{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/jw86h4d68f/manifest","type":"Manifest","label":{"en":["Archiving from the Ground Up: Emerging Music Archives in the Digital Age"]},"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":["Jeb Banner (Presenter)","Kyle Barnett (Presenter)","Heather Fox (Presenter)","Sandy Rodriguez (Chair)","Michael Biel (Videographer)","Leah Biel (Videographer)"]}},{"label":{"en":["Date"]},"value":{"en":["2016-05-12 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Video","Audio"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eThis discussion highlights three very different initiatives that seek to address access and to preservation of ephemeral music and media not always found in traditional archives. Representatives from three archival projects (the Louisville Underground Music Archive, Musical Family Tree, and the Indiana Museum of Entertainment and Music) will discuss collecting music and media with a purposively regional focus, as well as sound recordings that have sometimes fallen out of the scope of traditional archives. The roundtable will also discuss undertaking these initiatives with little funding and use digital platforms to provide greater access. Finally, roundtable participants will discuss the important role of music practitioners and collectors in collection building, as these archival projects make the larger case that these sound recordings are meaningful audio texts that provide unusual insight into cultural practices and production, in areas too often ignored.\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\u003eThis discussion highlights three very different initiatives that seek to address access and to preservation of ephemeral music and media not always found in traditional archives. Representatives from three archival projects (the Louisville Underground Music Archive, Musical Family Tree, and the Indiana Museum of Entertainment and Music) will discuss collecting music and media with a purposively regional focus, as well as sound recordings that have sometimes fallen out of the scope of traditional archives. The roundtable will also discuss undertaking these initiatives with little funding and use digital platforms to provide greater access. Finally, roundtable participants will discuss the important role of music practitioners and collectors in collection building, as these archival projects make the larger case that these sound recordings are meaningful audio texts that provide unusual insight into cultural practices and production, in areas too often ignored.\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/000/097/490/small/open-uri20200922-6764-126cfje_1600815511.jpg?1600801126","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490","type":"Canvas","label":{"en":["Media File 1 of 2 - open-uri20200922-6764-126cfje.mp4"]},"duration":2652.736,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/097/490/small/open-uri20200922-6764-126cfje_1600815511.jpg?1600801126","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/097/490/original/open-uri20200922-6764-126cfje.mp4?1600801103","type":"Video","format":"video/mp4","duration":2652.736,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490","metadata":[]}]}],"annotations":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490/transcript/19034","type":"AnnotationPage","label":{"en":["AUTO_TRINT_Archiving from the Ground Up: Emerging Music Archives in the Digital Age [Transcript]"]},"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490/transcript/19034/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"All right. We have four presenters for this next presentation so you can get to them. Kyle Barnett is an associate professor in media studies at Belmont University School of Communication. He has published in the Journal of Popular Music Studies, Music, Sound and Media and The Moving Image and several anthologies. He recently created a special issue of Creative Industry Industries Journal. He's a member of two bands Lowballs, Hitchhike and Indianapolis's Love Me Knot's. Heather Fox is archivist for manuscript collections and co-director of the Oral History Center at the University of Louisville. Archives and Special Collections. I said that right because I'm a Kentucky native. She's also co-founder of the World of Underground Music Archive Project and a founding member of Laws. 23 year old garage rock collective Monita Jebb Banner is the CEO and co-founder of Small Box Design in Indianapolis. He is the founder of Broad Ripple Music Fest. Co-owner of Joyful Noise Recordings and serves on the board of several Indianapolis arts, tech and culture organizations. He is the founder of musical Family Tree. Java is also a member of the humans. Rick Wilkerson is a longtime record and poster collector and musician, label owner and owner of Indianapolis's Irvington Vinyl. He is Coan several record labels since the early 1980s, including his latest time, Change Records, which focuses on archival editions of Indiana music. One of Rick's passions is documented, documenting record releases by Indiana artists and labels. Welcome. Thanks. Thanks very much. As you can tell this this presentation is more cultural than technical. And I'm ringleader here. I'm just going to speak briefly to sort of contextualize what's coming up and then turn it over from you. I became interested in ground up or grass roots collecting slash archival practices and various sorts of ways.