{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/z892805n0j/manifest","type":"Manifest","label":{"en":["ARSC at 50: A Look at Its Past and Its Future"]},"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":["Leah Biel (Presenter)","Michael Biel (Presenter)","Paul Jackson (Presenter)","Tim Brooks (Presenter)","Michael Biel (Videographer)","Leah Biel (Videographer)"]}},{"label":{"en":["Date"]},"value":{"en":["2016-05-13 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Video","Audio"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eARSC was founded fifty years ago by visionaries whose goal was to raise the profile of sound recordings in both the archival and the scholarly worlds. In this celebratory session some of the association's longest serving members will describe how the association came together and how it has endured, despite sometimes difficult challenges. We will look at ARSC's most successful programs over the years and what lessons can be learned from them that could inform new programs going forward. The session will open with a history of ARSC by Tim Brooks, followed by a short video of past meetings produced by Michael and Leah Biel. Next will come a panel discussion with Paul Jackson (a member of the original Board) and longtime members Michael Biel and Steven Smolian, including reminiscences and humorous sidelights. This will be followed by an open discussion with the audience. Bring your stories, anecdotes, and questions! The session will conclude with brief remarks by current president Patrick Feaster on ARSC's potential goals for the next fifty years.\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\u003eARSC was founded fifty years ago by visionaries whose goal was to raise the profile of sound recordings in both the archival and the scholarly worlds. In this celebratory session some of the association's longest serving members will describe how the association came together and how it has endured, despite sometimes difficult challenges. We will look at ARSC's most successful programs over the years and what lessons can be learned from them that could inform new programs going forward. The session will open with a history of ARSC by Tim Brooks, followed by a short video of past meetings produced by Michael and Leah Biel. Next will come a panel discussion with Paul Jackson (a member of the original Board) and longtime members Michael Biel and Steven Smolian, including reminiscences and humorous sidelights. This will be followed by an open discussion with the audience. Bring your stories, anecdotes, and questions! The session will conclude with brief remarks by current president Patrick Feaster on ARSC's potential goals for the next fifty years.\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/000/097/495/small/open-uri20200922-6764-m1yr8x_1600815696.jpg?1600801311","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495","type":"Canvas","label":{"en":["Media File 1 of 2 - open-uri20200922-6764-m1yr8x.mp4"]},"duration":5961.792,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/097/495/small/open-uri20200922-6764-m1yr8x_1600815696.jpg?1600801311","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/097/495/original/open-uri20200922-6764-m1yr8x.mp4?1600801280","type":"Video","format":"video/mp4","duration":5961.792,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495","metadata":[]}]}],"annotations":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039","type":"AnnotationPage","label":{"en":["AUTO_TRINT_ARSC at 50: A Look at Its Past and Its Future [Transcript]"]},"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I would say, gentlemen, be seated. But it's too late. Gentlemen and ladies, be seated. That's a different presentation. This is the session, of course, on Ask at 50. I hope it will be an interactive session as we go along. The basic structure of the session will be that I'm going to give a short overview of the history of our some of the key dates and key issues that have come up over the years. Then Mike, Bill and Leah are going to show you a video. Mike, as you probably know, has been recording audio and video recording conferences since the 1970s. He has an enormous archive of this stuff and he drove into it. We're going to get to treat with the first showing of his video. Then we will go to the panel. We'll have just have three panel. We can have a panel of 30 people up here, believe me. There's a lot of a lot of you in the audience who have been with us for many, many years, have stories to tell and lessons learned and that sort of stuff. But I thought the way we would do it is we'll have three people up here, plus myself. Emily will ask for audience input, your questions and comments. We'll have mikes out for that. So be thinking of what you want to follow up on. Some things of the presentation may give you some ideas in that regard. Now you will be receiving. Has anybody here received their Spring Arts Journal yet? No, I think it went out on Tuesday. I understand there is an article in it on the history of our time line of our. So you'll see a lot more about this when you receive your your journal. It's the first, I think, real history of ask any kind of detail.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495#t=14.07,111.75"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It's been done. There could be a book about it. But I'm not going to write that. And this is just a very concise version of it there. There were some very specific reasons why Ask was founded. This is in the 1960s. The first being that it was felt that sound archives needed a better means to communicate with each other. There were growing collections of sound recordings of major archives. And yet they had no organization. It was felt the FMLA didn't really feel that need. Certainly at that time. And they needed some other way to share concerns and solutions to concerns. That was one. Another was to allow scholars to find records were important to their research. Where is a particular record? If it's common, that's OK. But a lot of smart and it might be one of those archives. They didn't even know where the archives were, much less what was in them. So some kind of union finding aid so that scholars could make more use of sound recordings in their in their scholarly research was long before the Internet. And even the Internet doesn't help you that much. There was a need to promote the interest of the use of sound recordings by scholars. A lot of music scholars are very print oriented, as you probably know, and sound recordings. I think most of us believe are an important component of musicological research. So to promote that use of sound recordings, to make scholars aware of the treasures are available as well as want to find them. And finally, the visibility of archives within the archival world, within their institutions. They're not just the back room. This is an important part of your collection. Those were all issues that something needed to be done about when it was founded.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495#t=112.23,223.96"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Well, I went on the Internet, look for archives. I found this. And I do remember when I first joined to ask Phil Miller, the first president, look kind of old to me. But when I was younger, I guess I don't think it was that old, though. So I kept looking. Maybe it was because the obvious need to organize all these records. Now, it was in 1965 and oddly enough, it was right around the corner from Edison's laboratory, which had been moved by Henry Ford to Dearborn, Michigan, to his Greenfield Village historical compound, along with much Edison memorabilia that had originally been in New Jersey. And it's certainly an appropriate place. This is Edison's original lab, and it was very near that of there had been some previous attempts. It's important to know our student just sort of succeed the minute somebody sneezed, said ask. There had been something called the Recorded Music League, founded by Frank Davis, who was the curator at the Ford Museum in charge of the phonograph. So it lasted about a year, 1963. The United Nations of all organizations got involved and found its something called the federal pardon my French Federation Internationale de Phone ATC. But like. Many things in the U.N., they fell to fighting with each other in political intrigue, and that didn't get off the ground either. That was under the UNESCO branch of the U.N. in 1964. Phil Miller, who was the chief of the music division of the Library of Congress. Well known New York Public Library card. He wrote to a large number of his colleagues about gauging their interest in starting some sort of a U.S. organization that would accomplish these goals. And he got a lot of responses. These are in the, ah, asked archives.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495#t=224.46,346.35"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Positive. That's a good idea as long as somebody else does the work. You didn't get much response in terms of people who were willing to roll up their sleeves. Do. But clearly there was interest out there. If there was some way to bring it together. Well, the idea began to take shape, as I said, in 1965. Two individuals, Paul Jackson, who you'll hear from shortly, who was a graduate student at the time, and Kurts Myers, who is the head of the music and performing arts division at the Detroit Public Library, got together and approached Frank Davis, the same guy who tried to start something a few years earlier about what they could do about this. And Davis said it was all on board. So this is a I think I still think this is a great idea and I will host a meeting. And fortuitously, 1965 was the year that the L.A. American Library Association and the MLA were have a joint meeting in Detroit. Very close to the. That's the main entrance today to the Ford Museum. So the timing was good. And they organized the meeting to be the day after the closing of the L.A. MLA meeting when there were 6000 archivists in town hoping to get at least some of them. Davis wrote out to send letters to the archivist around the country, sound archivist, inviting them to this meeting. About 30 showed up, I think something like that at a site on the on the grounds of the Ford Museum. So as it that extra added attraction, Davis promised a free tour of the Edison Lab and workshops. So come in, you'll get a tour of Edison's lab as well. So this was the foundation meeting. This was the gauge, the interest meeting turned out.