{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/m03xs5jt8m/manifest","type":"Manifest","label":{"en":["The Honeydripper as Chameleon: The Many Faces of Roosevelt Sykes"]},"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":["Roberta Freund Schwartz (Presenter)","Danielle Cordovez (Chair)","Michael Biel (Videographer)","Leah Biel (Videographer)"]}},{"label":{"en":["Date"]},"value":{"en":["2019-05-11 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Video","Audio"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eRoosevelt Sykes, widely considered the father of modern blues piano, was one of the most prolific and successful recording artists of the 1930s. However, Skyes was far more: an influential songwriter, mentor, accompanist, bandleader, and A\u0026amp;R representative, and a stylistic model for pianists like Memphis Slim and Big Maceo. Mapping his influence requires some detective work, as he was also a chameleon, who recorded under many names and for many labels during his nearly 60 years in the business. Likewise, he was a stylistic changeling, running the gamut from barrelhouse and boogie-woogie, hokum, R\u0026amp;B, jive, and jazz, and led bands and trios with artists like Lonnie Johnson and Memphis Minnie. While his ebullient vocal delivery was immediately recognizable, he was a sensitive accompanist who adapted his style to suit the more than 30 artists he backed on record. Skyes also composed a number of seminal blues standards, including “44 Blues,” “32-20 Blues,” “Sail On, Little Girl,” and “Night Time is the Right Time,” as well as his signature tune, “The Honeydripper.” As an A\u0026amp;R representative, Sykes recommended talent to all of the major blues labels during the 1930s and ‘40s. Many were from St. Louis, including Walter Davis, Specks McFadden, Teddy Darby, and his long-time running partner St. Louis Jimmy. He was likely responsible for furnishing artists for the inaugural blues recording sessions of both Bluebird and Decca in 1933 and 1934, respectively.\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":["Amanda McCabe"]}}],"summary":{"en":["\u003cp\u003eRoosevelt Sykes, widely considered the father of modern blues piano, was one of the most prolific and successful recording artists of the 1930s. However, Skyes was far more: an influential songwriter, mentor, accompanist, bandleader, and A\u0026amp;R representative, and a stylistic model for pianists like Memphis Slim and Big Maceo. Mapping his influence requires some detective work, as he was also a chameleon, who recorded under many names and for many labels during his nearly 60 years in the business. Likewise, he was a stylistic changeling, running the gamut from barrelhouse and boogie-woogie, hokum, R\u0026amp;B, jive, and jazz, and led bands and trios with artists like Lonnie Johnson and Memphis Minnie. While his ebullient vocal delivery was immediately recognizable, he was a sensitive accompanist who adapted his style to suit the more than 30 artists he backed on record. Skyes also composed a number of seminal blues standards, including \u0026ldquo;44 Blues,\u0026rdquo; \u0026ldquo;32-20 Blues,\u0026rdquo; \u0026ldquo;Sail On, Little Girl,\u0026rdquo; and \u0026ldquo;Night Time is the Right Time,\u0026rdquo; as well as his signature tune, \u0026ldquo;The Honeydripper.\u0026rdquo; As an A\u0026amp;R representative, Sykes recommended talent to all of the major blues labels during the 1930s and \u0026lsquo;40s. Many were from St. Louis, including Walter Davis, Specks McFadden, Teddy Darby, and his long-time running partner St. Louis Jimmy. He was likely responsible for furnishing artists for the inaugural blues recording sessions of both Bluebird and Decca in 1933 and 1934, respectively.\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/000/094/470/small/open-uri20200715-839-17gsezc_1594842473.jpg?1594828083","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470","type":"Canvas","label":{"en":["Media File 1 of 2 - open-uri20200715-839-17gsezc.mp4"]},"duration":1627.02933,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/094/470/small/open-uri20200715-839-17gsezc_1594842473.jpg?1594828083","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/094/470/original/open-uri20200715-839-17gsezc.mp4?1594828073","type":"Video","format":"video/mp4","duration":1627.02933,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470","metadata":[]}]}],"annotations":[{"id":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470/transcript/16944","type":"AnnotationPage","label":{"en":["Transcript [Transcript]"]},"items":[{"id":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470/transcript/16944/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"He dripper as a chameleon. The many faces of Roosevelt Sykes presented by Robert Roberto Front Swarts fine for and brought on Roberto as an associate professor of historical musicology at the University of Kansas with areas of specialization and the music of Renaissance and African-American music. Her areas, her areas of research interest include their early music of Spain, musical patronage, transitional interpretations of African-American music, the blues and rock 'n' roll and rock 'n' roll. She is the