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490#t=12.8,128.419"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490/transcript/19034/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And I started to realize there was a lot of different activities kind of in between collecting culture and archival culture. And I wanted to try to map that out a little bit. This presentation is meant to highlight shifting archival practices and the so-called digital age. The three dynamics. First, the recent attention to collecting traditionally out of scope materials is evident in collections and exhibitions focused on punk, postpunk, funk, hip hop, electronic music and other genres and subgenres previously not regularly collected in traditional archives to interested in the increased emphasis on access of the digital archival platforms. And here I'm thinking as a layperson, view a Mecca and open source archival aggregators such as Digital Commons, which is allowed wider access for users and increased participation by those previously unavailable or unable to share their collections won't come as a surprise to this group that the digital churn in archiving has been encouraged by the American Library Association, the Library of Congress. Many other important institutions, organizations that see the importance of a range of practices between professional archiving and amateur collecting, given new prominence via digital platforms. And then the third dynamic I want to speak of is the all important regional emphasis of the collections you're about to hear here. Information about to here, which is of interest in other placing importance on music and scenes that may not have always been valued in the way that they're being valued through these institutions. I think this allows us to gain a deeper, deeper understanding of the people in the places that make this music possible. These three initiatives, the Louisville Underground Music Archive, Musical Family Tree and the Indiana Music and Entertainment Museum have different missions, trajectories and institutional contexts. In some ways, their projects blur the lines between archiving and collecting, a dynamic that has been long part of recorded sound culture and is evident in our own history.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490#t=128.9,259.37"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490/transcript/19034/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Each of these initiatives addresses access to and preservation of ephemeral music, media and culture in different ways. The participants here discuss the important role of music practitioners and record collectors in archive building as these projects make the larger case that these sound recordings are meaningful audio texts that provide unusual insight into cultural practices and production in areas too often ignored. And I'm going to ask Heather Fart's from Louisville Underground Music Archive Looma to come up. Hi, everybody. Is anybody out there heard of the little underground music project? I just wanna let you know I brought some promotional fliers and stickers if anybody wants one. You can see the leader. All right. Housed within the University of Louisville archives and special collections. The Louisville Underground Music Archive project aims to collect, preserve and provide access to materials related to Louisville's indie punk and hardcore scenes. The Louisville Archives and Special Collections Service, both the university campus and the greater Louisville community materials in our library are open to the public for research free of charge. Institutional support provides dedicated and expandable server space for digitized and born digital materials. Our library participates in a distributed digital preservation network to provide long term integrity to digital files. We have temperature and humidity controlled storage areas to privacy to preserve analog materials, plus the expertize of professional archivists for cataloging, cataloging, preservation and digitization. All right. For many people, the term music archive conjures primarily images of published sound recordings, and we have received such material. Among the 46 discrete collections that comprise Looma, ranging in size from 35 linear feet of audio visual material to a single master tape of an early punk band. In addition to recorded sound and moving images, however, we have collected fliers, fan mail, correspondence, record cover mockups, T-shirts and posters, and one of my all time favorites, a mannequin leg.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490#t=261.5,410.0"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490/transcript/19034/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"This delightful item comes from a donation of tour memorabilia from prominent Louisville post punk band Slint. It also includes tour schedules, festival passes, booklets, buttons and stickers. The seed for Looma was planted several years before we launched the project. When the archives received a full run of the Birte the Cat Fan Club newsletter, a local music fanzine which was published from 1995 to 2001. Our current director, who had gone to punctures in the 80s and 90s during her time in Boston, recognized its documentary value and happily accepted that donation. In 2013, I joined the faculty in the Hubel archives and special collections, along with two other archivists with connections and an interest to the local scene. And we achieved a critical mass of archivists with the interest and enthusiasm to launch the project. The cool archivists, well, all archivists are cool, actually. So the stage was set and unfortunately, the deaths of two influential legal underground music underground musicians between August of 2012 and February 2013 impressed upon us the urgency of getting the project up and running. And I am sad to say that we have lost three more musicians in the last year alone, two of them early punks who sustained their creative activity until the end of their lives. In fact, one of them left handwritten lyrics to a song he had written the day he died. We provide digital access to. OK. We provide digital access to collection level records of our processed collections by our archives catalog. And we provide full text, searchable digital access to the fanzine that I mentioned earlier via our digital collections interface, which is powered by content D.M.. We're still working on whether or not we will be able to provide digital access to recordings online, although we will provide onsite access to them.