The past few weeks, our Q.S.O.S. Spotlight has been about the ways quilting has helped quilters through hard times, sad moments, and difficult passages. Quiltmaking can provide solace in a time of need, but it can also provide joy, camaraderie, and a heck of a lot of giggles. This week’s spotlight features a few answers to the question “tell me about an amusing experience that has come from your quiltmaking”. These are just a handful of many–from quilt disasters to humorous mis-understandings, clueless relatives and wild exploits at quilt camp–it’s clear that quilting and fun can go hand-in-hand. Carolyn Gorham Guest tells a story about the hazards of multi-tasking while sewing: “There’s an amusing sewing story at my mother’s. Because I was one of four girls, and my mother sewed, sometimes every table and space would be spread out with patterns and fabric and whatever. One summer day when my younger sister and I were sewing, we had a sewing machine set up on the dining room table and one set up out on the front porch. We were working at it. Mom was making bread. They were moving things from place to place. We got the bread done and everything put away for dinner, which was midday. My father bit into a roll that had a common pin in it… It was one of the few times I’ve ever seen him make specific requests about, because he usually was an easy-going man. He wanted the sewing separate from the food.” Shirley Fowlkes Stevenson overhears an opinion at a quilt show: “One of the first shows, I guess that I vended in Paducah [Kentucky.] years ago. Two little old ladies came up in front of the booth and pointed at a quilt and one said to the other, “Mabel, that’s not a quilt, that’s just something you hang on the wall.” [laughs.] I still remember that.” Gwen Otte shares some mis-understandings about a common sewing tool–the marking pen: “[O]ne of our friends is an advanced math, algebra, trig teacher here in Gordon. And she could be my daughter. She’s much younger. But we invited her to come and she hadn’t known us very well but she came. We had a blue, almost navy blue and white, star quilt spread out and it was under construction. The blue, water-soluble pen was new at that time, that felt tip, and I had marked the quilting lines on the white with that. And she walked in. She sat down, brought her own thimble, brought her own needle. She sat down, didn’t say anything, started chatting, was rather reserved but we didn’t know her real well and after we had worked for an hour and a half or so, somebody said, ‘Well, let’s remove those blue lines from this white and see how it looks.’ She said, ‘You can take that out?’ And we said, ‘Well, yes, you use water.’ And she said, ‘Oh, I just thought you women had the worst sense of color in the world. That that would be in there forever.’ And so she was so relieved when we removed the turquoise. Then another friend who was here that day went to a quilt shop and a few days later I got a cell phone call and the reception was terrible. I could barely make out what she was saying and she finally said, ‘I am in a quilt shop in Rapid City and my husband has been looking for that green bottle that you used to remove that blue line.’ And I said, ‘I’m not sure what you mean.’ And she said, ‘Oh you know, that green bottle you always spray that with to take the blue line out.’ You can imagine her laughter when I said, ‘That’s water in an old hairspray bottle.’ ” What’s your most amusing quilt experience? You can read more (funny, inspiring and entertaining) quilt stories on the Quilters’ S.O.S.- Save Our Stories page on the Quilt Alliance website. Posted by Emma Parker Project Manager, Quilters’ S.O.S.- Save Our Stories…
This week is second in a series of posts (you can read the first here) spotlighting quilts from the ‘Alzheimer’s : Forgetting Piece by Piece QSOS’. Each of the quilts was made by a quiltmaker whose mother was diagnosed with Alzheimer’s. Our first quilt comes from Sonia Callahan: “‘Women Who Were’ was something that was in my mind for a very long time. My mother had “dementia/Alzheimer” and was in a care situation for seven years. I would go and visit her and as I sat there I got to observe the various people who were there and recognized the fact that some people were more advanced in this disease than others and some people really still cared about themselves. Basically I tried to capture that in the quilt. I also saw my mother fading and I saw her go through the stage where she wasn’t quite sure who she was and I had hoped to capture that… I have two older brothers and we oversaw her care after my father died and that is where the quilt originated. What I really wanted to do was to capture the various people that I observed for the many hours that I sat with her and also recognize that there is a world outside that window, that there is a whole world that these women don’t access. So it is kind of hazy and I meant to do that intentionally so that you would get the feeling that you were enclosed in this room and that the outside is no longer available, which is true to a degree. We did bring my mother out and have her for half a day or a day, but she always went back to her home. One of the characters in there is a woman called Olga and when my mother first came in she and Olga made a wonderful twosome. They developed a great relationship and