{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/p843r0qf4r/manifest","type":"Manifest","label":{"en":["The First History of Rock and Roll: Listening to the Past on Top 40 Radio in 1969"]},"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":["Matthew Barton (Presenter)","Chuck Howell (Chair)","Michael Biel (Videographer)","Leah Biel (Videographer)"]}},{"label":{"en":["Date"]},"value":{"en":["2016-05-14 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Video","Audio"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eTop 40 radio was all about the newest hits, with little sense of history, but for 48 hours starting at 6:00 pm on Friday, February 21st, 1969, KHJ of Los Angeles, one of the biggest Top 40 outlets in the country, aired the first comprehensive history of rock and roll attempted in any medium. For two days, listeners were treated to a unique montage of music and interview with the movers and shakers of the preceding 15 years of pop music, narrated by legendary KHJ disc jockey Robert W. Morgan. The program also aired on KHJ’s six affiliate stations around the country, and was a huge national hit. It was repeated later that year, then revised several times in the 1970s and early 1980s, with the last revision still airing occasionally. Using excerpts of the original broadcast and others from the time, this presentation will look at the program’s success in the context of music radio of the period, as well as it’s longer lasting influence on popular music, popular audiences and radio programming itself.\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\u003eTop 40 radio was all about the newest hits, with little sense of history, but for 48 hours starting at 6:00 pm on Friday, February 21st, 1969, KHJ of Los Angeles, one of the biggest Top 40 outlets in the country, aired the first comprehensive history of rock and roll attempted in any medium. For two days, listeners were treated to a unique montage of music and interview with the movers and shakers of the preceding 15 years of pop music, narrated by legendary KHJ disc jockey Robert W. Morgan. The program also aired on KHJ\u0026rsquo;s six affiliate stations around the country, and was a huge national hit. It was repeated later that year, then revised several times in the 1970s and early 1980s, with the last revision still airing occasionally. Using excerpts of the original broadcast and others from the time, this presentation will look at the program\u0026rsquo;s success in the context of music radio of the period, as well as it\u0026rsquo;s longer lasting influence on popular music, popular audiences and radio programming itself.\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/000/097/492/small/open-uri20200922-6764-1thtb4q_1600815579.jpg?1600801187","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29683/file/97492","type":"Canvas","label":{"en":["Media File 1 of 3 - open-uri20200922-6764-1thtb4q.mp4"]},"duration":1960.512,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/097/492/small/open-uri20200922-6764-1thtb4q_1600815579.jpg?1600801187","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29683/file/97492/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29683/file/97492/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/097/492/original/open-uri20200922-6764-1thtb4q.mp4?1600801174","type":"Video","format":"video/mp4","duration":1960.512,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29683/file/97492","metadata":[]}]}],"annotations":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29683/file/97492/transcript/19006","type":"AnnotationPage","label":{"en":["AUTO_TRINT_The First History of Rock and Roll: Listening to the Past on Top 40 Radio in 1969 [Transcript]"]},"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29683/file/97492/transcript/19006/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So our first presenter today is Matthew Barton. Matt Barton, a. Known to one and all. And his presentation is entitled The First History of Rock n Roll. Listening to the Past on Top 40 radio in 1969 and man begins his two year term as our president later today. So God be with you, my son, from 96 to 2003. He was the production coordinator for the Alan Lomax Collection series on Rounder Records, having worked with him before. In the 1980s before his retirement. And he's written on recorded music and recorded sound since nineteen eighty one is a contributor to the book. The Ballad Collectors of North America have gathering folk song transformed Academic Thought and American Identity, which was published in 2012 by Scarecrow Press. He joined the Library of Congress as an audio visual specialist in 2003, and since 2008, he's been the curator of recorded sound at the Packard campus for audio visual conservation in Culpeper, Virginia. President Jay. Sorry I'm late. My security detail got caught in traffic. Well, good morning. Let me get my. The right image up on screen here. Right. OK. So this program where we're about to hear portions of aired in February of 1969 and I heard it as a impressionable seven year old and W. RKO in Boston at that time, not all 48 hours. I wasn't allowed to stay up that late, but I did hear pieces of it over the weekend. I mean, feedback's very appropriate to rock and roll presentation and, you know, it was something I remember and I Googled it a few times, looked into it, but I haven't really thought that much about it in the intervening years until December 2011. A radio station in Washington, D.C., changed hands. This was in November 2011.