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490#t=412.85,543.84"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490/transcript/19034/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Of course, copyright is a major sticking point. As I'm sure many of you know, our standard deed of gift requires copyright transfer. But we work with donors to find an amenable agreement that will allow us and our successors to reproduce material for both preservation and access with confidence against exposure to a lawsuit. The library's scholarly communications attorney analyzes the scenarios we propose for providing digital access and must hew to the conservative end of the spectrum to protect our institution. This can sometimes be frustrating, but the fact that we work within an institutional structure enhances the long term sustainability of the Looma project. The copyright challenge can become more complicated in the context of the anti corporate ethic and pro artists stance common among the creators within underground seed. For example, in the early days of punk and in solidarity against the corporate music machine, a number of prominent independent labels not only issued complicated contracts, they issued written contracts altogether. Many of the label's most famous bands from this period, recorded on touch-And-Go could but touch-And-Go caustic stick label, whose owners offered one deal to all of their bands, a 50/50 cut of the proceeds and the deal sealed with a handshake. Founded in the early years of the punk movement, the label owner, Corey Rusk, operated his business as an antidote to corporate labels whose contracts heavily favored the bottom line over the well-being of the artists, or, as one commenter put it, corporate boilerplate versus indie goodwill. Rusk's business model clearly reflected the ethic of independent music, which highlighted trust and friendship over litigation and contracts. As archivist, negotiating deals give gift that we must have with donations. This can create some sticky situations. We engaged in an extended negotiation over the deed for a collection of LP as an associated album, artwork and promotional art from the band Rachael's who recorded on touch-And-Go, Jason Noble of prominent label Louisville Band wrote in shipping news.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490#t=544.89,680.88"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490/transcript/19034/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And Rachel's died in August of 2012. And in 2014, we began negotiating terms of the deed of gift with his friend Rachel Grimes about donating material from their collaborative work as members of the bands Rachel's despite being approached by major band labels by major labels over the years. Rachel's have stuck with touch-And-Go because they believe in Rusk's ethic and model. During a conversation about their donation, we learned that the three founding members of the band stood at different points in the anti corporate stance when it came to licensing their music for commercial purposes. To address this challenge, they devised a scheme in which a two thirds majority would decide any conflicts over licensing. Since Jason's death, they have relied on his widow and heir for the third vote when crafting the deed of gift. They originally asked that we honor the two thirds scheme in perpetuity if we were approached by anyone wanting to license their material. I'm sure you can imagine the potential complications for our successor successors in honoring such a stipulation. Grimes was sympathetic to our concerns about devising a more straightforward deed. But again, she found the negotiation process extremely stressful, and she feared losing the two third agreement could result in losing the control that she felt necessary to honor her deceased bandmates wishes. We were able to come to an agreement that removed direct transfer of copyright but maintained enough room for us to preserve and provide access to the original material onsite. Rusk asked for some original art to be returned to the Touch and Go archive before the donation to use in an anniversary reissue of the band's album Music for Young Sheilla, but was otherwise amenable to the donation. This negotiation process took several months and we are thrilled to care for the collection and share it with scholars in the community at large.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490#t=681.42,798.99"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490/transcript/19034/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The fact that Looma is housed within an institutional structure clearly provides benefits in the long term when it comes to preservation and access of collections. But in the short term, copyright restrictions that we must honor, protect, to protect our institutional structure can slow us down. Finally, I want to mention that our library director and the library's dean fully support the Louisville Underground Music Archive project. And they always have. We've gotten local and national public publicity about the collection. Raised awareness about the archives mission within the greater community and have used the opportunity to reinforce the fact that we exist to preserve the histories of all aspects of our city. Thank you. Hello. Yes. Hi, I'm Jeb Banner, I'm the founder of musical Family Tree Musical. Family Tree is an archive of Indiana music. I started in 2004. Our mission is to spread Indian music. It actually started one winter night when I had been digitizing cassettes from my days in Bloomington from the 90s. So I was in a lot of bands here in the 90s and I'd go to second story, the nightclub here in town and record bands and of course, record me in my basement. And, you know, these cassettes were starting to get old. And so I started digitizing them and I realized I don't really have anywhere to share them. And so I Googled setting up a server on my home computer. I bought a domain musical family tree dot org. You're certainly welcome to visit the Web sites musical family through dot com or dot org. And within the course of a few hours, I had a very rudimentary one page Web site set up and I emailed it to all my friends and said, Hey, here's 30 songs.