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495#t=347.88,467.52"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"There was a lot of interest at that meeting. And moreover, there were people there who could be, shall I say, hornswoggled into doing something about it as opposed to answering Phil Miller, whether you do it. OK. So there were these are the people, the picture on the left hand side. In the center is Kurts Myers, head of the Detroit Blaber. As I said, the public library with Eubie Blake. You may recognize at his left there and another colleague of Eubie Blake's looking at some materials there. Chris Myers is in the center. Chris Myers is also well-known for a book called Record Ratings, which was the first major survey of classical LP recordings. And on the on your right is Newlywed's Paul and Violet Jackson in 1964. Thank you for that picture, both of whom were involved. Harder to find a picture of the third player, the third of the three original players, and putting calling this together, Frank Davis. But Paul came up with this. He's the man, I believe, on the left. They're barely in the picture demonstrating some equipment to a visitor from Princeton there. So those were the three people, four people really with Violet who who were most involved in calling that meeting. There were three meetings before the conference that we're honoring today, the fiftieth anniversary conference. The first one was in July of that meeting I just talked about July of 65. And at that meeting, Kurt Myers. Although he had helped bring it together, was willing to put work into it. He didn't want to be the president of it. Phil Miller stepped up to do that. So Phil Miller was elected the interim president. There wasn't an organization at that point. Paul and Violet were elected interim recording secretary and corresponding secretary, respectively.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495#t=468.06,590.94"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"That's equivalent to the modern executive director. And they planned a follow up meeting for the actual founding. Then in February of 66, Syracuse University hosted by Walter Welch. That was the official launch of Ask. Syracuse University put out a. A press release which was picked up by some major media. New York Times and others about the founding of this new organization, one of the headlines read Record Collectors Collect Themselves. One way to look at asking, I guess you still had to. So that was found literally the founding meeting. Then they organized a follow up meeting, which some of you were at. I believe in March of 1960. October of 1866, which is constitutional conference. Gotta have bylaws. Got to have rules and what the structure of the organization would be. And that was at the Library of Congress in October of 66. Then the next logical step was the first annual conference. And that, as you all know, was here hosted by the archives of traditional music. In March of sixty seven. So those are the sort of the key dates of when I know this confusion about that. Read more about that in the article in the Journal when it comes to a couple of Kurts Myers on the left. You saw him before. And Phil Miller, the first president on the right hand side. And they both put a lot into it. And Phil and Paul and violent were really the three that got it off the ground in those very early days. And he can tell you more about that now. Finally, I want to spend just a little time telling you about some of the major projects that ask his undertaker. Not all of which have been successful. Some have been very successful.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495#t=593.28,705.93"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Some have not. And I think we have learnings from this. And I would hope looking forward, not only what made the successful ones successful, but why the ones that fizzled fizzled. And we can debate fizzle. I suppose people may defend them still, but there are others that are on this list. But let me just add, I'm not going to go through all of them because of time. We can follow up maybe on some if you're interested. Just want to point out a couple of. First of all, the number one of the founding reasons for our school was to identify network collections across the country. So you needed a directory to collections. And the first one of those was published just a year after that founding conference. Same year, as I said at the conference here, directory to collections in the U.S. and Canada. Fifteen hundred entries asked from the very beginning, wanted to make sure that private collections, as well as public open collections were included because so many rare and important recordings are in private hands that they wanted to bring both together not just a professional organization, but it come on a very unusual combination of professionals and serious collectors. So that was published in 1967. The idea was to have follow ups updated from time to time, but unfortunately that's the only one that was published. And Paul could tell you more about that, if you like. But it's it's one of our great goals now. William Vandenberg's, you here in the back there. You're still working on. You're working on something that would update that, I believe. Right. So there is hope that we may indeed. And the Internet digital age, have an update to it finally after 50 years. But that's the history of where it comes from.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495#t=706.59,822.0"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Unfortunately, there hasn't been one since. I would point you to nineteen seventy four. Many of you remember the regular Deutsche Index, probably the largest project that ask has ever undertaken, literally a million up close to a million dollars in grants supporting this ambitious project to catalog over six hundred thousand seventy eight in the collections of five major, major organs, five major archives. And in order to do that, many of the technology of that time and for that amount of money, which is actually not a lot of money for a task this huge, they developed a very innovative kind of way of doing it, which we can go into. Controversial, though. And so it was they they did, in fact, get them all into a database. And this was around 1980 or so. The data now lives in the World Cat catalog. So even though there's not a separate RTI, the day that was collected then was some planning. And that sort of stuff is now available to the world through the Internet World Cat catalog. I'd also point out nineteen eighty hours undercooking book publishing program where we would identify books and nurture them through to the publication process. Through Greenwood Press, one book came out on DVD discs and somehow that's never. No others have been published to this day under that program. There is a volume of articles by Ray while China sits on the shelf. Hopefully someday, maybe that will be the second one. I don't know. But unfortunately, that is a little we can tell. We talk about why those things fizzled and what we can learn from that. A few others I would call the local chapters of mixed success. It's just my own. That's because from the beginning, there was a thought that there should be open chapters.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495#t=822.66,944.62"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It was 1983 before the first one, in fact, opened today. The New York chapter is very active monthly meetings and online and very active Washington, which was an extremely active still functions, but not as much as it used to. There is a there was a Texas chapter. It kind of went dormant for a while. Now there's some talk about bringing it back. There was a West Coast chapter that's gotten dormant. So they kind of come and go. And it's certainly not a network of a vibrant nationwide individual cases like New York or Shining Stars. Unfortunately, it's been very hard to plant that seed elsewhere. So that's kind of a mixed success, I guess I should say, the 2004. I do want to point out online resources, which we all take for granted today on the David Giovanni's Rs 2.0 project. That was one of the things that members wanted the most. And in fact, starting 2004, we have we, the organization and members put a lot of work into this, have got up a an index of all of the ask articles pdaf of all of them which are available online to all of you. More than 2000 articles that appeared in the Journal over the years. Conference presentations are now going up on that same online. So you can look at probably this one a year or so, like what many of our workshops, your livestream streamed on the Internet. The video lectures from the New York chapter, as I say, are on YouTube. And, you know, again, we take for granted a lot of riches on the Internet. Somebody is behind that. And there are some people who have worked. I won't if I start naming them to go on forever. But there are some members who have spent a lot of time getting this to the stage that we are now, and I'm sure it will get even more in the future.