author of How Britain Got the Blues The Transmission and Reception of American Blues Styles to British Isles, which won the 2008 Association of Recorded Sal Collections Award for Best Historical Writing on Blues. She's been the chair of the Ask Awards Committee since 2002 five and is served as the director of the Kansas University Archive of Recorded Sound. From 2001 to 2004 to from 2001 to 2005, and currently access the archives at advising directly advising director. Well, she is currently working on a monograph about the city blues of 19 of the 1930s and. I mean, these are old sayings, they all call me the Honeydripper. My professional name, Psych's, the father of modern blues piano, was one of those prolific and successful recording artists of the 1930s and 1940s. However, he was far more than that. An influential songwriter, mentor, accompanist, bandleader and talent scout mapping his full influence that would require some detective work, as Sykes was also a chameleon who recorded a dozen styles for 10 under 10 different names for almost 40 record labels during his 54 year career, such as Born in Helena, Arkansas. His family moved to St. Louis when he was three, but he spent summers in Helena with his grandfather. Young Sykes taught himself to play by fooling around on the church organ, but he was more attracted to the blues than humanity. And he made frequent clandestine trips into West Helena to hear local pianists. By the time he was 14, he was playing the Jazz Line Club in St. Louis. Sykes moved back to Holland after 1919 and hooked up with an older pianist, Leotis Porkchops Green, and spent the next decade playing at local clubs and barrel houses from Louisiana to Missouri in the late 1920s. He settled in St. Louis, where he primarily made his living playing at rent parties, often teaming up with his brother, Walter. In June 1929, Sykes walked into the deluxe record shop in St. Louis owned by Jesse Johnson, who got Lonnie Johnson in Victoria's Bybee signed to OK. He asked if he could play a song on the piano, and once Jesse Johnson established that he had a few songs in his repertoire. Asked him if he was interested in making a record. Kabui Amelia Monday morning, early on the nine o'clock, Pa. that America had again in New York. But as I was shouting, what do ya. The feeling. So that's at ninety nine. You can only Amelia Monday morning at once without any cards in it. The first number you recorded was 44 blues. P.S. Third from Green, there was a common barrelhouse work out among pianist in the South. It didn't have any lyrics, so Sykes gave it some playing on various interpretations of the title caliber pistol, a train and an address there delivered in a powerful, urbane, resonant voice made. Oh, well. The disc was a hit, but before OK, could arrange a follow up session. Johnson arranged for Sikes to record at Paramount as he'd already signed a contract with. Sykes recorded under his childhood nickname Dobbie Brad Singletary. Blues was likely hit as the Memphis Jug Band recorded a similar version. As I put my woman with a single tree a few months later, the same day Psych's back to Jesse Johnson's other artists, Teddy Darby and Edith North Johnson. They were his first as an accompanist for vocalists, a role he'd assume with regularity over the next decade, and particularly for artists from St. Louis. Sykes was an unusually sensitive accompanist who tailored his performance to the vocalist Safer Filles. He employed a more cordial approach than on a solo recordings and didn't try to intrude with technique or embellishment. One of the sides he accompanied by Edith North Johnson, Jessie Johnson's wife, was Honeydripper Blues, which would later inspire the moniker that Sykes would adopt Highway An. Making the. In November, Psych's was back at OC recording eight sides under his own name. He wasn't asked to return and didn't record again for okay until 1941. So likely none of the titles sold very well. But that didn't really hurt his career a bit. He had even left Chicago before he traveled to Grafton and Dubie. Bragg accompanied two more St. Louis artists vocalist Maybelle Miller and a psych's protege, Speck's McFadden. The session yielded groceries on the shelf and people people blues McFadden's two most enduring hits. And in fact, he and Sykes rerecorded both titles twice more in 1933 for Bluebird and 1937 for Decca. Between sessions, it's like sometimes remained in Chicago to play rent parties. But most often he returned to St.. Louis, where he used the money for his first okay session to ride Juke. However, he still played at clubs most frequently with singer songwriter Saint Louis Jimmy Oden, a partnership that endured for more than 15 years. Enjoy 1930s or June 1930. Sykes cut his first sessions for Victor, never at a loss for pseudonyms. He adopted the moniker Willy Kelly, though savvy record buyers probably noticed that Kelly's 44 blues and 32 20 blues sounded an awful lot like Roosevelt Sykes on the track. Give me your change. Sykes comes with in a hair hairline this close to inventing rock and roll 25 years early. He also accompanied another of his St. Louis proteges. Singer pianist Walter Davis, on four sides. Davis was too nervous to