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490#t=800.13,928.2"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490/transcript/19034/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Come check it out. It wasn't long before they started mailing me see these cassettes and files via email. And before I knew it, I was an archivist. I was adding files to the Web site. I rebuilt it in Adobe Go Live. I had a frame's layout, which I'll show you here in a minute. And by the end of 2004, early 2005, it was clearly outgrowing my meager abilities as a Web designer. We rebuilt it as a database driven Web site, which was exciting as my first experience building a database driven Web site using my sequel database, the PSP Admen for Management. Sighs Logging into that manually adding bands and albums and a lot of what we were focused on is showing the connections, the musical family tree piece between different bands. You can see that this, for instance, hitchhike and love me nots were connected. And that was the network that we're trying to show. Eventually, we were able to build self-management functionality for the band so that the bands themselves could upload material for acceptance into the archive. Then once they were accepted by the curators, which became more of a group of people, they then had unlimited access to add as many albums and songs, which is how it's structured by albums, songs as they want to the archive. Some artists have added close to 100 albums and songs, and some only one has grown from there. We have 15 hundred forty bands in the archive. As of last I checked, tens of thousands of songs. I think we're at around 40 to 50 gigs of music, all MP three format, which was the most manageable size, not the highest quality. But we always encourage high quality MP 3s that you can stream and download almost everything on the site.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490#t=928.77,1049.97"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490/transcript/19034/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Download is optional for artists. They can choose just to have streaming functionality if they want that. And as of two years ago, we became a nonprofit. It looks like they got this like mixed up. We also have articles, blogs. We do shows. We've had festivals. We have a lot of projects. This has become a neat way to create new content for the archive. We'll do projects like epee in a weekend. We just had one recently where we'll take three artists that have not worked together, put them in a studio and give them a weekend to record and epee of material that hasn't been written before. This activity came out of work that I would do in Bloomington when I lived here with my friends as we experimented with different ways in creating music. You can create playlists very easily on the Web site, and there's a weekly playlist that's published called A Short Walk, and the streaming radio that randomize is the entire archive so that you can listen to music and discover new music. Recently, we hired a full time executive director. We've had to choose. Our second one was hired, our second executive director, Aaron Jaeger. She came from the Rhythm Discovery Center in Indianapolis. And we just hired a blog editor as well. We're starting to get some funding and starting to actually get some momentum. We're opening a space and we're opening up space. And he's on an empty upness space in 2016. We'll have a record store performance space and musicians coworking space as well so that artists can come and have access to computers to upload material to the archive. And we'll have a physical archive there as well. We've been collecting physical. See tapes, vinyl. You name it.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490#t=1050.54,1165.31"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490/transcript/19034/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Over the years. And we're looking to have a home where people can access that material more directly. Here's what it looked like when it started on the left. It was very simple. You had a framed lay out and you could kind of see the artists on the left and then sort of feed on the right. And then here's what it looks like now. It's about to be redesigned again. I think it's our probably our sixth incarnation of the site in twelve years. And we're looking for funding for that, obviously, as a nonprofit and talent to help us do that. Our vision is for MFT to become a national archive and time to go beyond Indiana. It already is as artists leave the state. They still can remain on the site. The idea that right now is you have an Indiana connection. But if you're in Louisville, Kyle, we we welcome you. Since you are an expat, if you will, and many of our talented in the NFL folks have moved all over the country. Here's a little look at some of what we do. Here's the E.P. in the weekend here on the left. And that's I think we're on number fifteen now. That's about to go live. That's every few months. We do that. That's been a really popular program. And then we also do Indiana covers projects where an artists will choose another Indiana song to cover and then we'll publish that. We pay for all of this. We're very focused on paying musicians. We rarely ask musicians to play or work for free. That's part of what we're looking to do, is create a sustainable music scene because we think that's a missing cultural piece in most communities. Thank you. They did.