{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/xd0qr4pd3b/manifest","type":"Manifest","label":{"en":["200 Sides for 200 Years: New World Records' Recorded Anthology of American Music and the U. S. Bicentennial"]},"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":["Mathew Swiatlowski (Presenter)","David N. Lewis (Chair)","Michael Biel (Videographer)","Leah BIel (Videographer)"]}},{"label":{"en":["Date"]},"value":{"en":["2017-05-12 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Video","Audio"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eIn May 1976, around 7,000 public and university libraries, music programs, military bases and Veterans Affairs facilities received a shipment of ten long-playing music discs from an ambitious upstart record label named New World Records. The LPs ranged from field recordings of Native American tribes to the experimental compositional works of John Cage. There was a sampler platter of bebop and a disc of music commemorating the U.S. Revolution. The thread tying these disparate sounds together was their national implications. Billed as the Recorded Anthology of American Music (RAMA), these ten discs were the first of one hundred releases issued over the following two years, some archival and some first issue, said to represent the full spectrum of the U.S.’s popular, vernacular, and serious musics. Funded through a generous grant from the Rockefeller Foundation, RAMA was a novel—and nonprofit—experiment in the circulation of and edification through the nation’s recorded musics, one inextricably linked to the Bicentennial’s broader cultural currents of pluralism and nostalgia. This paper will provide an overview of RAMA, detailing the project’s history and highlighting its reception in print periodicals as well as through the treasury of correspondence the label received over the lifespan of the project. Additionally, it will consider the set’s continued circulation largely as “library discards” peppering the used bins of record stores the world over. The research necessary to produce this paper was completed with the generous support of a 2016 ARSC Research Grant.\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\u003eIn May 1976, around 7,000 public and university libraries, music programs, military bases and Veterans Affairs facilities received a shipment of ten long-playing music discs from an ambitious upstart record label named New World Records. The LPs ranged from field recordings of Native American tribes to the experimental compositional works of John Cage. There was a sampler platter of bebop and a disc of music commemorating the U.S. Revolution. The thread tying these disparate sounds together was their national implications. Billed as the Recorded Anthology of American Music (RAMA), these ten discs were the first of one hundred releases issued over the following two years, some archival and some first issue, said to represent the full spectrum of the U.S.\u0026rsquo;s popular, vernacular, and serious musics. Funded through a generous grant from the Rockefeller Foundation, RAMA was a novel\u0026mdash;and nonprofit\u0026mdash;experiment in the circulation of and edification through the nation\u0026rsquo;s recorded musics, one inextricably linked to the Bicentennial\u0026rsquo;s broader cultural currents of pluralism and nostalgia. This paper will provide an overview of RAMA, detailing the project\u0026rsquo;s history and highlighting its reception in print periodicals as well as through the treasury of correspondence the label received over the lifespan of the project. Additionally, it will consider the set\u0026rsquo;s continued circulation largely as \u0026ldquo;library discards\u0026rdquo; peppering the used bins of record stores the world over. The research necessary to produce this paper was completed with the generous support of a 2016 ARSC Research Grant.\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/000/097/721/small/open-uri20200922-6764-b9j1he_1600819357.jpg?1600804991","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29798/file/97721","type":"Canvas","label":{"en":["Media File 1 of 2 - open-uri20200922-6764-b9j1he.mp4"]},"duration":1628.928,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/097/721/small/open-uri20200922-6764-b9j1he_1600819357.jpg?1600804991","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29798/file/97721/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29798/file/97721/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/097/721/original/open-uri20200922-6764-b9j1he.mp4?1600804950","type":"Video","format":"video/mp4","duration":1628.928,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29798/file/97721","metadata":[]}]}],"annotations":[]},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29798/file/255932","type":"Canvas","label":{"en":["Media File 2 of 2 - ARSC_conf_2017_Swiatlowski_audio.mp3"]},"duration":1606.05744,"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/1144/collection_resources/29798/file/255932/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29798/file/255932/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/255/932/original/ARSC_conf_2017_Swiatlowski_audio.mp3?1730767172","type":"Audio","format":"audio/mpeg","duration":1606.05744,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29798/file/255932","metadata":[]}]}],"annotations":[]}]}