Archival News -50:1
Edited by Jennifer Peterson
TABLE OF CONTENTS
4. Institutions and
8. New DVDs
9. On-Line Resources
•Richard Lester’s Papers Donated to BFI National
Director Richard Lester has donated a selection
of his papers to the British Film Institute, providing documentation of his
entire career in film and television. This donation will enable the exploration
of a career spanning his groundbreaking films with the Beatles,A Hard
Day’s Night(1964) andHelp!(1965), the Cannes Grand Prix-winningThe Knack…and How to Get It(1965), along with the successes ofThe Three Musketeers(1974) andSuperman II(1980) andIII(1983).
Highlights of the donation include Alun Owen’s
early drafts ofA Hard Day’s Nightwhich was then simply titledThe Beatles; shooting scripts forThe Knack…and How to Get ItandThe Three Musketeers; storyboards forSuperman IIandIII; behind-the-scenes stills from Lester’s work in film and
television; and letters from Audrey Hepburn, Charlton Heston, Spike Milligan,
Harold Pinter, Alastair Sim and Raquel Welch.
Richard Lester stated: "I have had a long
association with the BFI going back over 40 years. The organisation has always
been very helpful to me in different ways. It is a pleasure for me to be able
to offer them the detritus of my working life.”
The BFI will be making Lester’s gift available
for consultation in the its National Library for those who wish to explore the
director’s career. A selection of materials will be available at BFI
Mediatheques around the UK, and the catalogued collection will be available via
Screenonline, the BFI’s online educational resource.
•Final Report on Preserving Digital Public
After seven years of researching, testing,
developing, analyzing, promoting and sharing, the Library of Congress-funded
NDIIPP projectPreserving Digital Public Televisionhas concluded. This project produced a
significant body of reports, published articles in key journals and other
publications, and gave presentations at dozens of conferences, symposia and
special events in the U.S, Canada and abroad. By promoting the importance of
digital preservation to public broadcasting, the project was instrumental in
helping to create theAmerican Archive, a new initiative at the Corporation for Public Broadcasting,
which is its first genuine investment in long-term preservation and access of
U.S. public radio and television programming.
SincePreserving Digital Public Televisionbegan, broadcasting has shed its analog systems
and moved completely into a digital universe. This project has been able to
impress on the public television system the message that digital preservation
is not an optional "add-on” cost, but a requirement for any future use of
the materials. In this, the project has been instrumental in transforming an
attitude of indifference to one that acknowledges the value of properly
managing our collective archival holdings.
The final report can be found here: www.thirteen.org/ptvdigitalarchive/.
•Electronic Frontier Foundation Wins New Legal
Protections for Video Artists, Cell Phone Jailbreakers, and Unlockers
The Electronic Frontier Foundation (EFF) won
three exemptions to the Digital Millennium Copyright Act (DMCA)
anticircumvention provisions on July 26, 2010, carving out new legal
protections for consumers who modify their cell phones and artists who remix
videos—people who, until now, could have been sued for their non-infringing or
fair use activities.
"By granting all of EFF’s applications, the
Copyright Office and Librarian of Congress have taken three important steps
today to mitigate some of the harms caused by the DMCA,” said Jennifer Granick,
EFF’s Civil Liberties Director. "We are thrilled to have helped free
jailbreakers, unlockers and vidders from this law’s overbroad reach.”
The exemptions were granted as part of a
statutorily prescribed rulemaking process, conducted every three years to
mitigate the danger the DMCA poses to legitimate, non-infringing uses of
copyrighted materials. The DMCA prohibits "circumventing” digital rights
management (DRM) and "other technical protection measures” used to control
access to copyrighted works. While the DMCA still chills competition, free
speech, and fair use, these exemptions take new strides towards protecting more
consumers and artists from its extensive reach.
The first of EFF’s three successful requests
clarifies the legality of cell phone "jailbreaking”—software modifications
that liberate iPhones and other handsets to run applications from sources other
than those approved by the phone maker. More than a million iPhone owners are
said to have "jailbroken” their handsets in order to change wireless
providers or use applications obtained from sources other than Apple’s own
iTunes "App Store,” and many more have expressed a desire to do so. But
the threat of DMCA liability had previously endangered these customers and
alternate applications stores.
In its reasoning in favor of EFF’s jailbreaking
exemption, the Copyright Office rejected Apple’s claim that copyright law
prevents people from installing unapproved programs on iPhones: "When one
jailbreaks a smartphone in order to make the operating system on that phone
interoperable with an independently created application that has not been
approved by the maker of the smartphone or the maker of its operating system,
the modifications that are made purely for the purpose of such interoperability
are fair uses.”
"Copyright law has long held that making
programs interoperable is fair use,” confirmed Corynne McSherry, EFF’s Senior
Staff Attorney. "It’s gratifying that the Copyright Office acknowledges
this right and agrees that the anticircumvention laws should not interfere with
EFF also won a groundbreaking new protection for
video remix artists currently thriving on Internet sites like YouTube. The new
rule holds that amateur creators do not violate the DMCA when they use short
excerpts from DVDs in order to create new, noncommercial works for purposes of
criticism or comment if they believe that circumvention is necessary to fulfill
that purpose. Hollywood has historically taken the view that "ripping”
DVDs is always a violation of the DMCA, no matter the purpose.