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490#t=1165.61,1277.63"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490/transcript/19034/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"We'll deal with it. My name is Rick Wilkerson. I'm with the Indiana Music and Entertainment Museum. I can assure you that this being the least technical part of the presentation this morning, this will be the least technical part of that. OK. We are an Indiana nonprofit corporation. We're in our second year. Mean I'm going to have to get my glasses on. What started out as conversations between a few individuals who saw the need for an entertainment focused museum in Indiana is gradually becoming a functioning organization whose mission is to preserve, display, document, promote and honor Indiana's rich history in music, film and broadcasting. In the past year, we've hosted a pop up music event, a benefit concert at the Vogue Theater, a public meeting and display at the Central Indianapolis Library, a holiday film event and a public public gathering honored at honoring a 93 year old Jimmy Mack McDougal, who is a longtime Indiana broadcaster. If you remember, back to the 60s, there was a thing called Bandstand 13. And the thing before that called the teen twirl. He was involved in those kind of Indiana's Dick Clark still going. And then in February 2016, we moved out of the theoretical space and started that little gallery in Fountain Square in Indianapolis, where we have featured sample exhibits and we are open just on first Fridays at this point because we don't have any staffing. Let's see if we can find the next line. I think that's it. I liked what Heather said. The catalyst for our getting this going was death. Sadly, we had lost a couple of major figures in Indianapolis around the time when we first started talking about this, including a former US studio owner and producer and jazz drummer, Jack Guilfoile, who was from Bloomington, and and jazz broadcaster Chuck Workman, who was in Indianapolis.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490#t=1278.89,1407.29"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490/transcript/19034/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Legend. Each time this has happened, it seems like their archives vanish. They either get sold off, they get thrown out, or they just get buried in somebodies basement or attic, never to be seen again. And we've seen that over and over and over again. And finally and that's what was decided. You know, enough is enough. Let's see if we can do something for this stuff, because it's it's it's unique and it needs to be preserved. So with the advent of Aymen and that's what we call the acronym that we use as imam, because otherwise it's a mouthful. We're providing an opportunity for these archives to live on in a public way. In addition, each imam founder has had has significant Indiana related personal archives to offer the museum everything from concert posters, tickets and fliers, music and film and broadcasting equipment and stage costumes, original films in eight millimeter, sixty sixteen millimeter and thirty five millimeter. Comprehensive collections of Indiana vinyl LP, C.D. cassettes and forty fives broadcasting memorabilia, including airchecks jingles and tapes, master tapes, acetates, handwritten lyrics, contracts, photographs. One member is already Larry Goshen, who was gonna be here but couldn't has already authored two books on Indiana music and I myself will be publishing a book. I'm going to get to vinyl records in twenty seventeen. As mentioned in the bio, I also have a label that focuses on Indiana music and we continue to release records and see these as fast as we can. We have a film expert named Eric Grayson, who is a leading film preservationist known all throughout the country, and he works, I believe, with the Library of Congress and the Smithsonian from time to time on projects. Currently, he is restoring the original Mylan Miracle basketball film, as well as the 19th and early nineteen hundreds.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490#t=1407.89,1522.58"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490/transcript/19034/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The film Little Orphan Annie, which interestingly enough, includes the only known film appearance of James Whitcomb, Riley and I another remember, they fought and produced and directed the Emmy Award winning documentary Uptown Rock Radio Awards a few years ago, despite Indianapolis's Indiana Avenue, which was alluded to earlier. And in fact, there was a whole session earlier this morning on it, despite the fact that it's recognized internationally as the birth one of the birthplaces of jazz in the US, there has been no memorization of it. There's no there's no place you can go and find out about it. There's no visitors come to town and want to know more about where Wes Montgomery was was from and J.J. Johnson and Freddie Hubbard. And there's essentially just IUPUI there. So we would like to rectify that. Sadly, also, the average Indiana citizen has little awareness of Hoosiers who are famous for their work in film, music and broadcasting. Most of the people you talk to won't get past John Mellencamp and the disc jockeys on Kyun. Ninety five, Bob and Tom. However, a significant percentage of our citizens have a deep knowledge of Indiana college basketball, Colts football, the Indiana Pacers and the Indianapolis 500. We think we can change the dynamic so that entertainers get more recognition. And finally, you that Indiana needs a public place where people can go to discover what Indiana has contributed to the entertainment world. There's the third one. We're No. One. We're under No. One illusions that a 400 square foot gallery space open once a month is sufficient to accomplish our mission. It's obviously just a start. Instead, we're working towards a much larger physical space, which would include not only displays and documentation, but experiential and interactive opportunities of performance and theatrical venue.