they would often sit in the lounge and hold hands. So one of these people has a name, but the rest of them are just sort of people that I have observed… This was her life and this is the life of many of the women who were very distinguish women and were in the same situation that she was. I have to commend the care that she got and it is in a way a tribute to the caregivers who take care of the elderly, because that is a special talent and a very, very special way of giving.” Timi Bronson and her 3 sisters each made a small quilt representing how they felt about their mother, who was diagnosed with “‘Shattered Lives’ is actually four small quilts that were then put together into a framing system that I came up with. I have three sisters and we each made a twelve by twelve quilt that is in fact a complete quilt in and of it’s self. They sent them to me and I put the four quilts into a frame using cotton fabrics. The individual quilts represent what each of us feels about our mother who was diagnosed with a progressive form of dementia in 2004… [T]he only thing that I said I was going to do, that I knew for sure it would be those little bars in black. They took it from there. Dona and I both decided to use a photograph to do our pieces, and the other two used piecing techniques and we all kind of incorporated the same color scheme, which was very odd because we did not discuss it at all. My quilt is actually done from a photograph of my mother that was taken on their 50th wedding anniversary. I took the photograph and put it through several different techniques in different photo programs to actually shatter it so that it looked like a piece of broken glass. I then printed it on to fabric and appliquéd it onto the background fabric. The dementia has actually shattered my mother’s life and it has shattered our lives. She is not the same person that she once was and as caregiver for her, my life certainly has been changed completely.” You can read more quilt stories, including more stories from the ‘Alzheimer’s: Forgetting Piece by Piece QSOS’ sub-project on the Quilters’ S.O.S.- Save Our Stories page on the Quilt Alliance website. Posted by Emma Parker Project Manager, Quilters’ S.O.S.- Save Our Stories…
Expanding the Reach, Audience and Impact of the Q.S.O.S. Oral History Project A Report to the Robert and Ardis James Foundation Reporting period: 4/30/13 – 2/1/14 Grant period: 3/1/12 – 2/28/14 Report updated: 5/15/19 Increasing Accessibility: Simplifying the Q.S.O.S. Manual In 2013, Q.S.O.S. volunteers and staff pinpointed the revision of the manual as an important step to encourage participation in the project and expand Q.S.O.S. internationally. Pauline Macaulay and Janneken Smucker helped update the manual, which had not been updated since 2008. The revised Q.S.O.S. Guidebook is now available on the Quilt Alliance site for download and includes current Quilt Alliance branding, up-to-date technological guidelines and best practices, and a simple, clear protocol for conducting or participating in a Q.S.O.S. interview. In an effort to make the Q.S.O.S. process more inclusive and increase participation, we have reduced the guidebook in length from 58 to 17 pages, creating three new ‘Quickstart Guides’ to clearly explain each Q.S.O.S. role. We will be able to easily adapt the new guidebook as the project evolves and expands. Widening Our Reach: Internationalization of the Q.S.O.S. Protocol With help from the Quilt Alliance, board member Pauline Macaulay launched the Talking Quilts Oral History Project, a UK-based oral history project modeled after the Q.S.O.S. protocol. The project received £89,100 from the Heritage Lottery Fund after Macaulay conducted a pilot study using the Q.S.O.S. method with London-area quilters. Talking Quilts and Q.S.O.S. are in the planning stages of development a platform for sharing the UK project alongside Q.S.O.S. When developed, future international sub-projects or Q.S.O.S. sister projects around the world will be able to adapt the platform to share their records. Not Fade Away: Sharing Quilt Stories in the Digital Age The Quilt Alliance’s inaugural quilts and oral history conference, Not Fade Away: Sharing Quilt Stories in the Digital Age, was held on July 20th, 2013. Holding the conference in conjunction with Sacred Threads, an established Northern Virginia quilt show, defrayed venue costs, encouraged participation and allowed attendees the opportunity to visit the exhibition during the event. The one-day conference included: Keynote session from Janneken Smucker entitled Quilt Stories/Storied Quilts, Demonstrations of a Q.S.O.S. interview, with quiltmaker and fabric designer Jinny Beyer, and Go Tell It at the Quilt Show! interviews, with quilters featured in the Sacred Threads exhibition, Panel discussion featuring textile curators Marin Hanson, Nancy Bavor, Mary Worrall and Suzanne McDowell Breakout sessions focusing on Q.S.O.S. training, self-publishing and social media for quilters, quilt photography and quilt labeling. 70 people attended the conference, with 15 home tickets sold. Home tickets allowed participants to virtually attend the conference from around the country and included video footage of Janneken Smucker’s keynote speech, the Q.S.O.S. interview with Beyer, Go Tell It at the Quilt Show! interviews and the curators’ panel discussion.