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29683/file/97492#t=13.9,169.93"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29683/file/97492/transcript/19006/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And they were planning to start an all news station right there, w NCW, and they weren't quite ready. They needed to fix their studio, hire people and so on. So beginning in November, they simply aired one of those 24/7 Christmas music series that you can get now. And then right after Christmas, they started airing the nineteen eighty one version of the history of rock n roll, which they did for four weeks. Just playing it over and over and over again. It's a practice called stunting in radio. When you're not ready to go live, you just to tap into something like that. So it was great for four weeks. Any time I got in the car, I would just listen to this. And it actually, you know, word of mouth spread. People were listening to it. By the third and fourth week, they were actually able to sell advertising for it. And then I think on January 22nd and twenty third, they went to the news and, you know, that was that. And the station doesn't even exist anymore. I think Bloomberg has it now. So anyway, that got me interested. I looked into it and I discovered that one of my predecessors, Donald Levitt, who I think people in this room, some of you may have known, who was then curator of recorded sound, saw to it that the Library of Congress got a copy of this back in 1969. It's noted there. This is from Billboard, the week of the first broadcast. So the bottom there, Library of Congress, Lincoln Center, UCLA. And so, you know, I know those we got those tapes digitized. I was concerned that, you know, at least one copy could be preserved. I didn't know what the state of anything else was.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29683/file/97492#t=171.01,279.82"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29683/file/97492/transcript/19006/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"There are legs floating around of the original broadcast and subsequent editions, you know. But it it was it was just fun for me to check these things out. Not that I'm supposed to have fun on the job. So but I thought that would make a good presentation. And the more I dug into it, the more I found that to be so. And here this is an ad from the L.A. Times, February 21st, 1969. The broadcast began at noon that day. And let's jump right into it. Just as she saw. And he see, that's the sign that the. They got the papers and the. You a rock n roll. I was taken aback by. Si, si, si, da. Of ages. You need my genes. Yes, do you do three? Of which will be the only one that you loved. Betty. Maybe it's Jim to tell me what was on. Liston's was taken back 50 years to the CBD to rock and roll the records from which these excerpts were taken will be heard in full during booking age to rockumentary. Robert W. Morgan, one of the great voices of a radio. Yeah, a 48 hour broadcast, although they gave away the secret at the four minute mark. What started rock and roll was one mint julep. That's all. It took a pause for a moment here and just point out that. What song did we not hear? Rock around the clock. That's a relief to me, because if you've been through enough rock and roll bucks and rock 'n' roll documentaries, you've had enough of that song. And it's wonderful. And I'm not knocking it, but it's rather overplayed. And I think that's one of the things that sets this particular history apart. And that's because of who created it.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29683/file/97492#t=280.03,565.21"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29683/file/97492/transcript/19006/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"You know, Morgan was a radio veteran. You know, Bill Drake of Direction Group had been in the business a very long time. One of the most important people, Ron Jacobs of. Jay, another veteran, and then two very important people, Alan Pelissero and Sandy Gibson, who were relatively new to the business. They're young women in their early 20s, but they've grown up as fans and gone into the business. So this is the perspective that they're bringing to it. And it's only 1969. So they're not preoccupied with what's the first rock and roll song, you know, which is the subject of endless books and articles and speculation. They're not looking at the history of it that way. And also, as you'll see as we go through it, you know, they aren't setting rock and roll aside from the other popular music of the time, because being in the business, they were playing that music, too. And they understood the relationship between the pop of the time and the rock and roll. And, you know, as we go through this and you get a sense of the structure of it, I think that will come through. So let's go back to Robert Morgan. And we're still at the very beginning of the case, history of rock and roll. February 21st, 1969, some ingredients of rock n roll sprouted in the 1950s, but others had already been a long time brewing. In the beginning, there was going a blend of the rhythms of church teachings and the people's need for musical expression. It branched. The blues, then rhythm and blues. Each individual, but each resembling its parent. Si, si. Si, si. Si, si. Well, a former street. Now. Well, good bye, sonny boy Williams. Oh, God. Oh, Lord. OK.