{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/bg2h708f4j/manifest","type":"Manifest","label":{"en":["The Discoteca Pública Municipal de São Paulo"]},"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":["Biancamaria Binazzi (Presenter)","David R. Lewis (Chair)","Michael Biel (Videographer)","Leah Biel (Videographer)"]}},{"label":{"en":["Date"]},"value":{"en":["2018-05-12 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Video","Audio"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eCreated by Mário de Andrade and Oneyda Alvarenga in 1935, the Discoteca Pública de São Paulo (Public Library of São Paulo) produced 1299 phonograms of Brazilian folk music recorded in Maranhão, Pará, Paraíba, Pernambuco and São Paulo between 1937 and 1943 (acetate records, 78 rpm). Focusing on the early 1940’s exchange of folkmusic materials between the music Division of the U.S. Library of Congress and the Discoteca Pública Municipal de São Paulo under the President Franklin Roosevelt’s Good Neighbour policy, we are analysing the correspondence (letters) exchanged between Oneyda Alvarenga (Chief of Discoteca Pública Municipal) and Harold Spivacke (chief of Music Division LOC) trying to understand the technological challenges on this specific historical context. From the letters, we can clearly find a sharing of technological knowledge concerning duplication, preservation, and reproduction issues. In times when field recording in acetate discs was something relatively new, transnational \\ interactions were extremely important.\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"]}},{"label":{"en":["Video Editor"]},"value":{"en":["Nathan Georgitis"]}}],"summary":{"en":["\u003cp\u003eCreated by M\u0026aacute;rio de Andrade and Oneyda Alvarenga in 1935, the Discoteca P\u0026uacute;blica de S\u0026atilde;o Paulo (Public Library of S\u0026atilde;o Paulo) produced 1299 phonograms of Brazilian folk music recorded in Maranh\u0026atilde;o, Par\u0026aacute;, Para\u0026iacute;ba, Pernambuco and S\u0026atilde;o Paulo between 1937 and 1943 (acetate records, 78 rpm). Focusing on the early 1940\u0026rsquo;s exchange of folkmusic materials between the music Division of the U.S. Library of Congress and the Discoteca P\u0026uacute;blica Municipal de S\u0026atilde;o Paulo under the President Franklin Roosevelt\u0026rsquo;s Good Neighbour policy, we are analysing the correspondence (letters) exchanged between Oneyda Alvarenga (Chief of Discoteca P\u0026uacute;blica Municipal) and Harold Spivacke (chief of Music Division LOC) trying to understand the technological challenges on this specific historical context. From the letters, we can clearly find a sharing of technological knowledge concerning duplication, preservation, and reproduction issues. In times when field recording in acetate discs was something relatively new, transnational \\ interactions were extremely important.\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/collection_resource_files/thumbnails/000/097/538/small/open-uri20200922-6764-1600n87_1600816333.jpg?1600801954","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29706/file/97538","type":"Canvas","label":{"en":["Media File 1 of 2 - open-uri20200922-6764-1600n87.mp4"]},"duration":1644.928,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/097/538/small/open-uri20200922-6764-1600n87_1600816333.jpg?1600801954","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29706/file/97538/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29706/file/97538/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/097/538/original/open-uri20200922-6764-1600n87.mp4?1600801907","type":"Video","format":"video/mp4","duration":1644.928,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29706/file/97538","metadata":[]}]}],"annotations":[{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29706/file/97538/transcript/19103","type":"AnnotationPage","label":{"en":["AUTO_TRINT_The Discoteca Pública Municipal de São Paulo [Transcript]"]},"items":[{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29706/file/97538/transcript/19103/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Our next presenter is Bunkum Rehabber Nazi. And in addition to being one of this year's troubled Rantes, she's also a radio producer based in Sao Paulo. She's the creator of the Common Locher Project, which involves a surge promotion and creation of new works derived from Brazilian shellac records in her graduate work at the University of Sao Paulo. She is researching the early 1940s exchange of music materials between the Library of Congress and a public music library of Sao Paulo. Thank you, David. Thank you. First of all, I would like to thank the Paris conference and the association, and I'm very happy to be here. Because for me is a great opportunity to talk about my work and to meet you all experts in something that I really love that I'd 78 RPM records. So first of all, I'd like to apologize. They may some eventual English mistakes, solos, those speaks low. And if you have any doubts, I have makers in here who could get them. Help us with translations in some things. So the reason that I'm here today is to talk about two big projects I've been doing since like two thousand and four. And there are three words. There are always guides me research, creation and diffusion. I like to research about music, precedent, music, early Brazilian music. But I also think it's important to make it available to our generations and public. And I, as I am, I work with Radil and I am a musical producer. So I like to create new things through this research. And I like to find listen to old records. I like to find what want it. I don't know. Why is important to my generation, not only because we are preserving and telling our history, but what those records tell me like about our home for a Brazilian culture, about some gender issues generally like females like issues.