{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/3j39020w5w/manifest","type":"Manifest","label":{"en":["The Jazz Man Record Shop: Anatomy of an Institution"]},"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)"]}},{"label":{"en":["Date"]},"value":{"en":["2008-03-29 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Audio"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eFrom its inception in 1938 in Hollywood to its demise in Burbank in 1984, the Jazz Man Record Shop served as a meeting place, research facility, library, and sometimes even boxing arena and adult daycare center. Shops like the Jazz Man introduced many collectors to the wonders of 78 rpm records and the characters who collected them. During its nearly half-century of existence, the Jazz Man was frequented not just by collectors, but also by personages ranging from Louis Armstrong to the Rolling Stones, Bill Wyman. Like the Commodore and the Liberty, the Jazz Man sponsored its own record label, recording Lu Watters, Yerba Buena Jazz Band and other groups from the traditional jazz revival in the San Francisco Bay area beginning in the early 1940s. The shop went through a succession of owners in the 1940s and '50s, which included a tall, willowy siren named Marili Morden, and an ambitious Turkish jazz fan named Nesuhi Ertegun. For half of its existence, the Jazz Man was run by Don Brown, a Duke Ellington fan whose sputtering career as a television scriptwriter resulted in his taking over the shop in 1960. There, Brown presided over a motley group of collectors known as the Saturday Crowd, who faithfully devoted every Saturday to talking, sharing, discussing, and arguing about 78s. For the last ten years of the shop's existence, I was a member of this vaunted fraternity. When the shop closed, compact discs had just been introduced. Since then, countless other record stores have shut down, as the digital age, downloading, and iPods rendered these sociological networking centers obsolete. This presentation pays tribute to those pantheons of recorded sound.\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\u003eFrom its inception in 1938 in Hollywood to its demise in Burbank in 1984, the Jazz Man Record Shop served as a meeting place, research facility, library, and sometimes even boxing arena and adult daycare center. Shops like the Jazz Man introduced many collectors to the wonders of 78 rpm records and the characters who collected them. During its nearly half-century of existence, the Jazz Man was frequented not just by collectors, but also by personages ranging from Louis Armstrong to the Rolling Stones, Bill Wyman. Like the Commodore and the Liberty, the Jazz Man sponsored its own record label, recording Lu Watters, Yerba Buena Jazz Band and other groups from the traditional jazz revival in the San Francisco Bay area beginning in the early 1940s. The shop went through a succession of owners in the 1940s and '50s, which included a tall, willowy siren named Marili Morden, and an ambitious Turkish jazz fan named Nesuhi Ertegun. For half of its existence, the Jazz Man was run by Don Brown, a Duke Ellington fan whose sputtering career as a television scriptwriter resulted in his taking over the shop in 1960. There, Brown presided over a motley group of collectors known as the Saturday Crowd, who faithfully devoted every Saturday to talking, sharing, discussing, and arguing about 78s. For the last ten years of the shop's existence, I was a member of this vaunted fraternity. When the shop closed, compact discs had just been introduced. Since then, countless other record stores have shut down, as the digital age, downloading, and iPods rendered these sociological networking centers obsolete. This presentation pays tribute to those pantheons of recorded sound.\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/2672/collection_resources/128626/file/240130","type":"Canvas","label":{"en":["Media File 1 of 1 - open-uri20240504-2220384-afrd2x.mpga"]},"duration":3996.42925,"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/2672/collection_resources/128626/file/240130/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/2672/collection_resources/128626/file/240130/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/240/130/original/open-uri20240504-2220384-afrd2x.mpga?1714790424","type":"Audio","format":"audio/mpeg","duration":3996.42925,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/2672/collection_resources/128626/file/240130","metadata":[]}]}],"annotations":[]}]}