{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/125q81677q/manifest","type":"Manifest","label":{"en":["Bluegrass, R\u0026B, and the Rise of Independent Record Labels in Washington DC after WWII"]},"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":["Christopher (Kip) Lornell (Presenter)","Jay Bruder (Presenter)"]}},{"label":{"en":["Date"]},"value":{"en":["2009-05-30 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Audio"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eWashington, D.C., most notably through the local Columbia label that emerged as the most successful regional franchise of the original North American Phonograph Company, stood at the center of the early talking machine industry as inventors and investors vied for the attention and business of the Federal Government. A dramatic melt-down of the fledgling talking machine industry in the mid-1890’s caused Columbia to shift its’ headquarters to New York City, followed by Emile Berliner’s departure in the early 1900s, leaving Washington without a major recording label. Unfortunately, this situation prevailed until after the Second World War when local entrepreneurs such as the Feld Brothers, Lillian Claiborne, Ben Adleman and many others ventured into the business with labels such as Super Disc, DC, Paragon, Loop, Quartet, Lewis, Lloyds, and Empire. While most of the material is unremarkable, the local record companies documented a vibrant rhythm \u0026amp; blues as well as bluegrass scene just as both styles emerged in the late 1940’s and early 1950. Here we focus on the rhythm \u0026amp; blues and bluegrass recordings done by local record companies during the decade after the end of World War II.\u003c/p\u003e"]}},{"label":{"en":["Language"]},"value":{"en":["English"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}}],"summary":{"en":["\u003cp\u003eWashington, D.C., most notably through the local Columbia label that emerged as the most successful regional franchise of the original North American Phonograph Company, stood at the center of the early talking machine industry as inventors and investors vied for the attention and business of the Federal Government. A dramatic melt-down of the fledgling talking machine industry in the mid-1890\u0026rsquo;s caused Columbia to shift its\u0026rsquo; headquarters to New York City, followed by Emile Berliner\u0026rsquo;s departure in the early 1900s, leaving Washington without a major recording label. Unfortunately, this situation prevailed until after the Second World War when local entrepreneurs such as the Feld Brothers, Lillian Claiborne, Ben Adleman and many others ventured into the business with labels such as Super Disc, DC, Paragon, Loop, Quartet, Lewis, Lloyds, and Empire. While most of the material is unremarkable, the local record companies documented a vibrant rhythm \u0026amp; blues as well as bluegrass scene just as both styles emerged in the late 1940\u0026rsquo;s and early 1950. Here we focus on the rhythm \u0026amp; blues and bluegrass recordings done by local record companies during the decade after the end of World War II.\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},"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/2671/collection_resources/128453/file/240062","type":"Canvas","label":{"en":["Media File 1 of 1 - ARSC_conf_2009_Lornell_Bruder_audio.mp3"]},"duration":2665.12469,"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/2671/collection_resources/128453/file/240062/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/2671/collection_resources/128453/file/240062/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/240/062/original/ARSC_conf_2009_Lornell_Bruder_audio.mp3?1714698427","type":"Audio","format":"audio/mpeg","duration":2665.12469,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/2671/collection_resources/128453/file/240062","metadata":[]}]}],"annotations":[]}]}