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29706/file/97538#t=12.63,165.33"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29706/file/97538/transcript/19103/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So those records tells us a lot of important things. And my mission is to make it available to my generation. So I have this project called the Gomulka Project, which connects music archives, private collectors and young generations. We promote podcasts, mix tapes, the commentaries, exhibitions. We have also released these on for Brazilian music and 78 records, interviews, concerts and something I really like, 70 Appian listenings sections. And then I am studying. So in my guitar Reddick's that did say in some farly university of some follow. I am standing one of our most important music library thave calls. They just got their cut. Probably come. When is it. Now. I don't know. The word just got there. For us it's like a library. But this library just was founded in 94. Thirty five and is the place where I get my first contact with this kind of music and stories. And so it's the place that I got in love with. All of this I'm going to talk to you. And in my Masters Studies, I am investigation the connections ending in the exchange between our Discotheque Publica and the Folklife Center of Library of Congress, because we are doing very similar things like Alan Lomax and our marriage in that AIG. And then in the Second World War, we had an exchange sponsored by a good neighborhood policies. So there's my two main projects. Yes, I would talk a little bit about the Gomulka project, but you can Google it. And in our Web site you can listen to podcasts. Our city's available to download. But the principal thing. The main thing is that we invite most popular singers and artists and Brazilian music to play and feel like to listen. Some 78 records feel them.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29706/file/97538#t=166.95,309.6"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29706/file/97538/transcript/19103/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And it's not a call. We'd like to. What do you feel and what you want to promote after this experience? So it's very important because younger generations who likes the rhetoric, we see their issues said a missile goes to our Web site to listen to these men, that they are in contact with podcasts and information about shelach records. So it's a good way to get them in touch with it. We've not being like who? Once upon a time, you'll most remember. No, it's like, wow. Do you know this lady? He was she was wonderful. She was a feminist in the 30s. And like you, she'd like to. Sync's cleans rounds and on that Puritan blade display in drums were so difficult. Ah our ah for a Brazilian religions which now in Brazil you were not like how can I say it is a little bit persecuted and deal today. But you can imagine in the thirties how it was, it was forbidden. So some we found some are from Brazilian oh sorry records. So it's very important to us. So I would like to show just our version of we have a song here from called Dopy LA from 1938. Singers from. He told me that we don't need you or behind or. Daddy, Daddy. Daddy. Like, know that. Do that that the. I really loved his record, so we showed it to Singer from the same state from Pernambuco and she made like this. My name is. So it's not that Corver, I don't like to say it's the Corver is like a reinterpretation, like we like to feel and keep on moving and creating, but always talking. Who. Who was Jaradat and had to. What. Where did it come from? So people it's it's funny because Brazilian people are like how I will like a 78.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29706/file/97538#t=310.5,559.46"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29706/file/97538/transcript/19103/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And this kind of GWE Reus are not the most popular songs like those singers. Nobody knows if you research me, you won't find the flag. And there are ground 7:00 p.m. records. And this here is the most recent project we've done. And I would like to ask you if anybody here knows or have some records from this singer, Elsie Houston, because she's resilient in spite of his name. But he spent his last years in the United States promoting Brazilian folk music. And she was a pioneer till she was a drummer. She was a radio performer. And we recently discover a very her her hair book. She she roots on France in France about Falck Brazilian music with Schaus. And then we invited Singer, a Brazilian singer, to read this book and create new things. So I would show just a piece of what we are doing this concert. We have them in their pieces from L.A. Elsa, he still singing and our lesson that L.A., our singer playing for Shango or DHT from our Afro Elisions Candomblé. Near the. Zone that Maidique up to Lena Wizzle Fujita. Aastrom. Now, our. Shirley. Stuff here. OK. And also and we have concerts and my thing was like, they're listening additions here. You have a phonograph like we have with them. We've hit her today. And like I was sold that today in the last session, like hearing this song. Like, it really sounded like we promote it. Also, we have our Brazilian young people. We it how how it's possible and how it can can be beautiful and not only exotic. So now I'm going to start to tell a little about where my fashion came from, my Petten, from Brazilian music as their radio producer. I was invited and my first job to work in the cultural center is some foul called Say That are some part.