Sharing Resources: Q.S.O.S. Spotlight Blog Series Emma Parker has created a weekly series of posts on the Quilt Alliance blog, called the Q.S.O.S. Spotlight, that features excerpts from compelling or topical Q.S.O.S. interviews. The posts encourage interaction with the Q.S.O.S. collection and offer an opportunity to share content from the archive. Ardis James Q.S.O.S. Scholars Program The Ardis James Q.S.O.S. Scholars Program has announced its first 3 scholars, each of whom is crafting an illustrated essay from curated content from the Q.S.O.S. archive. The Scholars Program aims to mine the rich resources of more than 1,000 Q.S.O.S. interviews and encourage the use of this repository for research, scholarship and education. The scholars’ essays were shared on the Alliance site in the spring of 2014. Visit the Ardis James QSOS Scholars Program homepage here. The first three Ardis James Q.S.O.S. Scholars are: Barbara Brackman, quilt historian, curator and teacher. Barbara is the author of a number of books about quiltmaking and quilt history including the Encyclopedia of Pieced Quilt Patterns and Clues in the Calico: A Guide to Identifying and Dating Antique Quilts and was inducted into the Quilters Hall of Fame in 2001. Barbara’s project will be an essay or gallery that will examine interviewees’ use of aesthetics in discussions of their work such as color, design, pattern and the use of inspiration such as commercial patterns, photographs and other works of art. Merikay Waldvogel, author, quilt historian and lecturer. Merikay has written several books about quilts in the 20th century, including Soft Covers for Hard Times: Quiltmaking and the Great Depression and, with Bets Ramsey, Quilts of Tennessee: Images of Domestic Life Prior to 1930. She was inducted into the Quilters Hall of Fame in 2009. Merikay’s project will revisit Linda Claussen’s 2002 Q.S.O.S. interview, including an exploration of the controversy surrounding the Smithsonian Institution’s licensing of the reproduction and sale of important quilts its collection. Christine Humphrey, doctoral student at the University of Nebraska-Lincoln. Christine received her master’s degree in textile history with a quilt studies emphasis at the University of Nebraska-Lincoln, where her master’s thesis focused on the roots of American quilt documentation projects from 1980-1989. Christine has already submitted the first Scholars Program essay, drawing on her original research from the Q.S.O.S. archive, and dovetailing with her doctoral research in textile history at UNL. Her essay—available here—is an accessible, informative exploration of the ways that quilting skills are learned and shared with future generations. Alll three essays, are shared on the Ardis James Scholars Program homepage on the Quilt Alliance website. We used social media to raise awareness of the program. Go Tell It at the Quilt Show! Growing and Expanding [youtube http://www.youtube.com/watch?v=op4EByMJISQ&w=420&h=236][youtube http://www.youtube.com/watch?v=6gXMkl0bNlw&w=420&h=315][youtube.com/watch?v=SmNE1v4bhPY&w=420&h=315] Go Tell It at the Quilt Show!–the Alliance’s newest project–has grown quickly since its start in 2012. Currently, the Quilt Alliance YouTube channel features 50 (updated 5/15/19: over 500) 3-minute videos filmed across the country, including at the Not Fade Away conference in Herndon, Virginia, at Quilters Take Manhattan and at the International Quilt Festival in Houston. 2014 will see the launch of Go Tell It at the Museum!, thanks to a partnership with the International Quilt Study Center & Museum at the University of Nebraska-Lincoln. We will collect Go Tell It! stories at the Museum’s celebration of National Quilting Day on March 15, 2014. Guidelines for public submission of Go Tell It! videos are in progress, as well as training programs for guilds, museums and events interested in filming their own Go Tell It! videos. To help us conceptualize this project, we have proposed a paper for presentation at the Oral History Association’s annual conference in fall 2014. The OSA conference provides an opportunity to solicit advise from colleagues in the field of oral…
One of the most compelling Q.S.O.S. sub-projects is the ‘Alzheimer’s : Forgetting Piece by Piece QSOS’. It’s comprised of interviews with quiltmakers featured in the touring quilt exhibit of the same name, curated by Ami Simms. This week and next weeks’s Q.S.O.S. Spotlight will feature two quiltmakers whose mothers were diagnosed with Alzheimer’s, and the quilts they created to help celebrate, memorialize, mourn and support those affected by the disease. Gay Ousley’s quilt, ‘She’s Come Undone’ began with verbs: “My mother had Alzheimer’s disease and at that time we were struggling and sort of at the end of her life, and I began to look back on the things that she had enjoyed. My parents had a wonderful life. They traveled all over the world. They were very active in their community, in their church, they liked to socialize, they had a big