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495#t=946.21,1055.77"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So that's clearly a success. I would say ask in the last decade or less. Also, you know, close to my own heart, the lobbying for copyright reform in Washington, which AHS never did for many, many years, really starting in oh eight in earnest. We've had some success in that. It's not all the way there, but nothing ever gets all the way there quickly in Washington. But we certainly have had some successes there that people told us we would never have. And just you can fight the establishment. Well, you can actually. And just last year, the RS Guide to Audio Preservation, a really important work, which was the basis of our workshop this year, came out of a very dedicated group of our members under the Asking Braila. So you can see from these two pages some major projects we've done, many of which have been successful, some of which have not. And I think we can learn from both of those. What about the future? Well, the panel will follow up. Hopefully people who've had experience with these, why some succeeded on it, some didn't. Our learnings from the ARS 2.0, the landmark study of members done in 2013 and 14. And we need to address, of course, those four basic goals that ours was founded. How are we doing at 50 and how can we move that forward over the next 50 years? So thank you very much. I would like to ask Mike Neal to come up and introduce a video tour of our school over the years. As you will see from the titles, this is just volume one. I started doing video in nineteen eighty five, which means with the exception of the one year that that I was not able to attend.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495#t=1056.1,1183.3"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"We have 30 years of video tapes. And so obviously we could not even look at all of them or check them out or two to do a do a summary. So this is just going to be volume one though, rather than just being a slide show, since it's not just still pictures, it's going to be video. We have some sections here where we have some a couple of extended units which have been edited, though, and we haven't. Right. Yeah. We promised me edited them down. Yes. Because it's it's it's 26 minutes or so. 20 minutes. So I you I hope that you will see some old friends. We tried to get as many pictures of people who are no longer with us or no longer active with the group, but are still with us. And so we will have more information about about this as we as we start to talk. So most of the things you'll see here from nineteen eighty five, six, seven and a couple from the 80s and the 90s. So there will be a lot more coming. So you can start rolling it now. And so we hope you will enjoy. That title was chosen for a reason. We'll see. Now, as regard to some of the people and their passion that goes on within their own expertize. And I gave reference to the fact that were I to walk down one of these little lanes here and hum a tune that I was making over my head at the time. I'm sure that one of the members in the association would pop up out of nowhere and run over and name the tune that I'm making up and give it a stamp her number and tell me when the potential new reissue is going to take place.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495#t=1185.25,1312.83"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Intensity that we will get into these different things. Is it remarkable that we can all actually sit around and not be bombing each other? I attend other associations where they take things very, very seriously. But I always associate the Aaskov group with that of a family of different forms of brothers and sisters. Each year we have such a good time. Now, what was it like going out to the backyard and having to apply? That's ridiculous. To paraphrase me the rock art, I say I think I about well, if I were to have that group out there, you know, don't worry, it'll take me years. Now, you look better if you will get it right. Yeah. Yeah. I said hi. Oh, are real Gibson. Do you feel like you have a second? Well, what ever happened to the guy's records? It's nice to see you. That was awful. The poor guy. Now, we don't know what happened to your client that when he came back and they did. Well, I know that the Honorary Membership Association for Recorded Sound Collections, whereas Phillip Lisa Miller has rendered notable service to the Association for Recorded Sound Collections as founding president. And in other capacities. Therefore, be it resolved that Philip Leeson Miller be declared an honorary member of the association, voted and agreed by members assembled. New York City, April 18th. Nineteen hundred and eighty six. Would Phil please come forward? I would like to say something. There isn't very much I can say except thank you all. And, well, we do what we can. The other certificate reads as follows, whereas David Hall has rendered notable service to the Association for Recorded Sound Collections as an officer and editor of its journal. Whereas he has contributed to the growth and enrichment of the history of recorded sound as curator of the Rodgers and Hammerstein archives.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495#t=1313.31,1515.66"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"New York Public Library. Therefore, be it resolved that David Hall be declared an honorary member of the association, voted and agreed by members December. New York City, April 18th. Nineteen hundred and eighty six. David in the basement. I was listening to the stuff I can't remember. Well, I don't. I do remember the special format. I don't know how extensively, you know, the general working with low salaries better. Greatest despair. Keep your fingers crossed. OK, so the consensus is too little harm as possible. I you know, if you play those cylinders backwards. There's hidden messages by next speakers from the Library of Congress, which we're all familiar with. Hopefully, Mr. Jerry Gibson and Sam Bronowski, Jerry Gibson's official title is curator of the Motion Picture. You would say it for me. They love titles that it's so long I can't remember them. That would real money, but lots of time. We'd pick up lots of time that we should picture broadcast and recorded because, for example, the Library of Congress makes it almost impossible for the most normal mortals to get access to their material. So I wrote to them and they said, please furnish us with permission from the owners of that label, which in this case was Bluebird or RCA, that they give you permission to do it, too, for us to copy it, to send them to you. So I wrote to the RCA and said I'm doing a doctoral thesis on Texas Mexican border music. Would you please give me permission to do this? And they said, well, yes, but I say I think it was fraud on my part because I never did do a doctoral thesis on this music. But I had liberated this music on phonograph records since then.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495#t=1516.56,1653.4"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I have. And I sort of call it like. I feel it deserves to be liberated. I think the only people that I feel any kind of obligation to I think performers, if I can find them or if I can find relatives, I try to pay a royalty. I think more Ash Ashad, Folkways Records, if he was here, he would certainly reiterate this point. He feels that anything that goes out of print really reverts back to the public at large. Perhaps one could extend that a little bit and say it reverts back to the people who've created it. And I think that would be a great copyright law. I think we should pass. Thank you so much. Thank you, Dr. Strawbridge, Gerald Gibson, Chris TripIt, I, Ethan. OK, we'll play now full you play one side. He did remember and you can play the other side. I never had a man in and from then on I was there. So there's a history of my first recordings. And that was acoustic recording. No bias, no might. Everybody played. If it was a sixty five piece band, it was just like a tin megaphone and a big, thick, heavy wall. Like, no way to hurt that. The next time I'd hear a recording I made with my be in Chicago six months later and go in and I'd hear what I did. You couldn't play any, you know. And the Masters were about that thick. Gee, did they take care of. They wrapped him in gauze and cotton and took them over to Camden, New Jersey, to hope to be pressed. What now? Do it in a minute and play it back. Unbelievable. How did the 20 to go along? You traveled with the Duncans. Good deal.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495#t=1655.38,1786.97"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"No, just to Chicago. Thank you. What a lovely piano. Two songwriters have been invited and no piano. Oh, this is the first time in my long career that I have ever appeared anywhere without a.. How? A songwriter without a piano. Well, here's a mystery. I wish somebody in the audience. But that's what I did. So half of what I was trying to do. I will have to meet guys. The same here. And you're saying acappella is not my fault. Not my fault for the party. Good. So here's a songwriter we will talk about instead of playing his song. And, Ali, where I where I come from, they here we're reporting, we're reporting for posterity. Posterity. All right. Now, I better be careful of the words that you would. I always hesitate to give advice anyway. I cannot erase from my mind the picture of the young student who, when asked to write a short essay on Socrates, wrote, Socrates was a man who went around giving advice, wrote Poisoned. My first song that is Without a piano. I'll never forget, this is like my first song was written in my home town of Saginaw, Michigan. I was 14 years old. I already had one necessary ingredient for a songwriting career known as Kootz. But then I closed the letter with please let me hear from you. You or I could make a lot of money together. Now, acappella, I don't know how this song will go over if you don't. Well, I would say it because I've never done it without a piano and I don't even know where where the key is or nor the duck call. Would you and your wonderful wife. So with the duck. Oh, I've loved you both all my life.