"Noncommercial videos are a powerful art
form online, and many use short clips from popular movies. Finally the creative
people that make those videos won’t have to worry that they are breaking the
law in the process, even though their works are clearly fair uses. That benefits
everyone—from the artists themselves to those of us who enjoy watching the
amazing works they create,” added McSherry.
On EFF’s request, the Librarian of Congress
renewed a 2006 rule exempting cell phone unlocking so handsets can be used with
other telecommunications carriers. Cell phone unlockers have been successfully
sued under the DMCA, even though there is no copyright infringement involved in
the unlocking. Digital locks on cell phones make it harder to resell, reuse, or
recycle the handset, prompting EFF to ask for renewal of this rule on behalf of
its clients, The Wireless Alliance, ReCellular and Flipswap. However, the 2009
rule has been modified so that it only applies to used mobile phones, not new
"The Copyright Office recognizes that the
primary purpose of the locks on cell phones is to bind customers to their
existing networks, rather than to protect copyrights,” said Granick. "The
Copyright Office agrees with EFF that the DMCA shouldn't be used as a barrier
to prevent people who purchase phones from keeping those phones when they
change carriers. The DMCA also shouldn't be used to interfere with recyclers
who want to extend the useful life of a handset.”
Along with the exemptions that EFF championed,
several other DMCA exemptions were expanded, granted or narrowed including one
for documentary filmmakers and college-level educators, as well as some for
security researchers. For the full rulemaking order, see: https://www.eff.org/files/filenode/dmca_2009/RM-2008-8.pdf.
For more on the DMCA rulemaking, see: http://www.eff.org/issues/dmca-rulemaking.
4. INSTITUTIONS AND
•National Recording Registry’s 2009 Selections
Announced by Library of Congress
The lyrics of a rapper whose message transcended
conflict to embrace love, the 1970 song that immortalized a country legend, and
battle sounds from World War II are among the aural treasures that have been
selected for preservation by the Library of Congress. On June 23, 2010,
Librarian of Congress James H. Billington named the 25 new additions to the
eighth annual National Recording Registry of the Library of Congress, which
will ensure that these cultural, artistic and historical recordings are always
available to the American public.
Under the terms of the National Recording
Preservation Act of 2000, the Librarian, with advice from the Library’s
National Recording Preservation Board (NRPB), is tasked with selecting 25
recordings that are "culturally, historically, or aesthetically
significant” and are at least 10 years old. The selections for the 2009
registry bring the total number of recordings to 300.
"It is time to once again celebrate the
nation’s rich sonic history and the importance of sound recordings in our
lives,” said Billington. "This latest list of selections showcases the
diverse beauty, humanity and artistry found in the American soundscape. The
Library’s Packard Campus for Audio Visual Conservation will partner with many
individuals and organizations to preserve and sustain these significant
examples of our creative spirit so that they can inform and enrich the lives of
modern and future generations.”
The list of recordings named to the registry
features a diverse selection of spoken word and musical recordings that span
the years 1913-1995. They cover a wide range of sounds and music, attesting to
the vast imagination and creativity flowing through the cultural stream of the
nation’s aural heritage. Selections cross musical types ranging from klezmer to
blues, pop and rap, but also include comedy, radio broadcasts, field
recordings, Broadway cast recordings and lab experiments.
Among the selections are hip-hop icon Tupac
Shakur, who paid homage to mothers struggling to survive in "Dear Mama”;
Loretta Lynn’s biographical hit, "Coal Miner’s Daughter”; Bill Cosby’s
second album, "I Started Out As a Child,” of short vignettes drawn mainly
from his childhood; the 1923 recording, "Canal Street Blues,” by King
Oliver’s Creole Jazz Band that epitomizes the New Orleans sound; the last
sessions by the 1961 lineup of the Bill Evans Trio and possibly the greatest
live recordings in the history of jazz; and the Marine Corps Combat Field
Recording Collection of the second battle of Guam, which vividly documents rare
battle sounds and personal accounts by troops before, during and after the
battle. Additions to the registry also feature notable performances by Little
Richard, Willie Nelson, The Band, The Staple Singers, Eddie Palmieri, Ethel
Merman and Patti Smith.
Nominations were gathered from online
submissions from the public and from the NRPB, which comprises leaders in the
fields of music, recorded sound and preservation. The Library is currently
accepting nominations for the next registry atthe NRPB website.
As part of its congressional mandate, the
Library is identifying and preserving the best existing versions of the
recordings on the registry. These recordings will be housed in the Packard
Campus for Audio Visual Conservation in Culpeper, Va., a state-of-the-art
facility that was made possible through the generosity of David Woodley Packard
and the Packard Humanities Institute, with benefaction from the U.S. Congress.
The Library’s Motion Picture, Broadcasting and Recorded Sound Division’s
collections include more than 6 million items, including nearly 3 million sound
Founded in 1800, the Library of Congress is the
nation’s oldest federal cultural institution. The Library seeks to spark
imagination and creativity and to further human understanding and wisdom by
providing access to knowledge through its magnificent collections, programs and
exhibitions. Many of the Library’s rich resources can be accessed through its
website atwww.loc.govand via interactive exhibitions on
a personalized website atmyLOC.gov.