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490#t=1523.15,1640.55"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490/transcript/19034/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And it would be a place that would be a perfect stop for both class field trips and for tourists from around the world who want to know more about where West Mugabe really went. Wes Montgomery really came from while maintaining our own archives is an important feature. We also know that there are many collections in private hands that while they should be widely seen, may never belong to them. So we'll have opportunities for individuals and institutions to offer short term exhibits of private collections that will remain the property of those who own them. And now for the little tiny part of digital that we are working towards, we do have a Web site. It's I'm in Indiana, dawg. It's a little pretty rudimentary at this point, but eventually it will feature virtual tours of music, film and broadcasting worlds that Indiana has touched. We'll have images, video, audio and documents that will allow online visitors from anywhere to discover I'm them in India. His contributions to the entertainment world. As Heather mentioned, copyright issues will be in play. I plug Jebb musical Family Tree, who basically took the copyright issue completely out. You volunteer to upload your music and there you go. No problem licensing that stuff. Obviously, we can physically digitize all the records we have and it's thousands, but we can't legally offer them online without authorization. We hope to work to secure copyrights and waivers to allow as much access as possible. And finally, we love to collaborate on Musical Family Tree, and I have already begun to do that. And in fact, I'm a fan. I'm an old fan of I'm a musical family tree, having been in three bands that are among the 15 hundred and forty that are on there now.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490#t=1642.14,1746.06"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490/transcript/19034/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So so it's very close to my heart. What musical Family Tree is doing. And we hope to learn from Looma and all the rest of you about how we can move from the physical world into the digital world. Thank you very much. Number four, presenters sit up here to answer their questions for this. I came up in the. You know why punk scene in Cincinnati, and I'm still active in that. So for my musical family tree, I know there are an awful lot of bands that are short lived, may make, you know, limited runs of tapes in their house or whatever, have demos that never get issued. How much does your personal relationships and just kind of tracking down band members factor into things? Because I think there are a lot of people that, you know, we're maybe more active in years past and they're still sitting on those recordings. But they figure, you know, who's who's really interested, who who wants to have a copy of this? I'll go first. That plays a large role. The relationships, you know, I'm from Louisville and, you know, I've been playing in the bands. So that has helped us a lot. We were able to gather an advisory board based on some relationships that I had and then the advisory board. We have about 12 people. Many of the musicians, some of them record store owners, that kind of thing. And we use them to talk about us and we build more relationships and hope that it expands out in concentric circles. Also, the other thing, in regards to being an institution, we've had some people be really suspicious of us because, you know, we're part of the University of Louisville and, you know, they feel like they've been dissed by a U of L and and all that.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490#t=1746.39,1879.99"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490/transcript/19034/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"That can go both ways. You know, that's what we found. Yeah, I think it's huge. You know, I've been in bands most my life, and I was a peer to those people that were uploading material. So that allowed trust in me as a fellow musician. And then from there, the word of mouth spread very quickly and it's gone through all these gestations. I'm not that directly involved anymore because, you know, I'm not playing out as much as I used to. But the new generations have come along and they then bring their networks. And what you said about, like, those bands that put out one cassette or one record, that's really what MFT exists for, is to capture that content before it escapes into the ether. You know, a lot of that stuff gets lost and our desire is to catch it. And then when one brief follow up, we have like a DIY calendar, that kind of kind of longs on the show is going on every month, which has been around for maybe five years. We adopted that from Columbus, but otherwise, you know, a lot of shoeboxes full of old fliers and stuff. How easy has it been to be more Lumis specific, but to even catalog what what bands are existing and playing? Is it a lot of just people that kept an extra copy of the fliers, as it seems? Your question is how easy is it to catalog them? I guess what's what's been the most helpful with, I guess, discovering the less obvious bands and kind of keeping track of what was happening in the underground? Well, part of the thing that has been helpful for us is another community member. There's a great Web site called Little Hardcore Dot Com, and that maybe you seen that probably two years ago.