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495#t=1787.26,2094.659"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And if they ask me what's the greatest state in all these famous 48, I'll tell them it's you can allow far more than. I'll never do that again. I did mention earlier that my primary feeling for the digital system was that because the sound was stored, as it were, forever or any part of the sound is stored forever. And like analog, watch your sampling from continuously, you should be able to take any particular sample and play with it at your leisure and put it back in where it came from above to manipulate the sound in ways that cannot be done by an analog system. I discovered a professor at the engineering department at Cambridge University who came up with a student in signal processing. Unfortunately, he didn't have too much knowledge of audio and my knowledge of digital signal processing is not that great either. So we've had the perhaps not the greatest meeting of minds on problems and solutions, but we are getting somewhere. But it does mean that they can only store about four seconds of audio to be processed at a time. When you hear the bell, I'm going to play on a second. I think I'm surprised the man is still saying that anyway. I'd like you to listen to this very carefully all over this old house. I haven't found a clue. I don't know over this old house, but I haven't found a clue. That was actually the cleaned up version that led to the original. I don't know where this whole house. I don't know where this whole house. I don't know where. This whole house. I don't have a clue about it. I don't have a clue until this whole house. I haven't found a clue. What I think.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495#t=2095.59,2234.51"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But anyone who's tried editing tricks of the razorblade would realize the difficulty of not impossibility. I'm trying to sort that out. It was actually an old 16 inch acetate that crazed. Now, if it is possible ultimately to do that and clean it up that well, I think there is something to be said for a digital signal processing. I like to call in essays in sound, because that's what basically they are. I produced these essays on a number of topics. I'd like to call him some serious say, for example, Latin American music go on pollution series on the American 1950s. In 1969, I wrote an article entitled Some Recordings and Historians Needs the Opportunities for Alan Roaches, Broken Records for the possibility, retracing the ways buried by the foot on the ground, at least the what for the graph tracing for the 18 34. So the example that exists in the Netherlands already traces of the voice of Prince Albert still existence rebates for the autograph in 1860 after Thomas Edison discovered that he could reproduce his own voice and a machine. He was interested in recording living personalities and sending retired Colonel George Guro abroad to record the voices of such living dignitaries as Queen Victoria Blier, the 13 Alfred Tennyson. Somebody quoted that recording at Tennyson didn't take a recording session seriously. He thought it was funny for anybody to want to hear his voice. And so he he made fun of it. But it is a recording of somebody said to could not his poem, but to the job of being reproduced here does not know Moffo Reason, Stevens, Robert Merrill and all the great pleasure they've given to us in concert in the Opera House through the years. And she see German, Jan and I and Italian, and it got very complicated issue.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495#t=2234.88,2384.54"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I just get upon it and we got mixed up and it was just a bit edgy and ran over to me, these sort of pieces. But let's do this God damn thing in Yiddish. And Steinberg was born. And I put it on my lips before I went out for the act. And then George London grabbed me and kissed me. And we couldn't get our lips apart. What do you know? Did you ever find out what it was? No, I've never used it again. It was just stuck like glue. Your lipstick was fine. Yeah. Yeah. My original intention for this meeting was to address you on the topic of psychopathology of the record collector. Within this juicy subject, we could examine such phenomena as why dealers like to buy from seasoned collectors, knowing that they will find so many records unplayed, even unopened. I just wanted to say a couple of quick words because things have changed and the board has approved. We have revised the guidelines for the grants program in such a way as to try to get applications and make awards to people who will do things that really further the purposes of the organization and well, we hope also lead to more material for the association with publish, particularly in the journal. Thank you. Highlights from just short people around. About. Hi there, Shortie. In fact, he is 19, telling lives just that. You really have to make everything you have to, but I bet that's. Gregorian chants here, Jerry. Niskayuna. President Clinton was having a senior White House job earlier this year. Stevie Wonder will often fashion, there is no doubt, the great. I have five minutes, so we split you up in one less than 10. Going out the circuit to for about five, seven minutes from now, the second day meetings.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495#t=2384.98,2616.88"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"All right. The tomorrow of about 1959 will be diverted if a flying in the right direction. I think that as part of that exhibit, I work with Sony Corporation of America and convince them one of the things that we ought to try and do is is is issue a CV with historic recordings. So I don't envy them, period. And this is the product there and it's it's not for sale. Mean if you only want to buy what I could give it to you. But because this is a good educational group of a lot of free. So I think you can do some of the things by doing this. A lot of time inside and take a dove and display collateralize. Nice. Nice. There have been nine of us. I want to laugh about some. Yes. This is one organization that I decided to do something. They don't cut corners. They don't say, well, now, we won't do this. They really did it. Nice. And then a little booklet inside of the van has a list of the people who were involved in putting this together and so forth. And then on the inside list, there are 19 bands on the C.D. It's a full hour. We packed into the gills. This is one session that I particularly wanted to have when we would come down to staff. And because both of these gentlemen have been working here at Stanford doing a project which they've been working on for many, many years. And it started off, those of us so interested in discography review rumors. There's a couple of people are going to put out a book or a series of books. It's going to list if Matrix Vector have remained to return. Hopefully that they're going to do more and.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495#t=2617.59,2735.02"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Very easily distracted by the mail. Well, we just set the ball rolling. May I say, first of all, that we will welcome questions because the project is so big and the introduction of the first volume will give you an idea of what we have done to establish and what we're going to do to continue in order to get more room for the archives, which we're collecting. We're the team storage space and move the material from Washington out to Ohio, which include the tapes from the conferences and correspondence and papers that we are collecting. If any of you have tapes from the earlier conferences that you haven't mentioned to Harold, please check with him. We are not complete in our files of tapes. And in some cases you might have a better tape than the one that we already have. Yes, the world will be on this. You're all recorded for posterity, OK? Well, Steve lets the panelists to come up while I introduce them to you. You've already met Mike Beale as we all him. He's one of our USC's longest serving members, having joined in the early 1970s. Maybe he can remember exactly when he served as president. And program chair is presented at every conference that I can remember. He has also been taping or video recording arts conferences since the 1970s. And he's a retired professor at Morehead State University. And I'm going to just although she's not on the panel, Leah, his daughter has an MFA degree from Berkeley College where she produced the video documentary, for the record, a study of record collecting. She's also worked on other video projects and has assisted Mike in recording our sessions here at our since she was old enough to aim a camera, I think.