2009 National Recording Registry:
1. Fon der Choope (From the Wedding) - Abe
Elenkrig’s Yidishe Orchestra (April 4, 1913)
Barber and trumpeter Abraham Elenkrig recorded
this lively number for Columbia Records in the spring of 1913 and the 10 songs
from the session were among the first klezmer recordings made in America.
Columbia had been increasingly marketing to Eastern European immigrant
communities where klezmer music had been popular since 1890s. While chiefly
colored by Romanian musical influences, the cornet and trombone on "Fon
der Choope” lend it a brassy sound typical of John Philip Sousa, Arthur Pryor
and other popular military bands of the time. It was a sound characteristic of
early klezmer recordings in the United States.
2. "Canal Street Blues,” King Oliver’s
Creole Jazz Band (April 5, 1923)
Made for Gennett Records in Richmond, Ind., this
recording is the second title recorded by King Oliver’s ensemble, which
included Oliver, first trumpet; Louis Armstrong, second trumpet; Johnny Dodds,
clarinet; Honore Dutrey, trombone; and Baby Dodds, drums, among others. In his
"Early Jazz,” author Gunther Schuller wrote that the glory of the Creole
Jazz Band sums up "all that went into the New Orleans way of making music:
its joy, its warmth of expression, its Old World pre-war charm, its polyphonic
complexity, its easy relaxed swing ... its lovely textures, and its discipline
3. "Tristan und Isolde,” Metropolitan
Opera, featuring Kirsten Flagstad and Lauritz Melchior, NBC Broadcast (March 9,
This recording captures Wagnerian singing at its
dramatic best by two of the greatest voices of the 20th century and the prime
interpreters of the lead roles. The beauty and purity of Kirsten Flagstad’s
singing, captured at the beginning of her worldwide fame, combined with
Melchior’s heroic scale and nobility creates an unsurpassed performance in this
profoundly influential opera. This is an early example of Metropolitan Opera
Saturday matinee broadcasts, which have brought "live” performances of
complete operas into homes throughout the world for more than 75 years.
4. "When You Wish Upon a Star,” Cliff
Edwards (recorded 1938; released 1940)
Cliff Edwards ("Ukulele Ike”) was an
enormously popular singer in the 1920s and early 1930s. He was a star in
vaudeville, musical comedy and early sound films, but his career was on the
decline at the time he was chosen to voice Jiminy Cricket in Walt Disney’s
second animated feature, "Pinocchio.” He is now most remembered for the
song "When You Wish Upon a Star.” The beauty of the composition, written
by Ned Washington and Leigh Harline, and Edwards’ natural tenor and clear
falsetto make the song a classic. The recording was one of the very first
derived directly from a film soundtrack to be issued commercially.
5. "America’s Town Meeting of the Air:
Should Our Ships Convoy Materials to England?” (May 8, 1941)
"America’s Town Meeting of the Air” was a
lively public affairs program, broadcast live from Town Hall near Times Square
in New York over the NBC radio network from the 1930s to the 1950s. This
program aired seven months before America’s entry into World War II, when most
of the country opposed the nation joining the war effort. The featured speakers
were American theologian Reinhold Niebuhr, chairman of the Union for Democratic
Action and creator of the Serenity Prayer; and John Flynn, New York chairman
and a founder of the America First Committee. Niebuhr supported U.S. aid to
Britain while Flynn opposed it. This is a lively debate moderated by "Town
Meeting” founder George V. Denny.
6. The Library of Congress Marine Corps Combat
Field Recording Collection, Second Battle of Guam (July 20 - August 11, 1944)
This collection of recordings owes its existence
to the collaboration of Harold Spivacke, former chief of the Library of
Congress Music Division, and Brigadier General Robert L. Denig to provide war
correspondents with recording machines to interview soldiers, record their
songs, and document actual battles in the Pacific theater during World War II.
While the larger collection includes battle coverage of Iwo Jima, Saipan and
Guadalcanal, the recordings made in Guam feature the most immediate coverage of
the battle. Among the dozens of recordings made on Guam, listeners can hear
firsthand coverage of an officer’s briefing before the invasion; reportage and
battle sounds on the morning of the invasion; rare recordings of tank
communications during the fighting; an awards ceremony after the fighting has
ended; native opinions of the Japanese occupation; and the personal reactions
of the enlisted troops before, during, and after the battle.
7. "Evangeline Special” and "Love
Bridge Waltz,” Iry LeJeune (1948)
The post-World War II revival of traditional
Cajun music began with accordionist Iry LeJeune’s first single, his influential
recordings of "Evangeline Special” and "Love Bridge Waltz.” Le
Jeune’s emotional and deeply personal style was immensely popular with
Louisiana Cajuns returning home from the war, eager to hear their own music
again. His recordings marked a distinct move away from the style influenced by
Western Swing that had dominated commercial Cajun recordings for over a decade
and a return to the older sound of Cajun music. This sound featured the
accordion, prominently and unrestrained, and a blues-influenced singing in
French. LeJeune is regarded as one of the best Cajun accordionists and singers
of all time.