network of friends. My mother enjoyed golf and she was in two bridge clubs; all that was taken away when she got Alzheimer’s. I began to think about this, and since she was an English major in college, words were important to her. I decided that I would use words, verbs that would tell the story of what she could no longer do… I cut letters out for these words and fused them down to the background fabric and then I stitched them inside the letters so the edges would fray as the trip went on its journey, because this Alzheimer’s just frays everybody and everything that it comes into contact with.” Linda Cooper’s quilt combines a tribute to her mother and grandmother’s love of gardening with the biological science of Alzheimer’s: “My quilt is rather understated, it is a little subtle, it doesn’t hit you in the face like some of the other quilts do with the horror of the disease. Both my grandmother and my mother were wonderful gardeners and they took great pleasure in getting outside the house and doing something and making something grow. They lived in Ohio and they enjoyed it when the weather finally got good and they could go out and make things grow so I used the daylily. I used a technique that I learned from Phil Beaver. He is from Indiana and he does fabric painting. I used that for the background and I put daylilies on it. I appliquéd first around the daylilies with variegated thread so they didn’t look too abrupt and the edges are raw and some of the stems were a little wacky and they sort of look like the flowers would have grown outside. The background of the painting has some bright spots and some dim spots. The flower inside, it is more of the memory of my mother and grandmother, and in the border I used–I’m a biologist. I trained at Purdue as a neurophysiologist and so I used the brain plaques, the amyloid plaques that they see in Alzheimer’s and I beaded the nerve cells and once in a while there would be a normal nerve cell and then I would stitch in a sort of convoluted one and put some beads in there, so that is the biological tie of the disease.” You can read more quilt stories, including more stories from the ‘Alzheimer’s: Forgetting Piece by Piece QSOS’ sub-project on the Quilters’ S.O.S.- Save Our Stories page on the Quilt Alliance website. Posted by Emma Parker Project Manager, Quilters’ S.O.S.- Save Our Stories…
Winter is in full force here in North Carolina, where we’re enjoying frozen temperatures and occasional threats of snow. With the spirit of winter in mind, today’s Q.S.O.S. Spotlight is shining on Jacque Hensell, and her quilt “Let It Snow”. The quilt was the first was the first she made after months of not quilting. The story of the small coincidences that lead to her quilting again in a time of need is a wonderful reminder that sometimes, spring can be just around the corner. “The “Let It Snow” quilt is very special to me because there came a time when I had many demands on me. My youngest grandchild was diagnosed with a terminal illness. My family was committed to taking care of him at home. I totally lost interest in quilting. I was very sad because I had lost my interest in quilting. I tried to get the interest back by going out and buying fabrics or buying new patterns. I’d go home and there would just be no spark at all. I would then just give the things I had bought away. I teach quilting and many times students come to class and they don’t have their block completed. They usually say, ‘I was just too busy to do my block,’ or ‘I didn’t getto it because I have a lot going on.’ I couldn’t image why someone couldn’t get a block done. Since I began quilting, I would get up in the morning thinking about quilting and go to bed thinking about quilting. Then that period of time came for me when I couldn’t work on a block. Actually, I didn’t pick up a needle for 9 months. This quilt was the turning point in my quilting life. It was the reason I got back into quilting. I know there was definitely divine intervention in the series of events that restored my quilting interest… Because of the things in my personal life, I had cut back in the number of classes I was teaching. I had one class that I’d been with for 5 years. They met in a church and the group was called Quilts and Other Comforts. They had a devotional and refreshments before class. They were a wonderful group and really my favorite class. They knew I had other demands in my life and that I was cutting back on my quilting classes, but they just insisted that our group continue. I tried to tell them I didn’t have time to work up a new project for them, but I had one quilt project we could do. The quilt class I offered them was named “Snowbound.” I had taught this class many times and the preparation work was done. The group all said they wanted to do this project even though two of the girls had taken this class from me before. The girls that had taken it before said it would give them an opportunity to finish their project. In the “Snowbound” quilt, there is one block that is a nativity scene. The class had recently done a nativity scene, so one of the girls in the class asked if I could come up with a substitute for the nativity scene. I said, ‘Well that really won’t be a problem,’ and I didn’t really think it would be. I just thought, ‘Well, I’d just get to that when I have to. I was just kind of managing my life on a crisis basis. I’ll come up with something for that, you know, I just said, ‘Okay.’ Also at that time, my daughter was having major surgery. I was going to be with her during this time in the hospital and I knew that I needed something to bring to work on… So the very next morning, I came in to my daughter’s hospital room and on her breakfast tray is a skating scene placemat. I instantly saw my replacement for the nativity scene. At that point, I was kind of like my old self, I was going, ‘Oh Heather, just a minute, don’t spill any food on this, just a minute, let me–,’ I got really excited. So then I began sketching a skating scene from her placemat that had been on her tray…And so, as I sketched, I started thinking, ‘Well, you know, I’ve always wanted to redo that “Snow Bound” quilt, I might just make that quilt again as well, and I might just do that, I think I’ll make all their clothes in flannel.’ And I just start thinking and my mind just starts thinking about what I’m going to do. I was very enthusiastic about the project. I could hardly wait for us to get home and start working on it. The following Monday, I needed to go and be with my son’s family to help them and care for my grandson. One thing I always did when I was at his house was read a story to the two middle grandchildren before they took their naps. I always read them one small book or one chapter of a chapter book. That particular day, one of them said they wanted two books. I just said, ‘No, it’s going to be one book.’ Well, to make a long story short, he insisted it was going to be two books and I was just too tired to argue with him. I said, ‘Okay, today it is going to be two books but from now on you understand that it is going to be one book.’…So, the second book that was chosen for me to read was a new book that they had just gotten and it was called “Let It Be Snow.” It was a story about children playing in the snow. I was so excited. As I was reading, I keep seeing the children in the book as figures on my new quilt. I actually used almost all the figures that were in that book on this quilt. I just converted them to appliqué patterns. They were so easy to convert to appliqué patterns. Up to this point, I had thought that all the event were just a coincidence, taking the lesson plans to the hospital, […] her placemat being a skating scene. But then when, the following Monday, when my grandson insisted on me reading two books and the second book being the snow book I knew that somebody was helping me get back into quilting.” You can read more quilt stories on the Quilters’ S.O.S.- Save Our Stories page on the Quilt Alliance website. Posted by Emma Parker Project Manager, Quilters’ S.O.S.- Save Our Stories…
Today’s Q.S.O.S. Spotlight is shining on Selena Sullivan of Durham, North Carolina. Selena shared stories of her stunning Baltimore Album quilt, 15 years in the making, teaching her mother to quilt, and the importance of guilds in her quilting life. Selenta talked with interviewer Le Rowell about some of the details of her touchstone quilt: [T]his is a copy of a Baltimore Album style quilt that I worked on over a period of fifteen years, so it’s one of my more ambitious projects, although I would work on it for a year or two and then put it aside and work on another project, and then I’d always pick it back up. And I always felt I wanted to finish this quilt and was happy that I was able to do so finally… I’ve gotten a lot of comments about this one with the Milk Maid [pointing to the block.] And while I think I may have gotten the idea of the Milk Maid from some of the original Baltimore Album blocks, I added some other things into this block that were different. First of all, the cow was a brown [and.] white-spotted cow that we had. We had a cow, a milk cow, when I was a child. And we called her Mother Cow. So I had to have that brown-and-white spotted cow because I had to milk her early mornings before I went to school, and had to milk her when I came home in the evenings. So it was very personal to me. And then the Milk Maid, I determined early on that any figures in my quilt were going to be black figures or African American. So in the Angel block and this Milk Maid, they’re African American figures. I also had to put sunflowers here because my grandmother grew lots of sunflowers. I can still see them out by her fence and around her house. So I’ve loved sunflowers for just this reason, and as a nice flower, and I had to put them in here as well. But this block [indicating.] sort of was a design that I took from other blocks, the idea was adapted from the Goose Girl block, which is a Hannah Foote