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29683/file/97492#t=565.66,700.4"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29683/file/97492/transcript/19006/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I love the top 40 radio. Found time for Sonny Boy Williams Williamson one in 1969. And this is, you know, at noon, midday primetime. And, you know, it's just really speaks to, you know, what a really daring, risky venture this was. And I love that they chose that particular Sonny Boy song because it's got the line. I'm going with the weather since my clothes. Which, of course, was lifted by Fred Nehal for Everybody's Talking, which was a hit for Harry Nelson that year. I don't know how many people in the audience at the time clocked that, but maybe just a few. And so from from there, you know, they go through, you know, soaped several blues and gospel performers and start a new medley of RB from the 40s and 50s. And we'll hear just the end of that. Or will we? Here we go. From these basic forms were the cornerstones of peace, harmony and emotion. The foundation? No revolutionary music which became the heartbeat and anthem of the 20th century. In the beginning, though, that the. Invented the wheel. I think Bill Haley may not have been inevitable to them, but I think that song was so they they programed it in box and the first four hours was devoted to RMV, and then they did a section on influence of country in rock and roll. And it was probably the first time that a lot of people heard Elvis's son sessions. I don't know how available those were at that point. The album came out several years later. They had been out on singles at RCA earlier. I'm sure there's someone. OK. J not available that word. OK, good. All right. Yeah. Jay Brooders is just inform me that you really, unless you were really looking very hard at that time, you were not going to find Elvis's son records either on son or the forty fives that RCA issued in the 1950s.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29683/file/97492#t=700.8,863.44"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29683/file/97492/transcript/19006/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So this was really a revelation to a lot of people. I would think at that time he would have only known Elvis from his late 1960s work. So that was in the country section and from country they pivoted into folk. Now, I didn't seem to want to do the. We mentioned the foot structure of Ode to Billy Joe and folk music is coming up in the next section of the history of rock n roll, probably presented by KHK Los Angeles. The Everly Brothers. Elvis Presley. Jerry Lee Lewis, Johnny Cash and Buddy Holly. We'll be back during chart sweeps following the folk chapter in the late Woody Guthrie opens the hour with a personal folk portrait of the Depression. The history of rock n roll. Back in nineteen ninety seven had a little farm holding prices up. Rain come down and all the crops all. I got them again. Woody Guthrie on top 40 radio in 1969. It's. You don't expect these things. Well, skip to the end of Woody song and transition into an interior second. That was my defense to that gun, there are Nick Bernier read a magazine through it. Hey, Ben, just a little bit better, I've always believed. Let's do that, Ben. Just a little bit thinner. Some of our senators could have seen through it. What Sinclair Lewis and John Steinbeck accomplished in their novels of social conscience. Woody Guthrie matched and his songs of the American Every Man. Sometimes he was topical, as in talking gospel blues, which began our folk section, sometimes not as in his patriotic. This land is your land. The topical protest song was born as a pinpoint in the 1930s. It fed on the political ferment at the 40s to become a spear, then was blunted by the McCarthy era of the 50s in the early 1960s.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29683/file/97492#t=864.22,1020.38"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29683/file/97492/transcript/19006/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It again emerged as a major cultural force and changed the lovestruck face of popular music. Injecting realism, philosophy and psychology into pop lyrics. It was reborn in dimly lit coffeehouses and folk music clubs across the country. One such seedbed was and is the troubadour in Los Angeles. It's a history of rock and roll. Takes you there for some words from Joni Mitchell. One of the finest young writers in the folk field, Miss Mitchell is best known on both sides now as a poetic but unlisted study of love, which owes its reality and insight to the forces generated by the topical song. I sing folk songs and traditional songs were very short term loss of songs that were in my repertoire with contemporary songs, so they'd already begun to change and began to absorb other influences. The traditional stretching most of the people in rock now are X folksingers. Mama Cass Francis, David Crosby, Stills played the folk music circuit. So all of those people. Brought with them their their folk influences to rock and roll, which, you know, changed it to the, you know, rock and roll today, which is quite different than it was clearly kind of rock and roll. It brings more and more melodic. There's more melody to it than then rock and roll with just the early rhythm and blues changes. And the blues, of course, is it is a form of folk music, too. So it goes on forever. Let's continue our show, ladies and gentlemen. Jupiter is proud to present the K.J. history of rock n roll, Miss Joni Mitchell. I was a little bit late coming, you know, because I was watching television. I don't watch television that often, but a really good friend of mine was on two really good friends of mine, actually, Laura Nyro and Judy Collins.