8. "The Little Engine That Could,” narrated
by Paul Wing (1949)
This classic story of optimism and determination
is beloved by several generations of Americans. The charming story is climaxed
by the mantra, "I think I can – I think I can – I think I can,” chanted in
a chugging rhythm as the little blue engine successfully climbs over the
mountain to bring a train full of toys to the children waiting on the other
side. Paul Wing’s cheerful reading and the rich sound effects make this version
of the story the most fondly remembered of many recorded interpretations.
9. Leon Metcalf Collection of recordings of the
First People of Western Washington State (1950-1954)
Leon Metcalf—a logger, musician and music
instructor with a lifelong interest in languages—documented songs, stories and
other narratives from Native speakers in the Puget Sound region and neighboring
areas. He used one of the early commercially available tape recorders. The
Metcalf recordings not only document the voices of many of the last Native
speakers, they also include unique content because Metcalf allowed the
narrators free rein during recording sessions. They often recorded personal
messages to one another, providing a rare aural documentation of conversational
practice, along with lengthy narratives of local mythology. The revival of
interest in Lushootseed language and literature and the work of Upper Skagit
elder Vi Hilbert owes much to this collection, which has been the source of
material for language-instruction projects and numerous publications since the
1970s. The collection is located at the Burke Museum of Natural History and
Culture at the University of Washington in Seattle.
10. "Tutti Frutti,” Little Richard (1955)
In 1955, 22-year-old "Little Richard”
Penniman was a seasoned rhythm-and-blues performer, but an unsuccessful
recording artist in search of a breakthrough as he entered Cosimo Matassa’s New
Orleans studio to record his first sides for Specialty Records. There seemed to
be little rapport between Little Richard and the musicians hired for the date
until Richard started extemporizing verses of "Tutti-Frutti,” a risqué
feature of his club sets. Even in the less-suggestive version that was eventually
released, Little Richard’s unique vocalizing over the irresistible beat
announced a new era in music, punctuated by his immortal exclamation
11. "Smokestack Lightning,” Howlin’ Wolf
The derivation of Chester Arthur Burnett’s stage
name, "Howlin’ Wolf,” is evident in "Smokestack Lightning.” The blues
lyric has no narrative; instead Wolf howls as he grasps for words to express
his romantic torment. Guitarist and collaborator Hubert Sumlin plays the song’s
signature bending, sliding riff. "Smokestack Lightning” influenced the
swampy sound of Dale Hawkins’ "Susie Q” and, later, music of Creedence
Clearwater Revival. Critic Cub Koda observed, Howlin’ Wolf could " ...
rock the house down to the foundation while ... scaring its patrons out of
[their] wits.” No song better exhibits this than "Smokestack Lightning.”
12. "Gypsy,” original cast recording (1959)
Gypsy is considered by many to be the apotheosis
of the original Broadway cast recording. It boasts a spectacular score,
thrilling orchestrations and star power in the form of Ethel Merman. Jule
Styne’s music includes pitch-perfect pastiches of vaudeville and burlesque
songs, tender ballads, and what is generally agreed to be the most exciting
Broadway overture in the history of the form. The lyrics by Stephen Sondheim
are funny, clever and perfectly suited to the dramatic characters singing them
and the variety-theater setting of the show. Much of the score was tailored to
Merman, and rarely have a score and a voice complimented each other so well and
been so masterfully preserved on record.
13. The Complete Village Vanguard Recordings,
Bill Evans Trio (June 25, 1961)
All five sets performed by the Bill Evans Trio
on June 25, 1961, at the Village Vanguard club in New York City were recorded,
resulting in what are recognized as some of the greatest live recordings in the
history of jazz. The trio, consisting of Bill Evans (piano), Paul Motian
(drums) and Scott LaFaro (bass), has been credited with redefining jazz piano
trios by including the bass and drums as equal partners rather than a rhythm
section accompanying a piano soloist. The performances were the last by this
lineup of the trio because LaFaro was tragically killed in a car crash ten days
later. Producer Orrin Keepnews has recalled, "I remember listening to the
tapes and saying, ‘There's nothing bad here!’” Complete recordings of all five
sets were released in 2005.
14. "Daisy Bell (Bicycle Built for Two),”
Max Mathews (1961)
This recording, made at Bell Laboratories on an
IBM 704 mainframe computer, is the earliest known recording of a
computer-synthesized voice singing a song. The recording was created by John L.
Kelly, Jr., and featured musical accompaniment written by Max Mathews. Arthur
C. Clarke, who witnessed a demonstration of the piece while visiting friend and
Bell Laboratories employee John Pierce, was so impressed that he incorporated
it in the novel and film script for2001: A Space Odyssey.When Clarke’s
fictional HAL 9000 computer is being involuntarily disconnected near the end of
the story, it sings "Daisy Bell” as it devolves.
15. "I Started Out As a Child,” Bill Cosby
Recorded live at Mr. Kelly’s in Chicago, Bill
Cosby’s second album is made of up short vignettes on a wide range of topics,
drawing mainly from his childhood in Philadelphia. Cosby’s delivery is intimate
in style, but utilizes the microphone and public address system of the venue to
create humorous and evocative effects, and to conjure up the world perceived
through the eyes and ears of a young boy.
