared to be crushing local cultural expressions and languages. In 1950 he echoed anthropologist Bronisław Malinowski (1884–1942), who believed the role of the ethnologist should be that of advocate for primitive man (as indigenous people were then called), when he urged folklorists to similarly advocate for the folk. Some, such as Richard Dorson, objected that scholars shouldn't act as cultural arbiters, but Lomax believed it was unethical to stand idly by as the magnificent variety of the world's cultures and languages was "grayed out" by centralized commercial entertainment and educational systems. Although he acknowledged potential problems with intervention, he urged that folklorists with their special training actively assist communities in safeguarding and revitalizing their own local traditions.

Similar ideas had been put into practice by Benjamin Botkin, Harold W. Thompson, and Louis C. Jones, who believed that folklore studied by folklorists should be returned to its home communities to enable it to thrive anew. They have been realized in the annual (since 1967) Smithsonian Folk Festival on the Mall in Washington, D.C. (for which Lomax served as a consultant), in national and regional initiatives by public folklorists and local activists in helping communities gain recognition for their oral traditions and lifeways both in their home communities and in the world at large; and in the National Heritage Awards, concerts, and fellowships given by the NEA and various State governments to master folk and traditional artists.

In 1983, Lomax founded The Association for Cultural Equity (ACE). It is housed at the Fine Arts Campus of Hunter College in New York City and is the custodian of the Alan Lomax Archive. The Association's mission is to "facilitate cultural equity" and practice "cultural feedback" and "preserve, publish, repatriate and freely disseminate" its collections. Though Alan Lomax's appeals to anthropology conferences and repeated letters to UNESCO fell on deaf ears, the modern world seems to have caught up to his vision. In an article first published in the 2009 Louisiana Folklore Miscellany, Barry Jean Ancelet, folklorist and chair of the Modern Languages Department at University of Louisiana at Lafayette, wrote:

"Every time [Lomax] called me over a span of about ten years, he never failed to ask if we were teaching Cajun French in the schools yet. His notions about the importance of cultural and linguistic diversity have been affirmed by many contemporary scholars, including Nobel Prize-winning physicist Murray Gell-Mann who concluded his recent book, The Quark and the Jaguar, with a discussion of these very same issues, insisting on the importance of 'cultural DNA' (1994: 338–343). His cautions about 'universal popular culture' (1994: 342) sound remarkably like Alan's warning in his 'Appeal for Cultural Equity' that the 'cultural grey-out' must be checked or there would soon be 'no place worth visiting and no place worth staying' (1972). Compare Gell-Mann:

'Just as it is crazy to squander in a few decades much of the rich biological diversity that has evolved over billions of years, so is it equally crazy to permit the disappearance of much of human cultural diversity, which has evolved in a somewhat analogous way over many tens of thousands of years...The erosion of local cultural patterns around the world is not, however, entirely or even principally the result of contact with the universalizing effect of scientific enlightenment. Popular culture is in most cases far more effective at erasing distinctions between one place or society and another. Blue jeans, fast food, rock music, and American television serials have been sweeping the world for years. (1994: 338–343)'

and Lomax:

'carcasses of dead or dying cultures on the human landscape, that we have learned to dismiss this pollution of the human environment as inevitable, and even sensible, since it is wrongly assumed that the weak and unfit among musics and cultures are eliminated in this way...Not only is such a doctrine anti-human; it is very bad science. It is false Darwinism applied to culture – especially to its expressive systems, such as music language, and art. Scientific study of cultures, notably of their languages and their musics, shows that all are equally expressive and equally communicative, even though they may symbolize technologies of different levels...With the disappearance of each of these systems, the human species not only loses a way of viewing, thinking, and feeling but also a way of adjusting to some zone on the planet which fits it and makes it livable; not only that, but we throw away a system of interaction, of fantasy and symbolizing which, in the future, the human race may sorely need. The only way to halt this degradation of man's culture is to commit ourselves to the principles of political, social, and economic justice. (2003 [1972]: 286)'"

In 2001, in the wake of the attacks in New York and Washington of September 11, UNESCO's Universal Declaration of Cultural Diversity declared the safeguarding of languages and intangible culture on a par with protection of individual human rights and as essential for human survival as biodiversity is for nature, ideas remarkably similar to those forcefully articulated by Alan Lomax many years before.