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29706/file/97538#t=561.68,813.97"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29706/file/97538/transcript/19103/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"This building, which is the discotheque, is in its basement and there are about forty five thousand of 78 records. And I had the digitalization laboratory to digitize eight, all of it. And they invited me to put it on air. Like to create podcasts, too, because white area is if they lose that, does it delays and we have to put broadcast it. So I start broadcasting 78 European records and start to get in touch with these songs and stories. So first, I got in love with Brazilian music and then I get in love with the story of the discotheque, which was founded in thirty five with this by by this man, which is my master manager. That Adi is a poet, is a writer, is was a politician, was one of the founding founder of our modern is modern movement. And he had the idea to create a radio, what public radio and the discotheque. And he invited his young student on either Vringo, which was about 19 years old, to direct this institution. And it was a very pioneering project because as urse as a project manager in that age, it doesn't want only a museum. He want to create things through the music. So he just got there was not only for researchers, but always from to Brazilian composer, Brazilian musicians, resilient people were a lot very connected with European ways to produce music, to compose. So my agent that I just thought put putting people in touch with our folk songs, our field recordings made by this Gothika composer would create real Brazilian music. So so here are some service that we discotheque ahead. And the most important to me was the sound, the recordings as Alan Lomax in the Library of Congress.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29706/file/97538#t=814.99,970.54"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29706/file/97538/transcript/19103/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"We produce 35 hours of folk music, also classical. Some fellow composers and disks from out, active studies with pronunciation from a lot of parts of Brazil use that our label and they give our folks folk songs. And as they can imagine and we can imagine that it was a great adventure in 1938 to travel through Brazil north east with presto hech recorder and discs to record our Indian, our own kids splaying. And as Alan Lomax expedition. So this is our recorded. Microphones and also musical instruments through our museum from Ethnographic Museum. And this is the I don't know if you have time, but I shall. Justice Alito, please say yes, because one of the most I most like is the piano carrier songs. As you can see, we have pianos in 30, 1938 was an instrument, a very expensive from very rich people. And as we can imagine, it's very, very heavy and very, very poor. Brazilian people was were hired to carry them when they came from Europe in the port of Sparta in the port. So we have to carry a lot of 12 men, carry them. And as it was so difficult to carry, then they invent they create songs to keep on moving, like to get rhythm to to carry them. And most of them are about the act of carrying pianos. And then the expedition from my dad in that Adji was fascinated because it was getting extinct, like no more. We have cars. We have other ways to carry pianos and then then invited to direct them and then invited this to do and they couldn't speak because it's impossible to sing without a piano. And I'm not walking. So. They had to go to the street, provide a piano, and it's one of the most beautiful songs I have ever heard.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29706/file/97538#t=971.44,1138.39"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29706/file/97538/transcript/19103/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And if you remember, I played in the beginning of Elsa Houston. Oh, sorry. It was like. Oh, yeah, definitely. So if so, you can Google it after all. Just go to Fenice so we have a very precious material. And then last year I went to the Library of Congress and found a lot of documentations about the exchange of copies of our material. We have Alan Lomax discs and I don't have time to show. And finally, things that I discovered. But we're trying to investigate that from Brazil. We were not we are manager that I did it in nineteen thirty nine. We are not that interested on sharing Folkman's music from 80 or Mexican music, but to share knowledge and technologies. And so we found a lot of letters then sharing. Oh, how can they copy this material. How can I preserve the Lacco D so that this is what I am studying now. Like