{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/xw47p8vq76/manifest","type":"Manifest","label":{"en":["Eli Oberstein: And By His Lawsuits We Shall Know Him"]},"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":["David J. Diehl (Presenter)","Tim Brooks (Chair)","Michael Biel (Videographer)","Leah Biel (Videographer)"]}},{"label":{"en":["Date"]},"value":{"en":["2012-05-18 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Video","Audio"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eOberstein entered the record business through an accounting firm which was involved in restructuring the Columbia Phonograph Company and by 1930 he was supervising recordings at Victor. He was especially effective on the budget Bluebird label with sides by non-union musicians and in poorly unionized locations. When he left Victor in 1939 he claimed that such important Victor artists as Glenn Miller had signed contracts with Eli himself. RCA sued and the settlement reveals that Oberstein had obtained over 1800 copyrights from the talent he was recording. His first indie venture was in partnership with one Phillip Kastel. Upon learning this was mobster \"Dandy Phil,\" Oberstein not only broke off the agreement but sued for $15k. He prospered during WWII, eventually selling out to Majestic Radio \u0026amp; Television and returning to RCA Victor in 1945. He continued to further his own interests, even leasing early Jan Peerce sides to rival companies while the Red Seal division was promoting that singer heavily. Oberstein left RCA again in 1948, first forming Wright Record Corp. then Record Corp of America in 1951. Curiously, while RCA was dunning the 'other' RCA about trademarks and the use of Artie Shaw's Musicraft recording of 'Begin the Beguine,' RCA Special Products was pressing EP's for Oberstein. Documentation from Rondo, Oberstein's final label, includes receipts from Edward J. Smith's operatic recordings in Florence and Harold Farberman's studio notes for the Boston recording of the Bartok Divertimento for string orchestra which was eventually issued on Cambridge.\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 (Video Editor)"]}}],"summary":{"en":["\u003cp\u003eOberstein entered the record business through an accounting firm which was involved in restructuring the Columbia Phonograph Company and by 1930 he was supervising recordings at Victor. He was especially effective on the budget Bluebird label with sides by non-union musicians and in poorly unionized locations. When he left Victor in 1939 he claimed that such important Victor artists as Glenn Miller had signed contracts with Eli himself. RCA sued and the settlement reveals that Oberstein had obtained over 1800 copyrights from the talent he was recording. His first indie venture was in partnership with one Phillip Kastel. Upon learning this was mobster \"Dandy Phil,\" Oberstein not only broke off the agreement but sued for $15k. He prospered during WWII, eventually selling out to Majestic Radio \u0026amp; Television and returning to RCA Victor in 1945. He continued to further his own interests, even leasing early Jan Peerce sides to rival companies while the Red Seal division was promoting that singer heavily. Oberstein left RCA again in 1948, first forming Wright Record Corp. then Record Corp of America in 1951. Curiously, while RCA was dunning the 'other' RCA about trademarks and the use of Artie Shaw's Musicraft recording of 'Begin the Beguine,' RCA Special Products was pressing EP's for Oberstein. Documentation from Rondo, Oberstein's final label, includes receipts from Edward J. Smith's operatic recordings in Florence and Harold Farberman's studio notes for the Boston recording of the Bartok Divertimento for string orchestra which was eventually issued on Cambridge.\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/000/165/394/small/ARSC_conf_2012_Diehl_video_thmb.jpg?1661192082","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1508/collection_resources/78114/file/165394","type":"Canvas","label":{"en":["Media File 1 of 2 - ARSC_conf_2012_Diehl_video.mp4"]},"duration":2631.63733,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/165/394/small/ARSC_conf_2012_Diehl_video_thmb.jpg?1661192082","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1508/collection_resources/78114/file/165394/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1508/collection_resources/78114/file/165394/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/165/394/original/ARSC_conf_2012_Diehl_video.mp4?1661192082","type":"Video","format":"video/mp4","duration":2631.63733,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1508/collection_resources/78114/file/165394","metadata":[]}]}],"annotations":[]},{"id":"https://arsc.aviaryplatform.com/collections/1508/collection_resources/78114/file/255098","type":"Canvas","label":{"en":["Media File 2 of 2 - ARSC_conf_2012_Diehl_audio.mp3"]},"duration":2739.59375,"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/1508/collection_resources/78114/file/255098/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1508/collection_resources/78114/file/255098/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/255/098/original/ARSC_conf_2012_Diehl_audio.mp3?1730312774","type":"Audio","format":"audio/mpeg","duration":2739.59375,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1508/collection_resources/78114/file/255098","metadata":[]}]}],"annotations":[]}]}