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495#t=2739.99,2892.99"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And she recently served on the board as the secretary, Paul Jackson. Excuse me. Paul Jackson is a retired librarian, a musician and an author whose career was establishing and opening new libraries, businesses and archives. Since his return, his retirement, he has taught research to be H.D. candidates and consulted and helped establish four collections and libraries. He'll talk about how art get started, as you saw from a presentation. He was truly there at the beginning. Steve in the middle, former chair of the technical and dealer committees. I think you were the first year of the technical committee or has been sound archivist at the New York Philharmonic, the Chicago Symphony Orchestra, and has done extensive work on the George Meany archives. He is a record dealer and appraiser and he has some records. He tells me. I would like to start since we have about 45 minutes left. I'd like to start by asking each of our panelists to briefly comment on what their experience with ask has meant in terms that can inform our going forward. What lessons have you learned about how to get things done, how not to get things done based on your experience with Ask? And we'll start with Paul Rehang here. Do I have the. I know I'm not hearing you. All right. Well, one of the things I must say, total wow, you are representing the major collections and activity in the United States and other countries. And I can't imagine what this will mean for the future of our information. Information is key and we need to keep it going. And I haven't been active since about 1982. I've had several family reversals and moving in. And so for. But I have kept in touch with some of you.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495#t=2894.58,3044.22"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And anyway, one of the things that I'm totally impressed and I know that right now preservation may be the real thing that has to be tackled almost immediately where we're at a point where there's no going back. And my first hobby horse when we started this was the question of a patron coming into Detroit, probably where can I find this recording? And that still exists among major librarians, among public librarians. And they don't really know about ask. Not a lot. And there's about twenty seven hundred music collections in public libraries and academic libraries. And yet I doubt whether all twenty seven hundred are represented in the hours and probably should be. So this is there's a lot of work to do and it takes all of you to do it. And and whether it's advertising to the public. I know one of my hobby horses when I was a member of the Special Libraries Association was the fact that they were preaching to the choir. Very few business and corporation executives knew about Special Libraries Association. And one of the things that was pointed out was that we need to get people within our institutions to understand how important recordings are. I think many are becoming aware of that now, that they really need to preserve some things. But I mean, we're 50 years from the point when we wanted to do this, and we're still struggling with that among our administrators. So there was a couple of things where we need to look at. And as an organization. So. But I'm really proud that all of you and I attended the workshop, even though I'm not involved in preservation at the moment. I have worked with a very rare book of auto sports race cars.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495#t=3044.67,3216.73"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And I consulted with the new Lamay Auto Museum in Tacoma, Washington, recently. And there's so much money, Tirrell, that they don't have that they need to find it. It takes a lot of work in all of you to uncover where these things are. We saw video the other day of a stack of records here at you that were found. It was radio station transcriptions and it was phoned up in some some closet up in the attic of one of the buildings here. And so I guess the process was that they had to go through about five or six people to find. Well, who knew something about this? This is something to about one of the one of the first persons who came to the meeting in that endeavor was right, Milo. And of the University of Washington, who had written a book about the CBS recordings during the war in World War Two. And we knew that the three items were around, but we didn't know where else. I started asking questions about it. And it turns out that I found out that they had been moved from the University of Washington to Sam Point to the records archive. People of federal records are archive people who went to Sandpoint to find out if they knew anything about them. And the issue is that, yes, some of those recordings were taped and the University of Washington's has those tapes in the film department. But the recordings themselves were apparently shipped to Washington, to the Smithsonian Institution. And I did contact them and find out that probably they have them. That's all I know about it. But but that was one of the things that I learned about back in 1965. And I'm still worried about them.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495#t=3218.08,3372.37"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And maybe some of you here from the Smithsonian could check that out. I think they're still around. But whether or not it's a new equipment and the new technology, those could be recorded. And we would have some fine digital issues of that material. Paul, when when you and Phil Miller and and your late wife, Violet, were kind of constituting the first board, how did you recruit the David Halls and the Derek Gibsons and the other people who came in to the organization? Did they just come up and knock on the door and say, what are you part of us? Did you have to reach out to, you know, convince them to be part of this? How did that work? Well, actually, we didn't do any recruiting. We did a lot of letter writing. One day we were working on ARS Fillmore and I were working on ice. I guess I like having them with us where we're going out to lunch. And Steve tagged along and he said, what is this, a r s c. Phil Miller said, Well, why don't you ask and C and I don't remember doing any recruiting. We didn't do a lot of writing and word of mouth just spread very quickly. And it was I did. I was doing research at the University of Michigan before I moved on to the Lincoln Center, opening the Lincoln Center Library and the research. I found all of this information and we had about at the time about a list of about 40 archives or collections. And I was also working on a deadly holography of recorded sound. I, I have an outline of that. My flash drive, if people are interested in my work on the bibliography, never got finished. It was a it was to be an annotated bibliography, which would be a continuation of the Ducos research materials and music and the in doing that bibliography.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495#t=3373.13,3522.25"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I just kept locating information about collections and and I would write to people and they would certainly brochures and about 20 years of research. I kept doing that. And that's now at the well. It's a long story, but my research papers are with the International Trombone Association archive, and that has moved around as our six archive has. The IATA was at North Carolina, Greensboro and then at all. But there are recordings of my uncles and in my books that in discography, as they moved to Sibley Libration School of Music, and now they are going to the recordings of my own records. Some of you got the book Pioneers in Brass. It was my uncle's work and he did the C.D. Brown, which is complete work. But that collection is now going to Columbus. Columbus. Columbus State University at Columbus, Georgia. That's near Atlanta, Georgia. And so that's another group we need to bring in. Yeah, well, some of you may wonder about the name ask being kind of you should see the other names that they considered at the time. If you think that one's bad in the article, you will see some of the League of Collectors and things that, you know, make your shutter. Steve, do you want to pick up perhaps and talk a little bit about lessons learned? Well, the initial question was your initial question was what it has meant to me or to us individually. And one of the things it has done is to make me feel less isolated, that there is a network of people here. And of course, the Internet has made it even more connected. But of people who are obsessed with the same mine, mine field and mine field of information that we all seem to be preprogramed with and have other people to discuss it with so that I'm not the only boy in the treehouse who knows the secret language anymore.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495#t=3523.12,3691.48"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And that has made a big difference. And of course, it has expanded. But the same holds true for our with whom I've been working for many years and and finding the archives moving from one actually functioning when this organization began, which was that of Yale. All the others in the country were repositories, but had not yet had curators, much less any idea of what a curator would be doing. And the name is so far unspoken. But who supported this organization? Behind the scenes was Harold's feedback of the Library of Congress ahead of the music division at the time, who worked by telephone and by letter. I'm sure I've not seen letters with Phil Miller in getting institutional support and places to meet and basically giving a national imprimatur tour to the viability of this organization in its early days. That answers your question. Mike, I was a 25 year old grad student when I found out about ask in 1971, five years after six years or so after its after its beginnings. And I ask it always meant several things to me. One is people, because it was my way as a just as a student, as a private collector for the most part, although I was at that time insurance of the Northwestern Radio Archive, my way of finding all of not only other collectors but collections and the people who were the curators of the collections and between ask and I ask, I can go into almost any archives around the world and they know who I am and I have in many cases met them. The other thing that is important about ask is the ideas you hear at first here you saw Lloyd Stickles giving you the very, very beginnings of Cedar.