{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/bv79s1nc5c/manifest","type":"Manifest","label":{"en":["Woody Guthrie's Lost Rubáiyát Recordings"]},"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":["John Radosta (Presenter)","Patrick Feaster (Chair)"]}},{"label":{"en":["Date"]},"value":{"en":["2025-05-15 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Video","Audio","Slides"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eMy presentation traces the influence of The Rubáiyát of Omar Khayyám on the lyrics and writings of Woody Guthrie. Once such a popular poem that it inspired a young T. S. Eliot to turn to verse, the Rubáiyát first entered Woody’s songs in short, borrowed lines in songs such as “Pastures of Plenty” and “The Greatest Thing Man Has Ever Done,” then grew exponentially. For example, in his personal copy of Omar Khayyám, Woody makes marginal comments as if in conversation with the 10th century Persian poet. In one notebook entitled “Rubyatts,” he composed a number of his own quatrains, mainly concerned with the importance of unions. When he was in the Merchant Marine with Cisco Houston and Jim Longhi, they used Khayyám’s writing as a way to teach unionism to dock workers in Morocco. The bulk of this essay is dedicated to an unfinished project in which Woody rewrote about two thirds of the Rubáiyát in his own distinctive style, for a mid-century American audience and recorded them with Cisco Houston for Moe Asch. Only a small snippet of those recordings have been officially released, but here I describe the two unreleased extant tapes.\u003c/p\u003e"]}},{"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":["Language"]},"value":{"en":["English"]}}],"summary":{"en":["\u003cp\u003eMy presentation traces the influence of The Rub\u0026aacute;iy\u0026aacute;t of Omar Khayy\u0026aacute;m on the lyrics and writings of Woody Guthrie. Once such a popular poem that it inspired a young T. S. Eliot to turn to verse, the Rub\u0026aacute;iy\u0026aacute;t first entered Woody\u0026rsquo;s songs in short, borrowed lines in songs such as \u0026ldquo;Pastures of Plenty\u0026rdquo; and \u0026ldquo;The Greatest Thing Man Has Ever Done,\u0026rdquo; then grew exponentially. For example, in his personal copy of Omar Khayy\u0026aacute;m, Woody makes marginal comments as if in conversation with the 10th century Persian poet. In one notebook entitled \u0026ldquo;Rubyatts,\u0026rdquo; he composed a number of his own quatrains, mainly concerned with the importance of unions. When he was in the Merchant Marine with Cisco Houston and Jim Longhi, they used Khayy\u0026aacute;m\u0026rsquo;s writing as a way to teach unionism to dock workers in Morocco. The bulk of this essay is dedicated to an unfinished project in which Woody rewrote about two thirds of the Rub\u0026aacute;iy\u0026aacute;t in his own distinctive style, for a mid-century American audience and recorded them with Cisco Houston for Moe Asch. Only a small snippet of those recordings have been officially released, but here I describe the two unreleased extant tapes.\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/000/277/194/small/ARSC_conf_2025_Radosta_thmb.jpg?1749748869","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/3300/collection_resources/148847/file/277194","type":"Canvas","label":{"en":["Media File 1 of 1 - ARSC_conf_2025_Radosta_video_1.mp4"]},"duration":1481.38601,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/277/194/small/ARSC_conf_2025_Radosta_thmb.jpg?1749748869","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/3300/collection_resources/148847/file/277194/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/3300/collection_resources/148847/file/277194/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/277/194/original/ARSC_conf_2025_Radosta_video_1.mp4?1749748387","type":"Video","format":"video/mp4","duration":1481.38601,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/3300/collection_resources/148847/file/277194","metadata":[]}]}],"annotations":[]}]}