FBI investigations
From 1942 to 1979, Lomax repeatedly was investigated and interviewed by the Federal Bureau of Investigation (FBI), but nothing incriminating was discovered, and the investigation was abandoned. Scholar and jazz pianist Ted Gioia uncovered and published extracts from Alan Lomax's 800-page FBI files. The investigation appears to have started when an anonymous informant reported overhearing Lomax's father telling guests in 1941 about what he considered his son's communist sympathies. Looking for leads, the FBI seized on the fact that, at the age of 17 in 1932 while attending Harvard University for a year, Lomax had been arrested in Boston, Massachusetts in connection with a political demonstration. In 1942 the FBI sent agents to interview students at Harvard's freshman dormitory about Lomax's participation in a demonstration that had occurred at Harvard ten years earlier in support of the immigration rights of one Edith Berkman, a Jewish woman, dubbed the "red flame" for her labor organizing activities among the textile workers of Lawrence, Massachusetts, and threatened with deportation as an alleged "Communist agitator". Lomax had been charged with disturbing the peace and fined $25. Berkman, however, had been cleared of all accusations against her and was not deported. Nor had Lomax's Harvard academic record been affected in any way by his activities in her defense. Nevertheless, the bureau continued trying vainly to show that in 1932 Lomax had either distributed communist literature or made public speeches in support of the Communist Party.

According to Ted Gioia:

"Lomax must have felt it necessary to address the suspicions. He gave a sworn statement to an FBI agent on April 3, 1942, denying both of these charges. He also explained his arrest while at Harvard as the result of police overreaction. He was, he claimed, 15 at the time – he was actually 17 and a college student – and he said he had intended to participate in a peaceful demonstration. Lomax said he and his colleagues agreed to stop their protest when police asked them to, but that he was grabbed by a couple of policemen as he was walking away. 'That is pretty much the story there, except that it distressed my father very, very much', Lomax told the FBI. 'I had to defend my righteous position, and he couldn't understand me and I couldn't understand him. It has made a lot of unhappiness for the two of us because he loved Harvard and wanted me to be a great success there.' Lomax transferred to the University of Texas the following year."

Lomax left Harvard, after having spent his sophomore year there, to join John A. Lomax and John Lomax, Jr. in collecting folk songs for the Library of Congress and to assist his father in writing his books. In withdrawing him (in addition to not being able to afford the tuition), the elder Lomax had probably wanted to separate his son from new political associates that he considered undesirable. But Alan had also not been happy there and probably also wanted to be nearer his bereaved father and young sister, Bess, and to return to the close friends he had made during his first year at the University of Texas.

In June 1942 the FBI approached the Librarian of Congress, Archibald McLeish, in an attempt to have Lomax fired as Assistant in Charge of the Library's Archive of American Folk Song. At the time, Lomax was preparing for a field trip to the Mississippi Delta on behalf of the Library, where he made landmark recordings of Muddy Waters, Son House, and David "Honeyboy" Edwards, among others. McLeish wrote to Hoover, defending Lomax: "I have studied the findings of these reports very carefully. I do not find positive evidence that Mr. Lomax has been engaged in subversive activities and I am therefore taking no disciplinary action toward him." Nevertheless, according to Gioia:

"Yet what the probe failed to find in terms of prosecutable evidence, it made up for in speculation about his character. An FBI report dated July 23, 1943, describes Lomax as possessing 'an erratic, artistic temperament' and a 'bohemian attitude.' It says: 'He has a tendency to neglect his work over a period of time and then just before a deadline he produces excellent results.' The file quotes one informant who said that 'Lomax was a very peculiar individual, that he seemed to be very absent-minded and that he paid practically no attention to his personal appearance.' This same source adds that he suspected Lomax's peculiarity and poor grooming habits came from associating with the 'hillbillies' who provided him with folk tunes."