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490#t=1880.26,1990.99"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490/transcript/19034/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And so he's done a great job of keeping track of, you know, the connections and the bands that exist in terms of the things that we have in our collection. We actually need students to go through and create item level metadata, as we say. But we have to thank you. Do you have an oral history program as well? Do any of you have oral history programs, interviews with the well? I am happy to announce that the Louisville Underground Music Archive project just received a grant from the Kentucky Oral History Commission to conduct 26 interviews. Well, we have. Twenty five people on the on the first list. And with those interviews, we're hoping to capture a period that we don't have a lot of documentation for, which is sort of the mid to late 80s and early 90s. We haven't received a ton of fliers or donations from that. So we have hired one of the original punk rockers who is also a graduate of Princeton and a journalist to conduct the interviews. And we're very excited about it. Thank you for asking. This question is directed to NFTE to lead them to part question. What what in your current archive, what is the date range? Second question is, can you point me to the source or who's your chance? We don't go back that far. We are generally punk scene through presence. So you go back to like, say, the Gizmo's Zero Boys on MFT, which is late 70s, early 80s up through today. And sorry about who shouts on who's your Hot Shots. I think there's a there's a section on that during this. If I'm not here, I might be wrong about that. But I think there is that and there is. So there is an expert in Indiana that's and I've networked Eric Grayson knows him.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490#t=1991.29,2125.02"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490/transcript/19034/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And you were gonna connect up with him at some point maybe. Here to your other question, we don't have a timeframe. We go all the way back. I mean, if someone would bring a sense that terrorist posters from Indiana Avenue, I would be most happy. But the truth is that other than recording's, it's very hard to get much of anything for nineteen seventy five because of the ephemeral nature of things. Trying to find posters and fliers before that is proven really challenging. But we would like to go as far back as we can. Do you work with that? Do you work with fan clubs on this? At this point, we have we are really in the baby stage. We have a lot of things we want to do. What we're really trying to do right now is get a five, a one, C three and an A. and a strategic plan nailed together so we can actually get enough money to be able to afford to do all the things we want to do. I'm not aware of any fanclub. Uh, uh, we don't see a fan clubs, we have local collectors, people that have collected things. Yeah. Okay. Machines. This is really fantastic. I was just curious if all of you could speak more about how you've used these kind of radical community based archives to support programing and outreach and ongoing engagement with these living communities. What was the last part support to start and how you use these archival endeavors, whether physical or digital, to promote outreach and programing and engagement with the communities that are also producing the materials? I think that's one of the most exciting part of all these projects here. Thank you so much. A lot of what we're focused on is, again, our mission is to spread Indiana music, so connecting those musicians with a larger audience.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490#t=2125.2,2252.72"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490/transcript/19034/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And a lot of what I see missing in Indianapolis particularly is the fan base for the artists that they need a larger fan base. And so we do a lot of showcases. Right now, we have a partnership with the symphony to do like collaborative rock, orchestral pieces at a local club. And there's a there's a lot of things we're working towards as we have a space, we can be more programmatic with how we serve the music community. But right now, our number one focus is to create platforms for them, to reach an audience and also to connect with other musicians through things like the E.P. and the weekend program, which bring people together to create something that didn't exist, as well as new relationships. New bands come out of that. All kinds of things come out of that. That has a very nice viral spread. I think one of the reasons why I wanted to bring these groups together is that, you know, I'm someone who grew up in and around Indianapolis, and I don't think I was all that aware. You know, when I first discovered Lexy's at the Indiana blues scene circa nineteen twenties and thirties, when I first heard Leroy Carr's Knapp Town Blues. Right. Or I was I was having to get Indianapolis in Indiana related releases from from labels in Japan or in Europe. And it was sort of like the what's so exciting about I think with all these all these projects is that even for people who were involved, when you when you look at Looma, when you look at MFT, when you look at them, you see a much broader picture. Even if you were participating, you say, wow, okay, look at all this. And you have a much clearer sense of the narrative and the and the importance and the impact of what you were part of.