what was exchanged more than music, more than records. So I think that. So if you want to dope later on coffee. Have any doubt. And please visit my website that we, we can, you can find things. Thank you very much. Thanks very much. Thirty questions. Once again from Germany. Wonderful presentation, thank you. Bianca, Maria, I have a lifelong obsession with the spread of American jazz around the world. And as a consequence, I have published a number of anthologies of the history of ragtime and jazz in various countries. And that was a total of, I think, 25 Opie's at the time, chess in Thailand or in Chile or in Martinique or in Russia, et cetera. I never got around to doing the same thing for Brazil. And I I'm very excited to hear that. There are now so many activities going on because I couldn't do Brazil since said because I visited flea markets from Porto Alegre to Courey Tebow to Sao Paolo to Rio de Janeiro.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29706/file/97538#t=1139.14,1338.88"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29706/file/97538/transcript/19103/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"There are some very important 1920s records which I was never able to find. And now I have hopes that at last. Maybe if I contact you, I find the missing links and does the job. Finally, I'll be happy to have. Did Elsie Houston leave any kind of an archive of raw materials? And do you possess it? So I am completely crazy about Elsie Houston case because she was a world singer, like she lived a lot of time in the in Paris and then in the United States. And I don't know if you all knows, but she's commits suicide. And his son, like he was a needle, don't have good memories from her soul. They didn't keep their their memory is Sen fails Byrd, I hope and I am trying to find here in the US something about her radio programs. I find only one in the latest Library of Congress, which Lomax interviewed her. But I think we can find some radio programs and also there discs. Here she recorded here and in France in just a few in Brazil. And now I am in contact with her granddaughter, which she knows nothing about her grandmother. But she's very excited to help me to find like, oh, I think I have a newspaper here. So we we're creating the HHS archive. Thank you. Thank you so much. Great presentation. Thanks for coming in. And the types of outreach that you're doing with the community and you're putting the radio podcasts and listening sessions and everything is wonderful. Has that generated growth in your collection of people, discovered you with 78 that they've brought to you because they heard about you through the programs that you're doing? Yes. Yes. But I was talking to my cousin yesterday because I was not the collector.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29706/file/97538#t=1339.93,1510.55"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29706/file/97538/transcript/19103/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It like for me if I had them 3s. I was a key. But as I am the only I think in Brazil in some file of young folks, not the N but not from not that that Berard working with it and publishing a lot of things on Facebook. On Instagram. Some people from other states. From some of us. Hey, I have a collection of phone and vocal recordings from my grandfather and they don't know what what's their value. I don't know what things to do with it. And then as I am, I have a lot of collectors like real crook collectors, and they make their prints. Like, I can't keep it with me, but I owe you. I have a collection. Can someone who can help. But it's happens a lot. A lot. And I am happy to be the person to make prints and preserve because in Brazil I think everywhere. Some people don't know what to do and sometimes they put the disks onto Tresh. It happens a lot. So I don't have I don't know. My grandfather left me and I don't know. So we tried to preserve it. Thank you. And if he came in late, we did just have two presentations. So we are now finished. But when you leave, please go and preach the gospel of the international session that asks. I think we have some of the most fascinating audio examples. So please encourage people to come to the international section next year.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29706/file/97538#t=1511.07,1626.34"}]},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29706/file/97538/transcript/19103","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29706/file/97538/transcript/19103/annotation/10","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/019/103/original/open-uri20200924-1405-zwez6?1600959958","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/019/103/original/open-uri20200924-1405-zwez6?1600959958"}]}]},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29706/file/256036","type":"Canvas","label":{"en":["Media File 2 of 2 - ARSC_conf_2018_Binazzi_audio.mp3"]},"duration":1617.44675,"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/1143/collection_resources/29706/file/256036/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29706/file/256036/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/256/036/original/ARSC_conf_2018_Binazzi_audio.mp3?1730826248","type":"Audio","format":"audio/mpeg","duration":1617.44675,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29706/file/256036","metadata":[]}]}],"annotations":[]}]}