16. "Azucar Pa Ti,” Eddie Palmieri (1965)
This breakthrough album was the result of a
conscious effort by pianist and bandleader Eddie Palmieri to recreate on record
the new Latin sounds that he and his eight-piece "La Perfecta” band were
playing nightly in New York nightclubs and ballrooms in the early 1960s, and it
set trends for years to come. Though steeped in the earlier Afro-Cuban styles
that he loved, Palmieri led a band that represented several Latin music
traditions and was particularly distinguished by the contributions of the
hard-charging, Bronx-born trombonist Barry Rogers.
17. "Today!,” "Mississippi” John Hurt
In 1963, 35 years after his last recording
session, "Mississippi” John Hurt was rediscovered near Avalon, Miss., by
Tom Hoskins, who had correctly guessed Hurt’s location from geographical clues
in his 1920s recordings. Hurt was coaxed out of retirement and a series of folk
revival concerts led to a recording contract and "Today!,” his first
studio recording since 1928. "Today!” demonstrates that Hurt’s musical
gifts, like his voice, had deepened over the years. Hurt was the antithesis of
a blues shouter. His gentle, soft-spoken delivery won him a legion of fans in
his twilight years.
18. "Silver Apples of the Moon,” Morton
Morton Subotnick composed "Silver Apples of
the Moon” entirely on the Buchla Electronic Music Box, a modular analogue
synthesizer designed by electrical engineer Don Buchla in 1963. Subotnick
collaborated with Ramon Sender and others associated with the San Francisco
Tape Music Center. One of the unique features of Buchla’s instrument was its
use of the electronic sequencer, a device capable of creating repeating,
rhythmic sequences of musical notes or timbres. Subotnick uses the sequencer
extensively and effectively in the creation of many repeated figures in the
recording, creating a canonical statement for this pioneering technology.
19. "Soul Folk in Action,” The Staple
The Staple Singers—then consisting of father
Roebuck and children Cleotha, Pervis and Mavis—established themselves as a top
gospel act in the 1950s, but began reaching out to a broader audience in the
1960s by playing folk festivals and recording protest songs. This 1968 release,
their first on the legendary Stax label and the last to feature the group’s
original lineup, did not achieve the crossover success of their work in the
1970s for that label, but it is the pivotal album of their career. "Soul
Folk in Action” is spiritually informed, socially aware and, as its title
suggests, equally soulful and stirring. The album contains such timeless tracks
as "Long Walk to DC,” "Slow Train,” "Top of the Mountain,” and
covers of Otis Redding’s "(Sittin’ on) the Dock of the Bay” and The Band’s
20. "The Band,” The Band (1969)
The Band’s debut album, "Music from Big
Pink,” was a shot across the bow of popular music. "We were rebelling
against the rebellion,” declared guitarist Robbie Robertson. Ignoring the
prevailing "hard rock,” their second, self-titled LP (colloquially known
as "the Brown Album”) continued their emphasis on Americana, but featured
even better songwriting and ensemble playing than that in "Music from Big
Pink.” The Band mixed rock ‘n’ roll with country, bluegrass, rhythm-and-blues,
and even gospel. Robertson cited the influence of The Staple Singers on their
vocals. Even the sound was deliberately against the grain, from touches such as
the mouth bow harp-like Clavinet of "Up on Cripple Creek” to the overall
woody sound of the album. "The Band” presented an image of America largely
absent in the popular music of its time.
21. "Coal Miner’s Daughter,” Loretta Lynn
Loretta Lynn’s signature song lovingly recalls
her hardscrabble upbringing in Butcher Hollow, a poor coal-mining community in
Kentucky. With an upbeat melody and arrangement, the song warmly recounts a
financially impoverished childhood filled with love. Lynn writes songs that are
realistic and plainspoken, portraying strong and independent women.
22. "Red Headed Stranger,” Willie Nelson
At the time composer and performer Willie Nelson
recorded "Red Headed Stranger,” he had just moved to Columbia Records with
a contract that gave him complete artistic control. The new freedom allowed him
to compose an album of uncommon elegance and power, one built primarily of his
own compositions, but including older country songs like Fred Rose’s "Blue
Eyes Crying in the Rain.” Set in the Old West, it told the tale of a tormented
preacher on the run from killing his wife and her lover. In the studio, Nelson
relied on extremely spare arrangements that emphasized guitar, harmonica and
piano. At times the only accompaniment was Nelson’s nylon-string guitar. The
resulting album was met with considerable skepticism from Columbia’s
executives, but Nelson’s instincts proved prescient and "Red Headed
Stranger” resonated with an audience weary of the elaborate production
techniques associated with Nashville studios, setting a new course for country
and popular music.
23. "Horses,” Patti Smith (1975)