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495#t=3693.19,3837.25"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Lloyd is the one who thought of the idea, and this was the first public display of Cedar and many other things. The first problems with sticky shed syndrome were discussed at ask. The first problems of vinegar's syndrome were discussed at the joint technological meeting, which was held in conjunction with our Cup and Canada. So and all the information about the transferring from the you'll be the rule that the archival recordings were full track or half track of it, stereo, quarter inch magnetic tape. And we were dragged in. And my tapes show this. We were dragged into the digital era kicking and screaming. We were literally castigated by some of the organizations and companies that were doing work in in starting with with digital. And it took about five, six, seven years, if not more, to convince our archives and our archivist that we're going to as Dietrich. Surely you must go to digital. And it was a bit you know, he yelled at us here, he yelled at us and I answer. And it was that that's what we find here with a whip, with Arzt. When I first found out about AR's as a grad student, I was all I was helping sort the mail. And a copy of the journal and the packet for the 1971 conference came to my advisor, Martin Maloney. I asked the return address looked interesting. So I asked, can I take a look at this? And he said, sure. And I found out that the president, Don Roberts, wasn't on my campus, who I had never met. He was at the music library. I went over there and I saw that there were names like Philip Miller and David Hall, who I had known who they were. I asked on, if I go to this conference, will I be able to meet these people? And he said, sure.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495#t=3838.35,3985.05"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Well, at the end of that first morning, I think Steve and I and David and Phil had lunch together. And that was the beginnings of how important Art's case has been for me. It made it made my world it broadens the horizons of of of what was available as far as collecting collectors, archives and archivists. And we're all together in this one. And oh, OK. Now, also technicians and researchers and technician techniques. Thank you, Mike. I think Mike brings up an important point. You'll read more about this in the article that some of the greatest things that ask has ever done has been traced back to two, maybe three people, sometimes one person who has a passion for a particular project, which everybody agrees would be good, and he pursues it or she pursues it and ask gives them the platform to do that. Bill Player who's down here has been a bear on the archival cylinder tapes, for example, in which an awful lot of work went over the years. And if it hadn't been for Bill, there wouldn't be such a thing today. Ask has a committee that helps support him, get funds that help supported him and so forth. But there are many examples back there and there are the opposite examples too, because I want to learn from things that didn't work in nineteen eighty six, for example, ask had a forty I believe as a forty thousand dollar grant from the NIH for the AAA, having finished the great with to do a preservation study. It never happened. Why. Because the Triple A. at that point had essentially exhausted itself over the RTI. I think they're just were good people that they wanted to do it. But they that wasn't that core passionate that had driven the RTI before.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495#t=3986.81,4102.56"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It was a collection of of technological studies and preservation studies that were published. It was a three ring binder. And it was this thick and interesting that did come out. But but not the forty thousand dollar preservation study that was supposed to come out of this. But my point my point is that it's not just the money. You can have money, but if you don't have the people there to drive the project like you guys have done in in Paul's case, you know, getting the organization off the ground in the first place, that the money doesn't help. So ask is a platform which is available to you if you have things or maybe network and get a couple of other people, it will support you with the copyright. I've done a lot on that. Well. Couldn't do it without an organization like ours. I think some of these great things you could name the people behind each one of these or other small group of people behind each one of them that have really, really driven them or in a couple of cases, only minority cases perhaps that just wasn't there. So I would like to open it to the to the floor. Peter will bring a microphone around to you. If you have a question for our esteemed panel up here of people who've really seen how ours has developed and helped it developed over the years. This is your chance. Or if you want to add something of your own along the lines. I just talked about. Yes, sure. OK, go ahead. Yeah. There's something else that we have been witness to and have been the core of actually developing and advancing. Fifty years ago, there were not absolutely no archival standards or procedures to ask Yarza.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495#t=4102.979,4221.79"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And the audio engineering society and all those universal recognition of the need to address and implement the various issues inherent in this. Now, in this new discipline were developed and the same thing holds for oral history. Also, over the last 50 years, it has gone from being completely off everybody's list to a APHC degree. So I think that's a really important thing that we witnessed here in the last 50 years. Yeah, we had a training committee in the early 70s and we were hoping that maybe one or two courses could be taught at this college or that college in in audio preservation. And now we've got hope that masters degree programs in in audio preservation. Molly Ryan's name was mentioned here, is one of the founding members and he passed away fairly early. The KIRO collection, by the way, is safe and secure. It is being digitalize, but it has been available long on tape for you completely for for many, many years. But he wrote an article and I think you gave a talk, I think was the 1969 conference before I was a member. Here are the recordings. Where are these scholars talking about the fact that sound recordings was not considered by academicians as a responsible research tool. And he tells a story about a student in history at the University of Washington who was given a failing grade because instead of using newspaper accounts and other second and third hand accounts of the events in a form that he was writing about in a paper, he used the actual recordings of the event. And so that was you know, that's where we we still have some resistance to the use of of recordings, partially because they can be manipulated. But one could be manipulated more than some of these transcript or somebodies news report about something in in print.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495#t=4222.51,4368.98"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But that is how far we have come. And that has been you know what. What. Ask has been in the forefront from the very beginning. OK. Questions. Comments. Right. Right. Former President Tim and I had a discussion at breakfast about this. Forty three years ago, I sat right over here and behind me it was a gaping hole in Hammerstein. And I said, this is the place. This is the place. Well, let me I'm going to be virginal because, uh, many people here I don't know, because many people here are both younger than I am and are just beginning or in the middle of their careers in this field. So my only words to those of you who are not don't have gray hair, who have not been with this organization for decades or years, is you have an opportunity to do something, to contribute, to be of service. If you're an institutional person, you have the opportunity to preserve and give access to your collection and to make others know about it. If you're a person, you have an opportunity to leave something. First, I don't trust wireless microphones anyway. Yeah, the other. This is the opportunity for those of you just starting or the middle of your careers to make a contribution to be of service to this profession. It's the best thing you could ever do. And that's all I can say. Thank you. Oh, did I not tell you this? Oh, Michael Gray retired. But I keep busy every day with my life with project classical discography, dot org. Please go ahead. It's a lot of fun and that's all I have to say. Thanks. And the president before I was president. Yes. Other other questions and comments. Don't be shy. I have never known and ask the audience in my lifetime to be shy.