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29683/file/97492#t=1021.4,1150.48"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29683/file/97492/transcript/19006/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And Judy sang a song of mine that's making both of us fabulously wealthy. And of course, that's both sides now. But we're not going to hear it. There's no time for it. I just point out the writer for the series were for the broadcast was Pete Johnson, who is the rock critic for the L.A. Times. Again, you know, talking about Steinbeck and Sinclair Lewis in the context of a top 40 radio station. So at midnight, they switch to a what they call a chart sweep. This is a 12 hour look at pop and rock emphasizing the pop side of things young. Again, it's a history of rock and roll, looks at popular music for the next 12 hours. American pop music is one of the world's springs' of rock n roll. Just as rock n roll is one of the wellsprings of presently pumped, the music is as varied as the voices of Tiny Tim, Irving Kaufman, Frank Sinatra and Dick Clark. Their words are part of our Pop Times Week, which begins in 1896, continues through 1968 and ends figuratively in the year 2001 2001. The movie was out at that time and they finished the segment with also Sprout's Arthur Destra. I got to meet Mr. Evans, helping teenagers out in the field in 1962 with the Billy Murray. That's right. And the title was Are You from Dixie and Tony? How about singing along with me? Oh, I love them. Are you from Dixie? Yes, I'm from Dixie. Where are the fields of cotton going to do me? I'm glad to see you. Tell me how you and the friends. I'm long and see you from Alabama. Tennessee. Caroline. And a place below the Mason-Dixon line. Are you from Dixie? Yes, I'm in Dixie than I am from Dixie.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29683/file/97492#t=1151.91,1292.97"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29683/file/97492/transcript/19006/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And here's a interesting transition from later in the pop segment rabidly. Three. Movies have contributed many songs to pop music. Among them, the theme from the apartment, the 1960s instrumental hits by Ferrante and Tatian. Segment abounds with these kind of transmit, they are not unusual for 40 radio in those years. And we have the rock church, we only. Unexpected commentator. Kenyan's de los Angeles presents the history of rock n roll continuing through 1956 with a five year sentence and some observations by Frank Zappa. I remember that when I first heard this kind of music, I knew that it was the kind of music that I wanted to listen to. Nobody had to explain it to me that this is music designed for teenagers. You know, I just you just heard it and you knew it was your music. And I didn't make any difference if it was recorded by somebody your own age or it was recorded by an older person. Frank Zappa, leader of the Mothers of Invention, is the R and B records in those days sound very sincere. You know, and everybody was in to see or there fifteen or they're 60. I could dig Elmore James just as much as I could dig the Five Satins and things like that, because it all sounds real to me. Phil Spector worked with Jerry Lieber and Mike stored on rocket markets like Benny King and others. Jerry Lieber remembers their first contact with him. We have gotten calls out here to an old associate of. Who said he had this great kid who wrote and produced and wanted to be in New York and anyone out on his own and. Had an awful lot of talent and a lot of ideas, I thought he was extremely talented.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29683/file/97492#t=1294.49,1492.48"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29683/file/97492/transcript/19006/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"A little bit strange. A producer who is more than most record buyers and Phil Spector has two of the best ears in the record business. So the KHK history of rock n roll invited him to listen to several records, a blindfold test, since he didn't know what records were being played before he hurt them. The session began with the four tops reach out. That's the sound, hello. Sound like a building and it's sure that it would a level top. This is the fourth time seeing Bob Dylan. If you listen carefully to what everyone has. Everything has gone to match everything, and that's really what it is. It's black, Dylan. If you listen to this record carefully, you notice that Motown has the same thing. Volkswagen has a style and it's never really going out of style for a long time. And as long as it continues to sell, they'll go in. And the old joke about Motown is, you know, Motown record is the same record recorded with different lyrics every three weeks, you know, but realistically, they're very creative. And this was that this was really aliber, actually. And it's. It's a drum bass sound that is very consistent. Therefore, you can build around it. We have a lot of the ingredients that many. At that time, you had to wait to sell a song and interpret a song, which is old key really to what? Solo music, good interpretation. I think he could be a hit singer any. Yes, but there are a lot of hit singles, Renoir making it without the general direction. It's like there are great lot of great writers around or making it without direction. So I think he could be a star hit singer anyway. But I think that they're giving him the direction.