Before recording this poetic proto-punk classic,
Patti Smith and her band had honed the tunes in a triumphant run of shows at
New York’s iconic venue, CBGB. In the studio, producer John Cale helped the
band to further refine the selections in a process that Smith remembers as not
always pleasant, but greatly beneficial to the final product. Smith’s
background as a rock critic and poet is equally in evidence on this record,
which includes re-imaginings of such oldies as "Gloria” and "Land of
1000 Dances,” with the addition of Smith’s provocative and unflinching lyrics.
24. "Radio Free Europe,” R.E.M. (1981)
The original Hib-Tone single of this song set
the pattern for later indie rock releases by breaking through on college radio
in the face of mainstream radio’s general indifference. Although a more
elaborately produced version of the song appeared on the band’s first album
"Murmur,” the original—recorded by Let’s Active frontman Mitch
Easter—maintains a raw immediacy that undoubtedly contributed to its
overwhelmingly favorable critical reception. Singer Michael Stipe’s elliptical
lyrics and guitarist Peter Buck’s arpeggiated open chords would not only become
signatures of the band’s future output, but they added greatly to the song’s
25. "Dear Mama,” Tupac Shakur (1995)
In this moving and eloquent homage to both his
own mother and all mothers struggling to maintain a family in the face of
addiction, poverty and societal indifference, Tupac Shakur unflinchingly
forgives his mother who, despite a cocaine habit, "never kept a secret,
always stayed real.” The song displays further evidence of hip-hop as a
musically sophisticated and varied genre that can artfully encompass a wide
variety of themes and musical influences.
2009 National Recording Registry (Listing in
"Fon der Choope”
(From the Wedding), Abe Elenkrig’s Yidishe Orchestra (1913)
Blues,” King Oliver’s Creole Jazz Band (1923)
Isolde,” Metropolitan Opera, featuring Kirsten Flagstad and Lauritz Melchior,
NBC Broadcast of March 9, 1935
"When You Wish Upon
a Star,” Cliff Edwards (recorded, 1938; released, 1940)
Meeting of the Air: Should Our Ships Convoy Materials to England?” (May 8,
The Library of Congress
Marine Corps Combat Field Recording Collection, Second Battle of Guam (July
20-August 11, 1944)
Special” and "Love Bridge Waltz,” Iry LeJeune (1948)
"The Little Engine
That Could,” narrated by Paul Wing (1949)
Leon Metcalf Collection
of recordings of the First People of Western Washington State (1950-1954)
Little Richard (1955)
Lightning,” Howlin’ Wolf (1956)
cast recording (1959)
The Complete Village
Vanguard Recordings, Bill Evans Trio (June 25, 1961)
(Bicycle Built for Two),” Max Mathews (1961)
"I Started Out As a
Child,” Bill Cosby (1964)
"Azucar Pa Ti,”
Eddie Palmieri (1965)
Mississippi John Hurt (1966))
"Silver Apples of
the Moon,” Morton Subotnick (1967)
"Soul Folk in
Action,” The Staple Singers (1968)
"The Band,” The
Daughter,” Loretta Lynn (1970)
Stranger,” Willie Nelson (1975)
"Radio Free Europe”
"Dear Mama,” Tupac
•Library of Congress Launches National Digital
On August 3, 2010, the Library of Congress
announced the formation of the National Digital Stewardship Alliance (NDSA), a
partnership of institutions and organizations dedicated to preserving and
providing access to selected databases, web pages, video, audio and other
digital content with enduring value.
The alliance is an outgrowth of the National
Digital Information Infrastructure and Preservation Program (NDIIPP), which the
Library has administered since 2000. In establishing the program, Congress
directed the Library to work with other federal agencies and a variety of
additional communities to develop a national approach to digital preservation.
NDIIPP has achieved substantial success though partnering with more than 170
institutions to provide access to a diverse national collection of digital
content. This work demonstrates that a collective effort can achieve far more
than individual institutions working alone.
The NDSA will build on this accomplishment by
focusing on several goals. It will develop improved preservation standards and
practices; work with experts to identify categories of digital information that
are most worthy of preservation; and take steps to incorporate content into a
national collection. It will provide national leadership for
digital-preservation education and training. The new organization will also
provide communication and outreach for all aspects of digital preservation.
"It is clear that collective action is
needed to preserve valuable digital information that our nation needs to
support economic, scientific and cultural innovation,” said Laura Campbell,
associate librarian for strategic initiatives. "The Library of Congress is
committed to leading a distributed approach to digital stewardship. This is the
best way to sustain and extend the Library’s historic mission to make resources
available and useful to the Congress and the American people. It is also the
best way for all cultural-heritage institutions to sustain and extend their
missions in the midst of a revolution in how knowledge and creativity is
created and disseminated.”
The NDSA will launch with a core set of founding
members drawn from current NDIIPP project partners. Those members will develop
a roadmap for immediate action, including a process for expanding membership.
For more information, visitwww.digitalpreservation.gov/ndsa/.
Founded in 1800, the Library of Congress is the
nation’s oldest federal cultural institution. It seeks to spark imagination and
creativity and to further human understanding and wisdom by providing access to
knowledge through its magnificent collections, programs and exhibitions. Many
of the Library’s rich resources can be accessed through its website atwww.loc.govand
via interactive exhibitions on a personalized website atmyLOC.gov.
•European Film Commission Report Addresses
A report published on July 6, 2010 by the
European Commission’s Information Society and Media Directorate General sounds
the alarm over the survival of Europe's film heritage. 80% of silent films are
estimated to have been lost already but even new digital era films are at risk.
Although the digital era provides new means of making and presenting films, it
also imposes new challenges to the traditional ways of collecting and
preserving films. Digital technologies are constantly evolving and what seems
cutting-edge today may be as obsolete as cassette tapes or video recorders in
2020. Film heritage institutions need to keep up, take up and advance new
technologies to preserve Europe's films.
Commission Vice-President for the Digital
Agenda, Neelie Kroes, said, "Films should remain available to everyone
forever: Europe’s film production is one of the cultural treasures of our time.