do anything but sing, but that was enough. Both M.A. Blues and My Baby's Gone were huge hits and launched Davis a successful career. Sykes accompanied on all of his records until 1934. The Davis sessions also likely MARC Sykes's first foray as a talent scout. Initially, he found artists for Johnson and later for Jamaah Williams, Lester Melrose and Jack Kemp. Quote, Those folks figured I know pretty well about blues singers and I know pretty good material when I heard it. So they asked me what I go on and find some new artists for them. Henry Townsend, another St. Louis artist, suggested that Sykes had ulterior motives for his scouting activities. Quote, If Roosevelt Sykes ever run across somebody he thought had a good enough voice and qualified. It would give him a chance to do another recording session. It was a personal interest thing. He'd get them over there and he'd get a chance to make his money. Slick's didn't actually appear to have any problem finding recording dates, though he did tend to accompany the talent that he referred and did pocket the sideband feat. Two months later, Dobbie Bragg was back at Paramount. Most of the signs were Hokum Blues Safer, which is apparently the first version of the standard sale on Little Girls sale on. Unfortunately, no copy of the disc has yet been located. So Collectors Paramount won three oh eight three. I have a mission for you. On November 3rd, 1930, Sykes recorded four signs in Chicago for Ayres's melatonin label, adopting yet another moniker. Easy Pop. Johnson. A few weeks later, he recorded for Victor during their annual field trip to Memphis. Sykes admitted he wasn't much for staying in one place, quote, leave St. Louis from there. Go to Chicago and play different places in Chicago for a while. Let me come back to St. Louis. Go to Memphis. Play on there for a month or two. Sykes has been described as the most extroverted and technically capable pianist who came out of St. Louis. And Kelly special demonstrates both of those qualities as well as a sense of humor. I'm, you know, at gun training and you've got to play about it. Wait a minute. Anyway, Sykes may have gone rambling after the session as he didn't record again until June 1931. Victor was in Louisville primarily to record hillbilly artists, but it was more than willing to a lot sides to Willie Kelly as well as the St.. Was artists. He brought along Walter Davis, guitarist Henry Townsend. Tom's brother, Mido. Artie Hannon. And Clifford Gibson, who occasionally played clubs with Sykes and St. Louis. All but Henry Townsend were talent that Sykes and secured more than a year later. Sykes recorded sites for Champion under his own name, likely indicating that his OK contract had expired by that point, as was his custom. He accompanied or played duets with St. Louis artists. Mary Johnson had been recording for a while, but it was the first session for Artie Mosby and Sykes's friend Jimmy Odan, the Juzo titles he recorded during that session. Mr. Sykes is blues, and the first version of the Standard Highway 61 blues are considered two of his best pre 1942 sides. Have you ever been knocked down on a. I mean, I mean, one man at that point, the recording industry was in dire straits and blues recording tapered off to nearly nothing. Air-Sea invoke Hellion cautiously resumed recording in the spring and early summer of 1933. Victor waited until August 2nd, but reentered the market with a vengeance. With a two day, 35 side session in Chicago, however, all the artists were from St. Louis. The fact that Sykes, as Willie Kelly played on 25 of the 35 sides, 23000 communists suggests that he was the an hour point man for the session, as well as Bluebirds other marathon session that year, December 9th through 11th. And in that case, again, most of the artists were from St. Louis and Sykes, a company down 27 sides and recorded for solo sides. So Bluebird right now, instead, Sykes decided to sign with Decca and recorded tracks at their debut session in Chicago in August 1934. Incredibly, he remained more or less an exclusive artist for Decca until April 1941. But what's laid on deck as championed subsidiary was released under the name St. Louis Johnny, for reasons unknown to be a blues from his first session, was popular enough to elicit a DEA blues number two of his next session. But it was overshadowed by Dirty Mother for you, which shared a little with Memphis Minnie's title of the same name, except for the central conceit and its title. I've got a dog and. Oh, no, no, no. I'm on my own. No, no, no, no. At the same session, you recorded his song Drive the Wheel, which again became a standard. Anyway. Rob. And. A few days later, he whacks the first version of his signature song with Cocomo Arnold on guitar. Yeah. Oh. Oh, yeah. Oh. Oh, oh, oh. Jimmy Williams like the song's potential and decided to Bill Sikes as the Honeydripper on all the sides from that session. And in fact, then became his regular signature name. In April 1937. It's like Steve Bude, nighttime is the right time. St. Louis Jimmy Oden wrote the words and Psych's in his own words, quote, Try to fit a tune of Leroy cars do it, unquote. The song was a big hit. He claimed it was number one across