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29683/file/97492#t=1497.84,1660.94"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29683/file/97492/transcript/19006/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"He really sounds in many ways a lot like Marvin Gaye. But it's not it's not important because the material and direction was much better than he would ever be. I'd say. The fields. So this the rock charts sweep continued until midnight, and then they had a section on the has a section on the blues and going to skip through these because I see I'm running out of time and see if I can get my life so far. The 40 hour work week we've listened to the rock, roots, rhythm and blues, country folk and pop. The twelve hour pop charts sweep led to a 12 hour rock chart suite, followed by two hours of singers and concluding with this two hours of blues. The history of rock n roll resumes on KHK Los Angeles at 9:00 a.m. with a two hour focus on the words and music of rock. Then onto a six hour study of groups with special emphasis on the Rolling Stones and the Beatles. Those are the days when radio stations would air a religious program and public interest programing on weekend mornings to keep the FCC happy. And so let's skip up to nine a.m. when they went back on the air. Rock n roll. McCain aides de rockumentary begins its two hour chapter on words and music with Van Dike Parks. This is his musical interpretation of Donovan's colors. Words of the best rock writers and examples of the various schools of contemporary music will be sampled during this section. Winners get to the top. OK. So tentative p.m.. It was a huge success. This is a ad that ran in Billboard the following week from Warner Brothers who had signed Fats, Fats Domino, Everly Brothers, where other labels in the 50s.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29683/file/97492#t=1662.59,1814.41"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29683/file/97492/transcript/19006/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But there were winners by this time. The program aired again over the summer, they've broken up into different groupings. Twelve hours, six hours, I believe W.L. are to be on RFM in New York. Just played the whole thing over Labor Day weekend. And, you know, it's had a considerable afterlife since then. They did a revision the following year, which included Woodstock and the Beatles breakup. There was a revision a couple of years later where I believe the everything that could be in stereo was put into stereo. And then there was an extensive revision in 1978 where the whole structure was changed extensively. And finally, the nineteen eighty one revision, which is still out there, still available in syndication. So I call it the first comprehensive history of rock n roll. There are a couple of other contenders for that title. John Jabbari had a book out called World of Rock a couple of months before this, and it has a lot of Ma'rib. And it's also an example of kind of the new journalism. He'll be talking about 50s RB one moment and then, you know, there's a whole chapter about hanging out with somebody in high school and so on. And so it's it's kind of scattershot. Keala K.R., L.A. in Los Angeles started the thing called Pop Chronicles the same month, which was a weekly series of weekly hours on the subject. And, you know, history keeps repeating itself with this. I don't know how you do the last 35 years, but, you know, we have this and, you know, the different revisions are still out there. People that like them, they're MP 3s and so on. But I really enjoy it. It's for me, it's a double trip down memory lane to to hear this again.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29683/file/97492#t=1814.8,1920.02"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29683/file/97492/transcript/19006/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But also, it really has a lot of merits if you can find factual errors throughout it. But it you know, it's a relief to hear the history of rock and roll where they're talking about Jimi Hendrix and Janis Joplin when they're still alive. And, you know, you don't everything is just not shrouded in tragedy. When they talk about these things, it's these things are very much alive. They're part of the daily scene. So I think I will leave it there. Thanks very much.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29683/file/97492#t=1920.41,1946.01"}]},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29683/file/97492/transcript/19006","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29683/file/97492/transcript/19006/annotation/14","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/019/006/original/open-uri20200924-1392-2urfdz?1600953133","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/019/006/original/open-uri20200924-1392-2urfdz?1600953133"}]}]},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29683/file/255738","type":"Canvas","label":{"en":["Media File 2 of 3 - ARSC_conf_2016_Barton_audio.mp3"]},"duration":1970.92063,"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/29683/file/255738/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29683/file/255738/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/255/738/original/ARSC_conf_2016_Barton_audio.mp3?1730748906","type":"Audio","format":"audio/mpeg","duration":1970.92063,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29683/file/255738","metadata":[]}]}],"annotations":[]},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29683/file/255737","type":"Canvas","label":{"en":["Media File 3 of 3 - ARSC_conf_2016_Barton_QA_audio.mp3"]},"duration":695.57044,"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/29683/file/255737/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29683/file/255737/content/3/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/255/737/original/ARSC_conf_2016_Barton_QA_audio.mp3?1730748905","type":"Audio","format":"audio/mpeg","duration":695.57044,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29683/file/255737","metadata":[]}]}],"annotations":[]}]}