{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/057cr5pv60/manifest","type":"Manifest","label":{"en":["The Record Changer 1942-1957: Jazz Collector's Haven"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","metadata":[{"label":{"en":["Agent"]},"value":{"en":["Cary Ginell (Presenter)","David Giovannoni (Chair)"]}},{"label":{"en":["Date"]},"value":{"en":["2010-05-21 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Audio"]}},{"label":{"en":["Description"]},"value":{"en":["The Record Changer got its start in July 1942 as a single page listing of 78 rpm records offered for auction. Originally founded by Gordon Gullickson, the publication succeeded Jazz Information as the primary voice championing the serious study of traditional New Orleans jazz. In time, it became collectors’ chief source for record auctions, musician profiles, record reviews, and editorials about the changing face of jazz. It gave birth to Gene Deitch’s legendary and uproarious “Cat” cartoons, tracked the coming of the LP, exposed the Jolly Roger bootleg controversy, and was singularly responsible for the major labels' entry into reissues of historical jazz recordings. After Bill Grauer took over as publisher, the scope of the magazine expanded to include swing, folk, blues, and be-bop, but still retained its role as the focal point for jazz record collectors. Many of the jazz world's top historians wrote articles for the magazine, including William Russell, Eugene Williams, Charles Edward Smith, George Avakian, Nesuhi Ertegun, and Rudi Blesh. There was no shortage of controversy within its pages, and vitriolic diatribes (mostly against Leonard Feather) and arguments among scholars made for fascinating reading. Although it sputtered to a halt in the late 1950s, The Record Changer spawned a litany of similar \"little\" jazz publications. Even today, more than 50 years after its de-mise, back issues are hoarded as collectors items themselves. This presentation traces its history, through the words and images presented in this remarkable and essential publication."]}},{"label":{"en":["Language"]},"value":{"en":["English"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["Copyright Association for Recorded Sound Collections"]}}],"summary":{"en":["The Record Changer got its start in July 1942 as a single page listing of 78 rpm records offered for auction. Originally founded by Gordon Gullickson, the publication succeeded Jazz Information as the primary voice championing the serious study of traditional New Orleans jazz. In time, it became collectors’ chief source for record auctions, musician profiles, record reviews, and editorials about the changing face of jazz. It gave birth to Gene Deitch’s legendary and uproarious “Cat” cartoons, tracked the coming of the LP, exposed the Jolly Roger bootleg controversy, and was singularly responsible for the major labels' entry into reissues of historical jazz recordings. After Bill Grauer took over as publisher, the scope of the magazine expanded to include swing, folk, blues, and be-bop, but still retained its role as the focal point for jazz record collectors. Many of the jazz world's top historians wrote articles for the magazine, including William Russell, Eugene Williams, Charles Edward Smith, George Avakian, Nesuhi Ertegun, and Rudi Blesh. There was no shortage of controversy within its pages, and vitriolic diatribes (mostly against Leonard Feather) and arguments among scholars made for fascinating reading. Although it sputtered to a halt in the late 1950s, The Record Changer spawned a litany of similar \"little\" jazz publications. Even today, more than 50 years after its de-mise, back issues are hoarded as collectors items themselves. This presentation traces its history, through the words and images presented in this remarkable and essential publication."]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["Copyright Association for Recorded Sound Collections"]}},"provider":[{"id":"https://arsc.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Association for Recorded Sound Collections"]},"homepage":[{"id":"https://arsc.aviaryplatform.com/","type":"Text","label":{"en":["Association for Recorded Sound Collections"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/2670/collection_resources/128032/file/239759","type":"Canvas","label":{"en":["Media File 1 of 1 - ARSC_conf_2010_Ginell_audio.mp3"]},"duration":2834.58106,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/2670/collection_resources/128032/file/239759/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/2670/collection_resources/128032/file/239759/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/239/759/original/ARSC_conf_2010_Ginell_audio.mp3?1714144081","type":"Audio","format":"audio/mpeg","duration":2834.58106,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/2670/collection_resources/128032/file/239759","metadata":[]}]}],"annotations":[]}]}