the nation. And while there aren't any charts to actually prove that, it's probably true as it's been recorded many times since. And one thing that I ran it won't do, Judy. Anyway, and make me think that is. All right. You the one you know. Sykes known also collaborated on going down slow, though in that case, Oden Sang and Sykes a company until 1941, Sykes recorded approximately eight tracks for Decca every six months. A combination of hokum, country, blues, boogie, boogie and sentimental fare. He also continues his activities as a talent scout. A squib in The Chicago Defender in late October and early 19th, early November 1938 states that Sykes was going to St.. Louis to look for new artists for Decca, as he always had when not recording or scouting. Sykes played at rent parties, clubs, theaters and on a few occasion, intermission sets for Benny Goodman. While the Jazz Man was in Chicago after seven years with Decca, Sykes signed with Columbia okay. In April 1941, though, in very typical psych's fashion, he had actually been working for Lester Melrose and accompanying Artists for Bluebird since 1939. After a successful first session which produced the hits Let the Black Have its Way and Skin and Bone Blues. The label released only two of the 16 sides he recorded in 1941 to 1942. This was very much the company's loss as Sykes's public reputation was on the rise. In December 1941, a Chicago branch of the Cotton Club opens. The headliner for opening night was a Roosevelt Sykes trio with Memphis Minnie on guitar. This is likely one. Besides the bigger plans in the works. He and Jimmy Odan, some of the 12 piece band that signed a four year contract with the friggin Sam Brothers agency new outfit, mostly played one nighters throughout the South and Midwest, occasionally opening for better known bands like Charley Barnett and Chick Webb. Sykes recalled, quote, I was on the road with my big band from about 1942 to 1954, 55. I always had my own backs. I couldn't play with nobody else's band, some original see. But once I got out there, I played something of everything. I played a little jazz. Linda play stardust, anything. After the recording strike ended in 44, Sykes signed with RCA Victor's Bluebird imprint on its first session in December. He recorded I Wonder, hit by season. Gantt earlier that year strikes again, claimed it was number one. And in fact, this was true. It hit that number one on the billboard charts in February and stayed there for seven weeks. Only a little bit. One o whack in your again to my. No country could hold them, Psych's rerecorded the number for several other labels later that year in September. Joe Ligget Top The Race charts with a riff on Sykes's The Honeydripper. Sykes was not about to be outdone with his own nickname and signature song. So he recorded a cover version and made it clear who the original Honeydripper was right here on. The song actually reached number three on the race charts on November 24th, ironically to be supplanted the next week by Jimmie Lunsford's version of the same song songs recorded for Victor through 1949, though unsurprisingly, that did not stop him from resuming his pseudonymous ways. In 1946, Specialty Records issued three discs by the blues band and his blues band, Psych's in the Honey Drippers. Oh, recorded in a single session in Chicago, apparently without anyone it victor being the wiser. The company also didn't notice a pair of bullet recordings won by the non-existent Joe Boogie Evans and another by St. Louis Jimmy. That, in fact, was Roosevelt Sykes songs recorded with the Honey Drippers every year a variable group of six to seven players until 1949 and Intermittingly until 1960. The ensemble highlights Sykes's stylistic fluidity and his ability to play, quote, some of everything. So just very quickly, a little swing pop expanded back made. Got to go wrong. Bob. Jump blues. Lauren, be back. And a couple seconds of rain in my heart will. I think. We'll move on for time. In 1950, after his Victor contract ended, Psych's began recording for a series of small independent labels, sometimes with the honey drippers, but more frequently with a smaller ensemble of bass guitar and drums who isn't known for his association with the style. He actually recorded some quite fine Chicago blues sides, say Fox and. Fox, they're laughing at us now. The tab has gone. Sykes even recorded a bit of rock and roll. I heard a lot of talk and I've been listening to what I've got to say to you make. In March 1960, Bluesfest released the album The Return of Roosevelt Sykes. I'm actually going anywhere, mind you, but it had been a few years since his last recording session. He'd been playing pretty regularly in clubs in Chicago, New Orleans and St. Louis, mostly for white audiences. The album, which landed just as a blues revival, was hitting its stride. But aficionados know that Sykes was still around and open for business. In 1961, he recorded albums for Blues, Phil and Folkways and sumas book for series of club dates in London. He returned here with the American Folk Blues Festival in 1965, 1966 and 1972, which introduced him to a wider European audience starting in the late 1960s. He became a feature at blues