Lomax, who was a founding member of People's Songs, was in charge of campaign music for Henry A. Wallace's 1948 Presidential run on the Progressive Party ticket on a platform opposing the arms race and supporting civil rights for Jews and African Americans. Subsequently, Lomax was one of the performers listed in the publication Red Channels as a possible Communist sympathizer and was consequently blacklisted from working in US entertainment industries.

A 2007 BBC news article revealed that in the early 1950s, the British MI5 placed Alan Lomax under surveillance as a suspected Communist. Its report concluded that although Lomax undoubtedly held "left wing" views, there was no evidence he was a Communist. Released September 4, 2007 (File ref KV 2/2701), a summary of his MI5 file reads as follows:

"Noted American folk music archivist and collector Alan Lomax first attracted the attention of the Security Service when it was noted that he had made contact with the Romanian press attaché in London while he was working on a series of folk music broadcasts for the BBC in 1952. Correspondence ensued with the American authorities as to Lomax' suspected membership of the Communist Party, though no positive proof is found on this file. The Service took the view that Lomax' work compiling his collections of world folk music gave him a legitimate reason to contact the attaché, and that while his views (as demonstrated by his choice of songs and singers) were undoubtedly left wing, there was no need for any specific action against him."

"The file contains a partial record of Lomax' movements, contacts and activities while in Britain, and includes for example a police report of the 'Songs of the Iron Road' concert at St Pancras in December 1953. His association with [blacklisted American] film director Joseph Losey is also mentioned (serial 30a)."

The FBI again investigated Lomax in 1956 and sent a 68-page report to the CIA and the Attorney General's office. However, William Tompkins, assistant attorney general, wrote to Hoover that the investigation had failed to disclose sufficient evidence to warrant prosecution or the suspension of Lomax's passport.

Then, as late as 1979, an FBI report suggested that Lomax had recently impersonated an FBI agent. The report appears to have been based on mistaken identity. The person who reported the incident to the FBI said that the man in question was around 43, about 5 feet 9 inches and 190 pounds. The FBI file notes that Lomax stood 6 ft tall, weighed 240 pounds and was 64 at the time:

"Lomax resisted the FBI's attempts to interview him about the impersonation charges, but he finally met with agents at his home in November 1979. He denied that he'd been involved in the matter but did note that he'd been in New Hampshire in July 1979, visiting a film editor about a documentary. The FBI's report concluded that 'Lomax made no secret of the fact that he disliked the FBI and disliked being interviewed by the FBI. Lomax was extremely nervous throughout the interview.'"

The FBI investigation was concluded the following year, shortly after Lomax's 65th birthday.

Awards
Alan Lomax received the National Medal of Arts from President Ronald Reagan in 1986; a Library of Congress Living Legend Award in 2000; and was awarded an Honorary Doctorate in Philosophy from Tulane University in 2001. He won the National Book Critics Circle Award and the Ralph J. Gleason Music Book Award in 1993 for his book The Land Where the Blues Began, connecting the story of the origins of blues music with the prevalence of forced labor in the pre-World War II South (especially on the Mississippi levees). Lomax also received a posthumous Grammy Trustees Award for his lifetime achievements in 2003. Jelly Roll Morton: The Complete Library of Congress Recordings by Alan Lomax (Rounder Records, 8 CDs boxed set) won in two categories at the 48th annual Grammy Awards ceremony held on February 8, 2006 Alan Lomax in Haiti: Recordings For The Library Of Congress, 1936–1937, issued by Harte Records and made with the support and major funding from Kimberley Green and the Green foundation, and featuring 10 CDs of recorded music and film footage (shot by Elizabeth Lomax, then nineteen), a bound book of Lomax's selected letters and field journals, and notes by musicologist Gage Averill, was nominated for two Grammy Awards in 2011.