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495#t=4369.82,4509.64"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Yes, I'm Brissette person. Longer term, I was struck to the degree by which the origins of ask came from professional scholars with institutional affiliation. I had always been under the perception that the origins came from independent scholar collectors. What to what degree did independent scholar collectors play in the workings in the early years of ask? Baldie ought to take that. You were there. Well, I was one of those independent scholars, actually. And I wrote one of the articles for the Encyclopedia of Records, and that was Britain Tour Guide Markoe on Ivory. Well, when they came out with C. I think it was 2004 addition, I had updated that with a lot of Nat Blanks. I think one of the things that we have to be aware of is that we have all of these different associations. And as we start digitizing the stuff, no longer are these sound recording on discs. We're talking about like trying times now. And how are we going to merge with the other groups that are doing all over this digitization? And I think there's going to be a lot of independent scholars and engineers like fibulas, first named Giovanni Dentate. And people like that are are totally committed in and into their specific expertize. And they are helping the universities. They are helping they they are doing the right thing. They are doing the advertising, as it were, about what's going on. And I just I listened to the question. Well, the question is the role that independent scholars as opposed to professional archivists pay play. Well, I've never been. A formal member of a educational organization passed the paying money to the organization level as a student, but I've been doing this as an independent scholar. That's the way you would define it.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495#t=4510.6,4681.78"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Four years before our Escape published, I had a column in the American Record Guide for 10 years called What Do We Call the daily notation anyway? Boy, time does pass and a dead discography is in there and I publish them as well. In the early magazine published by the British Institute of Recorded Sound before they went to more formal structure. And I worked with a lot of other people who are also an independent scholars or record fans, depending on how you define that particular obsession. And there were just many of us out there. There was a group in Brooklyn that held regular meetings of which Tim was an occasional member, which. Well, maybe you want to talk about that, Tim. Susan, some some of the institutional people, like David Hall also was famous for the record book, of course. There were scholars themselves. The early days of ARS was mostly run by institutional reps who had support from their institutions to do that. What I came out of the late mid 70s, they were very welcoming because ask always wanted to include independent scholars and collectors. And some of you may remember the name Arnold Jacobson, who is kind of the dealer, kind of the Kurt knock of his day, I guess, back in the in the 60s and 70s. Kurt. I think that's before you're in business. Sure. And he was there at the beginning hours, but it was the mid it was the 80s, I would say, when independent scholars and collectors became much more involved in running. Ask. Mike was president. I was president. And since then, it's been a balance. Certainly institutions have been an enormous help in starting the organization and in running it ever since. But now that's shared with collectors.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495#t=4681.88,4808.05"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And if you take a look at the early list of of of most of the articles in the Journal and who the executives were, they were almost all institutional affiliates and private collectors were sort of hangers on. And some of us private collectors in the 74, 70, 1974, 75 or so, you know, started saying we need to have a little bit more of a say in this. And we made sure that we had our private collectors in the running on the slates for four positions and eventually became 50 50. There was a time when I think some of the institutional collectors felt that they were being overlooked. And so it's sort of this teeter totter a little bit. But we tried to make sure that within the conference programs are are of interest to both private collectors who have to pay their own way and institutional collectors who have to convince their bosses to give them funding to to come here, that there will be something of interest to all of them. And the same thing with with the journal. My idea for the newsletter, for example, was that we needed to have another way of having contact between the association because there were a period of time at that point when I became president. We were like three years behind in publishing the journal. You might remember there's one edition volume, something or other numbers, one to read. And the videotape shows some of the discussions we had flooding back that massive thing together to try to catch them up. So I said we needed to have more ways of. Because sometimes you pay your money for the association and you wouldn't see a journal for the entire year that you were or that you were a member.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495#t=4808.77,4927.51"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So the newsletter at least reminded you that, yes, there is an association there that you belong to. And I think it was that during those those rough years in the 70s, that the newsletter is what held the association together. And so it's something which the private collectors have. And then the private researchers. Utilize the archives and and we want to make sure that the archives have a feeling of of the importance of their users, that they're not just collecting to have their own collections in the archive, that they know that they're there as service organizations to us. And I think ask has helped solve that, that dilemma. I think one of the questions that you have to consider is who decides who is an independent scholar? I would I would suggest Michael Gray, who is here with us, or Jim Brooks, who is with us. There are a lot of people here that I would I would say they're independent and they're scholars. And we have time for just a couple more questions before. Yes. Over here. Sorry. Our side of the. And then hurt after that. Peter Moldavian from New York. I'm enjoying looking at this jaw and obvious because in retrospect, it's easy to see what we've done. And I'd like to just ask you to put a crystal ball in front of wounds. Let's see. Place yourself in the year two thousand twenty six, for example. Would you like to see added to that list in retrospect to where we are now? For one example, in 2008, lobbying for copyright reform. Maybe the next line could be there. Their copyright reform achieved a certain thing that is in the pipeline now or in your mind's eye, that might be a something worse could be proud of going forward.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495#t=4928.2,5079.58"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"You certainly put the line I would put in. But Mike or Steve or Paul, I have something very significant that I uncover as I was preparing my paper for this talk for the talk of giving this afternoon. I've always assumed that most of the Eldridge Johnson papers were at the copied from the University of Wyoming in Laramie and that they were basically paper dubs over at the Johnson Museum in Dover, Delaware. Recently, I got a look at the at the inventory at in Laramie. They sent it to me. And in it, I discovered that there's a great deal more that we don't know unless at least it was unknown to me. Perhaps somebody here knew that Eldridge Johnson kept annual diaries, that he was a diarist and there started 19 to run through his whole career. Victor and I would like to see this scanned and made available to all the scholars at large. I have no idea what else is out there of similar potential weight, but it's something that just astounded me. And. I would like to see this organization do something to get that stuff into the public awareness and use it in the scholarly community. So that's what I would suggest for you. Kurt, you had a question, I believe. I don't really have a question. Just a comment. Going back to the earlier question that Bruce had the involvement of the individual person as opposed to the institutional member. I think it's so important as it's reflected here in this panel, we're seeing the institutional memory of this organization is actually held by those private individuals who persist in coming to conferences throughout the years, whereas the institutional members so often, once they retire, they kind of drop out of circulation and we lose a lot of that.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495#t=5080.99,5229.73"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It's great to see Ted Sheldon, Richard Green and others here today who have been outside of the organization for a while. And it's always wonderful to see those people come back. But we owe a great deal of gratitude towards you and Mike and Steve and others who continue to come and remind us of our past, where we've been, where we're going. And so I I really think that that is one of the really key things that makes art unique and something that we all benefit from. Thank you. I'm pertinent. You know, that's true that a lot of the institution matters. Also, one board, you are not really totally into records and sound recordings. And when they change their jobs, if they're no longer involved with sound recordings, we never see him again. It happens constantly, but it's the private collectors who are the ones who are the real ones, who are involved in records and in some institutional representatives who are also private collectors. And so they say, as you say, are the holders of the of the institutional memory. And we keep losing, though, institutional members who when they retire. They institutional memories. Yeah. Okay. Yeah. Last question. I'm Wendy Sistrunk University, Missouri. Kansas City. My title is Metadata Management Special Formats. But I will say and I came on board in nineteen six at you and Casey on a grant funded project that Ted Sheldon really helped spearhead to Tulkarm. The more sound archives. Well, and so the first meeting I attended was in 96 in Kansas City. I was saying that I was just blown away not only by the depth of knowledge and just the wide ranging knowledge, but also just hugely enthusiastic that what I was doing to create discover ability for these sound materials was very important.