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Values and principles provide a scaffold for community governance of the knowledge commons, engaging stakeholders in the construction of a system that encourages participants to adhere to a shared set of ethical and functional practices. This article introduces the FOREST Framework for Values-Driven Scholarly Communication, a toolkit and approach developed by the Next Generation Library Publishing project to assess a community or organization's alignment with scholarly values and principles. The article situates the FOREST Framework within the context of other initiatives advancing values-based scholarly communication and explains the importance of assessment mechanisms as a core element in governing an equitable and sustainable knowledge commons. It also synthesizes the findings of a half-day summit hosted in February 2022 that convened representatives of values-and-principles-based frameworks and initiatives in scholarly communication to strategize a collective future for these efforts.

Since the 1997 reissue of the 1952 Anthology of American Folk Music by Smithsonian Folkways Recordings, journalists, scholars and musicians have promoted this collection as the 'founding document' (Marcus 1997) and 'musical constitution' (Cantwell 1996) of the urban folk revival of the 1950s and 1960s. This reception differs markedly from that of its original issue, which sold few copies and attracted only minor critical attention. This article provides an account of the transformation in the Anthology's cultural status -showing that the canonisation of the Anthology stems not just from its content, but from the interplay of its content and its sociohistorical context. I identify some of the factors that influenced the retrospective consecration of the Anthology, including the important work of key people, the growth of a new field ('Americana' music) and changes in the organisational structures of the recording industry.This study addresses this dramatic shift in the valuation of the Anthology and highlights factors that contributed to the transformation of its status between 1952 and 1997. The organisation of the essay follows several threads over time -thereby showing the 'tapestry' of forces at play. I begin by turning to a literature concerned with issues of cultural production, including processes that underlie valorisation of cultural products. I then situate the Anthology in its broader sociohistorical contextcomparing reviews that were written about the Anthology at the time of its reissue with those from the time of its original release; reviewing primary documentation concerning its production, sales and marketing; and evaluating the important roles played by key actors, including Asch and Smith. I next suggest that the emergence of new criteria for evaluating 'folk' and 'roots' music influenced the reception of the 1997 Anthology reissue.