Digital technologies are riding to the rescue of our fragile film heritage, but
we need to ensure that best practice examples are applied in the preservation
process in order to achieve optimum results across the EU.”
The report released today, compiled by the
Commission’s Information Society and Media Directorate General, stresses that
Europe’s film heritage institutions should take a new approach to the way they
safeguard and provide access to Europe’s film heritage. The traditional
model—conserving fragile film materials in sealed boxes in vaults—cannot
guarantee their preservation for posterity or accessibility. The report
suggests that in the digital age, a new access model is needed so that future
filmmakers and audiences can continue to enjoy European film culture.
The Digital Agenda for Europe as part of its
actions foreseen to promote cultural diversity and creative content online,
calls for film heritage institutions to continue their efforts to increase the
amount of film and related film material available through Europeana, the EU’s
public digital library.
Digital technologies completely change the means
to collect, restore and preserve Europe’s film heritage in the long term. They
also have an impact on the way film heritage can be made available, both
on-line and through digital projection. One of the difficulties for fully
exploiting the potential of new technologies, however, is the lack of legal
mechanisms permitting the cultural and educational use of the films and related
film material in an efficient manner. Often administrative costs, and the time
needed to clear rights, prevent film heritage institutions from providing
cultural and educational access to their precious archive material.
The report highlights Member States’ best
practices for dealing with the challenges of analogue and digital film
heritage. For instance, certain national and regional funding schemes for film
production include a clause requesting the beneficiary producer to grant rights
for non-commercial uses for the EU to the funding authority or to a public film
heritage institution. Spain and Denmark are examples of good practices in this
area: the Danish Film Institute has the right to screen subsidized films in its
own cinemas and put on-line subsidized documentaries and shorts. Spain can
organize cultural screenings of subsidized films two years after the first
The results presented in this report are only a
first evaluation of the challenges and opportunities of the digital era for
European film heritage. The Commission has launched an independent study, which
will look in further detail into this issue. After reviewing the results of the
study, the Commission will consider whether a revision of the Film Heritage
Recommendation could be an appropriate means of addressing this issue.
Background: This analysis is the second
implementation report on the Recommendation on Film Heritage. The
Recommendation was adopted by the European Parliament and the Council in 2005
and calls for Europe’s film heritage to be methodically collected, cataloged,
preserved and restored so that it can be passed on to future generations. EU
Member States are asked to inform the Commission every two years of what they
have done in this connection.
In its bi-annual reports, the Commission’s
Information Society Directorate General assesses the extent to which the
measures set out in the Recommendation are working effectively, and considers
the need for further action. The first report was adopted in August 2008.
This year’s analysis is based on the responses
to a questionnaire covering all the aspects of the Film Heritage
Recommendation. In addition, it raised two other issues: challenges and
opportunities for European film heritage arising from the transition from the
analogue to the digital area as well as the link between film funding policies
and film heritage.
For more information, see:http://ec.europa.eu/avpolicy/reg/cinema/report_2/index_en.htm
•BFI Funding Cut by U.K. Government
In an effort to cut the U.K.’s fiscal deficit,
plans to build the £45 million ($67 million) British Film Institute Film Center
in London have been scrapped. "We are facing an unprecedented financial
situation in this country, and it is essential that we act now to reduce debt,”
Jeremy Hunt, the Secretary of State for Culture, Olympics, Media and Sport,
said. Plans for the $3.7 million BFI archive digital access project have also
been axed, but work on a building to house the National Film Archive will
continue. Creative Industries Minister Ed Vaizey said it was disappointing that
the country’s "severe financial problems” had affected the BFI. "I am
planning to fundamentally reassess how the government supports film in this
country.” A statement from the BFI said it was "concerned that film is
bearing the brunt” of government cuts. "Over 50% of the department’s cuts
that have been announced are coming from film,” it said. "Film is a
critical component of Britain’s future cultural and economic prosperity, so we
welcome the minister’s commitment to reviewing government's support for film.
Our one plea is that this is done very quickly.” Seewww.bfi.org.uk/news/61for the complete BFI statement.
•Library of Congress Repatriates Lost British TV
The British gave Americans the Beatles, James
Bond and Shakespeare. The Library of Congress is returning the favor by
repatriating a treasure trove of TV programs that represent Britain’s
"golden age of television.” Considered lost for more than 40 years, the
programs include footage of some of the biggest names in entertainment,
including Sean Connery, Maggie Smith, John Gielgud, Robert Shaw, David Hemmings
and Susannah York.
In an unprecedented collaboration between the
Library of Congress and British Film Institute (BFI), the two largest archives
of film and television in the world, more than 68 rare recordings from 1957 to
1969 will be returned to the United Kingdom. This marks the Library’s
first-ever repatriation of television programs to another country and the
largest such repatriation in history. These programs represent a key period in
The vintage television programs were discovered
in the Library’s National Educational Television (NET) Collection. NET was the
forerunner of the Public Broadcasting Service (PBS), which donated its film and
video holdings to the Library via flagship station WNET/Thirteen in New York.
For many years, NET imported a host of British teleplays and comedies, which
were included in more than 20,000 reels donated to the Library.