festivals, colleges and concerts throughout America, Europe and Asia, and particularly in New Orleans, where Sykes finally at long last settled down. He played concerts and festivals until just three years before his death in 1983. I'd like to conclude with a clip of the Honeydripper from one of these later years, which demonstrates that Sykes had lost none of his technical ability or Ambulante love of performing. Thank you. All right. Does anyone have any questions for Roberta? Hi, Nancy. Is it really known who made up the different names that he used? Did he make them up or did the record companies make them up? I don't know. Darby Bragg. He made up. That was a childhood nickname. I've always got the impression that it was psych's. What do you want us to call you? Easy, Pop Johnson. And what else? How were you able to track his pseudonymous recording career? I mean, what clues did he leave to let you know that he was or you thought he was? I will have to admit. Other people found those clues long before me. So I'm going to say, Dixon. Right. The great blues discography is. But I'm sure also if you look at the contracts, you know who's getting the royalties. Yeah. You would have made sure that was his name. They have time for one more question than anyone. With respect to his association with Decca, Sammy Price seemed to be kind of a house pianist for Decca a lot. Yes. In those years. But but do you think he did also a lot of an hour? Any idea of any interaction between them? I have no idea. I wouldn't be surprised if they knew each other. They were both pianists. Sighs Didn't accompany as much. Once he hit Decca up, then he primarily acted as a vocalist in SCAAP. OK, thank you. Repair the.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470#t=11.67,1613.609"}]},{"id":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470/transcript/16945","type":"AnnotationPage","label":{"en":["Closed Captions [Transcript]"]},"items":[{"id":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470/transcript/16945/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"He dripper as a chameleon.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470#t=11.67,13.189"},{"id":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470/transcript/16945/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The many faces of Roosevelt 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All right.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470#t=1503.65,1504.7"},{"id":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470/transcript/16945/annotation/623","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Does anyone have any questions for","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470#t=1505.93,1507.596"},{"id":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470/transcript/16945/annotation/624","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Roberta?","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470#t=1507.64,1508.64"},{"id":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470/transcript/16945/annotation/625","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Hi, Nancy.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470#t=1514.06,1515.06"},{"id":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470/transcript/16945/annotation/626","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Is it really known","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470#t=1515.58,1516.609"},{"id":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470/transcript/16945/annotation/627","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"who made up the different names","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470#t=1517.83,1519.819"},{"id":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470/transcript/16945/annotation/628","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"that he used? Did he make them up or","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470#t=1519.82,1521.469"},{"id":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470/transcript/16945/annotation/629","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"did the record companies make them","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470#t=1521.53,1523.149"},{"id":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470/transcript/16945/annotation/630","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"up? I don't know.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470#t=1523.15,1523.959"},{"id":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470/transcript/16945/annotation/631","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Darby Bragg. He made up.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470#t=1523.96,1525.059"},{"id":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470/transcript/16945/annotation/632","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"That was a childhood nickname.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470#t=1525.1,1526.329"},{"id":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470/transcript/16945/annotation/633","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I've always got the impression 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Dixon.