World music and digital legacy
Brian Eno wrote of Lomax's later recording career in his notes to accompany an anthology of Lomax's world recordings:

"[He later] turned his intelligent attentions to music from many other parts of the world, securing for them a dignity and status they had not previously been accorded. The 'World Music' phenomenon arose partly from those efforts, as did his great book, Folk Song Style and Culture. I believe this is one of the most important books ever written about music, in my all time top ten. It is one of the very rare attempts to put cultural criticism onto a serious, comprehensible, and rational footing by someone who had the experience and breadth of vision to be able to do it."

In January 2012, the American Folklife Center at the Library of Congress, with the Association for Cultural Equity, announced that it would release Lomax's vast archive in digital form. Lomax spent the last 20 years of his life working on an interactive multimedia educational computer project he called the Global Jukebox, which included 5,000 hours of sound recordings, 400,000 feet of film, 3,000 videotapes, and 5,000 photographs. By February 2012, 17,000 music tracks from his archived collection were expected to be made available for free streaming, and later some of that music may be for sale as CDs or digital downloads. As of March 2012 this has been accomplished. Approximately 17,400 of Lomax's recordings from 1946 and later have been made available free online. This is material from Alan Lomax's independent archive, begun in 1946, which has been digitized and offered by the Association for Cultural Equity. This is "distinct from the thousands of earlier recordings on acetate and aluminum discs he made from 1933 to 1942 under the auspices of the Library of Congress. This earlier collection – which includes the famous Jelly Roll Morton, Woody Guthrie, Lead Belly, and Muddy Waters sessions, as well as Lomax's prodigious collections made in Haiti and Eastern Kentucky (1937) – is the provenance of the American Folklife Center" at the Library of Congress.

On August 24, 1997, at a concert at Wolf Trap in Vienna, Virginia, Bob Dylan said about Lomax, who had helped introduce him to folk music and whom he had known as a young man in Greenwich Village:

"There is a distinguished gentlemen here who came...I want to introduce him – named Alan Lomax. I don't know if many of you have heard of him [Audience applause.] Yes, he's here, he's made a trip out to see me. I used to know him years ago. I learned a lot there and Alan...Alan was one of those who unlocked the secrets of this kind of music. So if we've got anybody to thank, it's Alan. Thanks, Alan."

In 1999 electronica musician Moby released his fifth album Play. It extensively used samples from field recordings collected by Lomax on the 1993 box set Sounds of the South: A Musical Journey from the Georgia Sea Islands to the Mississippi Delta. The album went on to be certified platinum in more than 20 countries.

In his autobiography Chronicles, Part One, Bob Dylan recollects a 1961 scene: "There was an art movie house in the Village on 12th Street that showed foreign movies—French, Italian, German. This made sense, because even Alan Lomax himself, the great folk archivist, had said somewhere that if you want to go to America, go to Greenwich Village."

Film

 * Lomax the Songhunter, documentary directed by Rogier Kappers, 2004 (issued on DVD 2007).
 * American Patchwork television series, 1990 (five DVDs).
 * Oss Oss Wee Oss 1951 (on a DVD with other films related to the Padstow May Day).
 * Rhythms of Earth. Four films (Dance & Human History, Step Style, Palm Play, and The Longest Trail) made by Lomax (1974–1984) about his Choreometric cross-cultural analysis of dance and movement style. Two-and-a-half hours, plus one-and-a-half hours of interviews and 177 pages of text.
 * The Land Where The Blues Began, expanded, thirtieth-anniversary edition of the 1979 documentary by Alan Lomax, filmmaker John Melville Bishop, and ethnomusicologist and civil rights activist Worth Long, with 3.5 hours of additional music and video.
 * Ballads, Blues and Bluegrass, an Alan Lomax documentary released in 2012. His assistant Carla Rotolo was seen in the film.
 * Southern Journey (Revisited), this 2020 documentary retraces the route of an iconic song-collecting trip from the late 1950s - Alan Lomax's so-called "Southern Journey".

title: Alan Lomax