block and I made the tree similar but less complicated. But that was one that I pretty much kind of designed pulling many aspects together with some personal details. Selena was able to share her quilting skills with her mother: I think my first memory, as a child my mother made what I would consider utility quilts, you know, old discarded clothing, old pants or whatever. Usually, if she could get woolen fabrics or heavier fabrics, she would make utility quilts because we lived on a farm, a drafty house, so you really had to have lots of quilts here in North Carolina, Rowland, North Carolina. You had to have quilts to keep warm. And some of her quilts would be so heavy, you know, you couldn’t move once you got under them in the bed. But I remember her making these quilts and she would get friends or cousins or neighbors to help quilt them and they would have the old frames that were suspended from the ceiling. And my earliest memories would be to play underneath that frame as my mother would quilt. And she always made these utility quilts, so she really never made like Eight-Pointed Star or those type of quilts… I didn’t find out till much later on that my mother had always wanted to make what she considered those pretty type of quilts. I mean, none of the utility quilts she made survived. They were all used up. And so later on, I think it was in the late mid-eighties, I taught my mother to make those pretty quilts, like Eight-Pointed Stars, Broken Dishes, just simple things like even a Nine Patch. And then also I think she ended up making three quilts, almost finishing the third one before her death, and that third one was a Bear’s Paw. She really liked that pattern. And she was amazed that she could do these types of quilts and that I was able to teach her to do that and she would finish one quilt and then ask me to start her on another one. And she always criticized me for starting a quilt and not finishing it before starting another quilt and not finishing it. But I think I’m more of a process quilter. Selena also talked about what she gains from being involved in a variety of guilds, including the African American Quilt Circle of Durham: When I moved to Texas, the Austin Area Quilt Guild was a pretty big guild, maybe 200, 300 people, but there may have been three African American quilters in it. So it was not until I moved to Pittsburgh that I was able to join two guilds there, one of those being an African American work group. So it was in the early nineties that I started working with this work group and became interested in African American quilts, and was able to see that, in fact, the techniques used were quite different. The fabric choices were different. The designs were different. And that’s when I started to seek out African American professional quilters, and I think Michael Cummings was one of the quilters that I had gone to a talk and a presentation by Michael Cummings. I think it was in the early nineties. Carolyn Mazloomi, Faith Ringold, and their books and their works, and [I.] have such an appreciation, so I think you may see those influences, perhaps, in some of my quilts. Then, of course, when I moved to North Carolina here in the African American Quilt Circle, and I find that being in several guilds gives me an appreciation for different types of work, and I can work in different venues and learn different techniques. And also, too, I was convinced to join an art quilt group, Professional Art Quilt Alliance South, which they have usually two exhibitions a year, and they are juried exhibitions. And I have submitted quilts to that and got in. I have really expanded my African quilts, fabrics, and working with that, and I will admit that initially, I found it difficult to work with some of the fabrics because initially, I felt they were busy, and I wasn’t quite sure how to pull them together in an effective manner. But working with this group and seeing their quilts and learning to appreciate their use of design and color, I find that I’m drawn to a big variety of fabrics, strong, bold colors and bold designs. And I find that I can, in this African American quilt group, and it’s not rigid, necessarily, patterns. All of the quilts are different. They’ll take a traditional quilt and put their own spin to it, kind of a free-flowing design. And when I work with this group, I find that I have that freedom to do that without restrictions and not even restrictions in fabrics and colors. And I find that I like silks, wools, African fabrics, traditional fabrics, plaids, and just whatever that quilt calls for. I like to start a project and with an idea and then let that quilt tell me what it needs, tell me to take the fabrics and where to take that design, and that’s pretty much when I work with this African American quilt group, that’s how it’s done. You can read more quilt stories on the Quilters’ S.O.S.- Save Our Stories page on the Quilt Alliance website. Posted by Emma Parker Project Manager, Quilters’ S.O.S.- Save Our Stories…