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495#t=5230.36,5366.13"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It wasn't just I was just a job. I mean, I really feel very passionate about what I do in my institution now. And it's because of many times, you know, going to the collectors roundtables and other sorts of things to really hear some of the information that is needed to be discoverable on these things. So I will just point out to you, I have been paying my own way to ask for over 10 years, and I would glad to do it. And I'm very pleased to be part of this organization. And whether I get the letter A stamped on my chest for being an institutional family, it I really have a lot of affection and for the scholars and the researchers and their needs. And that's why I like ask. Thank you. Unfortunately, we're down to time here. I wanted this to be a session about the future as well as the past sort of things. I asked the current president, Patrick Feaster, if he could leave us. Leave us with his thoughts. So Tim specifically asked me to address what what tentative goals ask might have for the next 50 years, which is, of course, a pretty simple task. I'd say what to what. Should aim for over the next 50 years is going to be tied to changes in the circumstances of our field or for which we'll have some control but limited control and and that we sitting here in the year 2016 can only begin to predict. However, this session is being recorded. So some people in our audience know how things are going to turn out between now and the mid twenty sixties. Yes. And talking to you asked members of the year 2066 if you're anything like us. I know you're listening and whatever I say right now is going to seem quaint and naive to you.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495#t=5366.94,5502.32"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So all what I want to say about that, though, is if you're so smart. Be sure to make a similar recording for the folks in the year 21 16 in terms of the path forward. We have, of course, the National Recording Preservation Plan, which offers a good many concrete steps for things we can be working on right now. And I'm not going to rehash them. We we've we've covered many of these before. But so the phrase that's often used for this is it's a roadmap for us. And on the scale of 50 years, which is the scale we're thinking about right now, it's it's a little bit like having a really good roadmap of the state of Indiana. But you need to drive to Argentina. So I'd like to focus in the brief time I have here on the latter part of that map, because that's the part of this that we don't often have the luxury to sit back and think about. So looking up to the 2066, so, of course, the year after that, 2067, that's the current date when things are in the United States, supposed to enter the public domain. And we talk about the year 2067 and I'm in the same breath. So I think the launch of the public domain when when pigs fly, when the cows come home. But, you know, in the scale of 50 years, 2067 is going to be next year. So just gypsies to take this perspective for a moment. Copyright reform, something that we've been taking an active role in. We we tend to think of this, I think, in terms of, OK, we have current frustrations about things we'd like to be doing. But if we consider that the length of time that would elapse before things change, if we did nothing would be the entire length of the history of our.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495#t=5503.01,5609.12"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Up until this point. So it's not just a matter of what we're experiencing now. There are there are a couple of entire generations there that stand to benefit from things that we might undertake not over just the next 50 years, but over the next several years. Of course, we've been talking for about 10 to 15 years about the fact now that we have about a 10 to 15 year window of time to preserve a number of formats that otherwise will go away due to degradation, obsolescence. If we're looking at a 50 year perspective at the end of that time, well, we will have left that window behind 35 to 40 years ago. So it's a little bit difficult to to characterize that length of time, that span of time, other than by breaking it into a couple of different stages. There's the moment when you have a building that's on fire and you're rushing to get everything outside and it's it's piling up on the lawn outside in a bit of disorder. And maybe there's a rainstorm approaching in the distance. So it does seem like we have this this initial moment there when the whole business of getting things preserved for for this later portion of that chunk of time is is critical. But I'm looking for 50 years in the future. Does this mean that at that point, nobody is going to be playing open real tapes, or does it mean that. Recovering content from a format like that is it's going to be a hyper specialized thing that that getting audio off of a dead tape is going to be comparable and difficulty getting audio off of a fanatic gram. Probably both, but thinking about exactly where things will develop. I think we will need to focus increasingly on allied areas.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495#t=5609.69,5727.56"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Allied media, particularly video, particularly in terms of professional training. It seems unlikely that for much longer, if even currently, people will be able to focus just on audio. So a mixture of responsibilities there that in terms of personal skill set will be increasingly important. And I hope that we continue to develop relationships with other organizations, maybe through the coordinating Council of Audio Visual Archives to to build up some of those collaboration's. But I do hope sincerely that we don't lose our critical identity as an audio centered organization becomes something like AMC, the Association for Media Collection says, as some other organizations have done. And one reason I suggest we can't do that is that there are special skill sets, special areas of knowledge, particularly in understanding our heritage of recorded sound that are not shared by saying the study of film. And that, as Mike Beale noted, we've come a long way in establishing respectability for this as an area of it's legitimate to focus on what it is still undervalued. And that's something that I hope artists can continue over the next 50 years to cultivate both by example and maybe more proactively by speaking up on its behalf of the question also of what a sound collection will be 50 years from now. Clearly, a large portion of this is going to be born digital material at that point. I suspect that we'll have sessions at an arts conference 50 years from now that involve studying and analyzing antique MP three files, much as people might do at 78 today. I'm not sure the Collectors Roundtable will look like them, but also a point at which events such as the apparent loss of the digital holdings of the old MP three dot com, which seem to have vanished, might be looked at in retrospect as a catastrophe on the same level as the loss of our Camden warehouse, and that in 2066, when people look back on us by, I hope they're appreciative of all the things that we've managed to preserve.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495#t=5728.01,5868.47"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But I wonder if they'll also say things like that. They just let all that pioneering Internet radio slip through their fingers. So you think about what they might be trying to recover at that point where this sort of stuff exists today. Who has it? And I see a similar situation. I see institutions who may have been forward thinking, doing something to gather in much of this material. Private collectors who chance upon it through whatever means. So this this whole business of bringing together institutions, private individuals that I see continuing very well ahead over the next 50 years as part of the importance of collections to our heritage of recorded sound. So to those of us here in the room, I'll leave with the platitude. This is the first day of the next 50 years in the life of our organization. And to austerity, I guess, is listening. Hello, posterity. I'll just quote a distinguished predecessor and say, well, we do what we can.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495#t=5869.01,5940.29"}]},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/97495/transcript/19039/annotation/43","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/019/039/original/open-uri20200924-1385-o1fql1?1600954309","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/019/039/original/open-uri20200924-1385-o1fql1?1600954309"}]}]},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/255739","type":"Canvas","label":{"en":["Media File 2 of 2 - ARSC_conf_2016_Biel_Brooks_Jackson_audio.mp3"]},"duration":5950.70188,"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/29685/file/255739/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/255739/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/255/739/original/ARSC_conf_2016_Biel_Brooks_Jackson_audio.mp3?1730748991","type":"Audio","format":"audio/mpeg","duration":5950.70188,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29685/file/255739","metadata":[]}]}],"annotations":[]}]}