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470#t=1555.42,1557.589"},{"id":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470/transcript/16945/annotation/648","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Right.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470#t=1557.61,1558.61"},{"id":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470/transcript/16945/annotation/649","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The great blues discography 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Yes.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470#t=1590.49,1591.389"},{"id":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470/transcript/16945/annotation/662","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"In those years.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470#t=1591.39,1592.39"},{"id":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470/transcript/16945/annotation/663","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But but do you think","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470#t=1592.7,1594.689"},{"id":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470/transcript/16945/annotation/664","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"he did also a lot of an","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470#t=1594.69,1596.759"},{"id":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470/transcript/16945/annotation/665","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"hour? Any idea of any interaction","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470#t=1596.79,1598.407"},{"id":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470/transcript/16945/annotation/666","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"between them?","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470#t=1599.28,1600.28"},{"id":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470/transcript/16945/annotation/667","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I have no idea.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470#t=1600.36,1601.229"},{"id":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470/transcript/16945/annotation/668","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I wouldn't be surprised if they knew","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470#t=1601.23,1602.309"},{"id":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470/transcript/16945/annotation/669","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"each other. They were both pianists.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470#t=1602.31,1603.5"},{"id":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470/transcript/16945/annotation/670","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Sighs Didn't accompany as much.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470#t=1605.43,1607.459"},{"id":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470/transcript/16945/annotation/671","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Once he hit Decca up, then","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470#t=1607.48,1609.359"},{"id":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470/transcript/16945/annotation/672","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"he primarily acted as a vocalist","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470#t=1609.36,1610.928"},{"id":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470/transcript/16945/annotation/673","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"in SCAAP.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470#t=1611.34,1612.269"},{"id":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470/transcript/16945/annotation/674","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"OK, thank you.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470#t=1612.27,1613.139"},{"id":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470/transcript/16945/annotation/675","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Repair the.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470#t=1613.14,1613.609"}]},{"id":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470/transcript/16945","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/94470/transcript/16945/annotation/676","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/016/945/original/ARSC_conf_2019_Schwartz_video-2.vtt?1594828092","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/016/945/original/ARSC_conf_2019_Schwartz_video-2.vtt?1594828092"}]}]},{"id":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/256353","type":"Canvas","label":{"en":["Media File 2 of 2 - ARSC_conf_2019_Schwartz_audio.mp3"]},"duration":1605.041,"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/955/collection_resources/27305/file/256353/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/256353/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/256/353/original/ARSC_conf_2019_Schwartz_audio.mp3?1730924088","type":"Audio","format":"audio/mpeg","duration":1605.041,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/955/collection_resources/27305/file/256353","metadata":[]}]}],"annotations":[]}]}