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490#t=2254.61,2366.15"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490/transcript/19034/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I think. Right now, part of our outreach is just getting to the people to let them know that we actually want to collect their material because a lot of people don't even realize that what they have would be valuable to researchers and the community as well. So we have been able to get a lot of local press. We've got a little bit of national press conferences in terms of reaching out to the community. We do know there is a monthly flea market in Louisville. And so we've had two donation days where we publicize the fact that we're gonna be there with a table and archival material, you know, boxes and folders, and we can accept donations on site. You know, the parking at the university is terrible. So it's a lot easier for people to go there and they can have a beer while they make a donation. So, you know, to those kinds of things have been helpful in long term. We want to do an exhibit of things that we've collected and we're working on it now, trying to find the appropriate space, again, trying to maybe get off campus. So it's more accessible to more people. And social media is another question over here. Thank you. So I have a question about, I guess, generally cataloging all this material, because we've got people associated with it, an institution and people in a kind of DIY kind of context. Have I. Have any of you work in with the idea of crowdsourcing or using large groups? Maybe not some large groups of kind of passionate community members. I came in late, so you may have actually addressed this somewhat, but isn't a feasible way to go about getting materials sort of into an online context so that then it can be discovered and you know that he is entirely that.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490#t=2366.94,2485.95"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490/transcript/19034/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So there's very little content that's not uploaded by the artists or by the community. So it's essentially a crowdsourced archive and it has been for about 10 years. It started off with me manually adding things that we outgrew that pretty quickly. And it's been artist driven since then, which really does a nice job of distributing the work load. We have time for one more question. I was curious if you have either approached or been approached by some of the more smaller commercial labels that specialize in reissues of compilations of various eras and geography's of interest like numero group. And would you consider letting part of your collections be commercially exploited to reach a wider audience? We have not. And we have not been approached by any of those people. And again, with the copyright, as I talked about before, you know, I mean, I think mostly we're getting with a lot of the published material. We're getting property rights and not copyright. And I would say we haven't been approached by numero group or anybody else, but we would be very open to working with them. We know that there's only so much time and money. So I'm always excited about it. Somebody else doing a project that I wish I could have done because I can't do more. So whenever when somebody like Mary Mary Meriweather, for example, really kind of Ohio, but a little bit Indiana jazz musician, just had a record reissue. And I was so thrilled to see that because that's one project I don't have to do. We've been more of a connector. So somebody comes and says, hey, we're doing a compilation of 90s indie underground will connect them with the artists. Again, we're not owning the copyright. They're simply allowing us to archive, stream and download their tracks.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490#t=2486.52,2610.79"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490/transcript/19034/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And I came here with the exact legal terms are. But, you know, it's they agreed to let us use it. But we're not we don't have ownership of the music on a copyright level and we don't plan to. But we love to connect musicians with those opportunities. And that happens from time to time, but not in any organized, real centralized way. All right. Let's thank all of our presenters.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490#t=2611.57,2637.82"}]},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490/transcript/19034","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/97490/transcript/19034/annotation/23","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/019/034/original/open-uri20200924-1389-jr90gk?1600953823","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/019/034/original/open-uri20200924-1389-jr90gk?1600953823"}]}]},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/255736","type":"Canvas","label":{"en":["Media File 2 of 2 - ARSC_conf_2016_Banner_Barnett_Fox_audio.mp3"]},"duration":2659.06431,"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/1145/collection_resources/29681/file/255736/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/255736/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/255/736/original/ARSC_conf_2016_Banner_Barnett_Fox_audio.mp3?1730748858","type":"Audio","format":"audio/mpeg","duration":2659.06431,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29681/file/255736","metadata":[]}]}],"annotations":[]}]}