"In the archival world, television
repatriations are exceedingly rare,” said Mike Mashon, head of the Library’s
Moving Image Section. "We’re delighted to make high-quality preservation
copies of these programs at the Library of Congress Packard Campus for Audio
Visual Conservation and share them with the BFI and the British public. In the
meantime, we’ll keep looking for more lost shows.”
"The BFI’s ‘Missing, Believed Wiped’
campaign to recover the lost treasures of British television history has been
going for 17 years now, but this is by far the largest and most significant
collection of programs we have found, both in terms of the quality and the
vintage of the titles concerned,” said BFI senior curator Steve Bryant.
"We are very grateful to WNET-TV for having the foresight to donate them
to the Library of Congress, to the Library for preserving them and now making
Many of the programs reflect adaptations of
literary classics, including works by Shakespeare, Ibsen and Chekhov.
Highlights include Sean Connery and Dorothy Tutin in a rare BBC production
ofColombe(1960) by Jean Anouilh; Maggie Smith and Robert Stephens inMuch Ado
About Nothing, stage-directed by Franco Zeffirelli (1967); Leonard Rossiter and
John Le Mesurier inDr. Knock(1966); and Rudolph Cartier’s dramaRembrandt(1969).
The earliest production among the programs was Ibsen’sThe Wild Duckin 1957. The
roster of recovered dramas also includes episodes ofThe Wednesday Play,
Thursday TheatreandPlay of the Month.
The Library of Congress Packard Campus for Audio
Visual Conservation is a state-of-the-art facility funded as a gift to the
nation by the Packard Humanities Institute. The Packard Campus is the site
where the nation’s library acquires, preserves and provides access to the
world’s largest and most comprehensive collection of motion pictures,
television programs, radio broadcasts and sound recordingswww.loc.gov/avconservation/. The Packard Campus is
home to more than 6 million collection items. It provides staff support for the
Library of Congress National Film Preservation Board, the National Recording
Preservation Board, and the national registries for film and recorded sound.
Founded in 1800, the Library of Congress is the
nation’s oldest federal cultural institution. The Library seeks to spark
imagination and creativity and to further human understanding and wisdom by
providing access to knowledge through its magnificent collections, programs and
exhibitions. Many of the Library’s rich resources can be accessed through its
website atwww.loc.govand via interactive exhibitions on
a personalized website atmyLOC.gov.
•Professor Steven Hill, 1936-2010
Associate Professor of Slavic Literature and
Languages at the University of Illinois, Steven P. Hill, 74, of Bloomington and
Urbana, died of cancer on June 20, 2010, at Heritage Manor, Bloomington.
Professor Hill was born on April 25, 1936, in
Estherville, Iowa, the son of Mary and Charles Hill. He and his longtime
companion and wife, Professor Barbara Bowman, Illinois Wesleyan University, met
in 1985. He is survived by his wife, Barbara Bowman, Bloomington; his brother,
Seth Hill, Los Angeles; one niece; and two nephews.
He taught Russian language courses from
first-year grammar to third-year conversation and translation; Slavic
linguistics (Contemporary Russian Phonetics, Old Church Slavonic, History of
Russian); Russian literature and culture (Russian drama, short stories,
memoirs); Russian film (100-level survey, 300-level "topics”); East
European film (Poland, Hungary, former Czechoslovakia, former Yugoslavia);
Russian emigre film (one of only two such courses taught in the Western
Hemisphere, the other being at Stanford); and Hungarian transnational film and
Polish transnational film.
Professor Hill, who received his bachelor of
arts in Russian from Stanford University, earned his master’s and doctorate at
the University of Michigan, and began teaching Slavic languages as an
instructor in 1961. He was promoted to assistant professor in 1965 and
associate professor in 1968.
Professor Hill created the first course in
Russian and Eastern European film at the University of Illinois in 1972, and
over a distinguished career he published numerous articles, book reviews and
translations on Soviet and U.S. films. Some of his better-known articles
include "Soviet Film Today” (Film Quarterly, 1967), "Beginnings of
Soviet Broadcasting and Role of Lenin” (Journalism MonographsNo. 26, 1972) and
"Russian Drama after Chekhov” (a long annotated index to Russian
20th-century stage plays in English translation, published inTheatre
Documentation, ed. by W. Kuhlke, 1969).
The archival community knew Professor Hill as a
regular participant on AMIA-L. He was an active board member of the UI Film
Society and also served the university as treasurer for the UI faculty union
during the 1990s, and as executive secretary of UI’s Phi Beta Kappa chapter for
most of the 1980s. A longtime volunteer contributor to the Internet Movie
Database.com and AllMovie.com, Professor Hill was a member of the Society for
Cinema Studies, the American Association for Advancement of Slavic Studies,
American Association of Teachers of Slavic/Eastern European Languages, and the
American Council of Teachers of Russian.
•Sam Kula, 1933-2010
Sam Kula, a leading figure in the field of
audiovisual archives internationally, died at the Ottawa General Hospital on
Wednesday, September 8, 2010, at the age of 77. Mr. Kula was an author of many
publications on the subject of film archiving, and was a mentor to many in the
field. He was President of AMIA for two terms (2001-2004) and was the AMIA
Silver Light Award recipient in 2006. His highly regarded book,Appraising
Moving Images: Assessing the Archival and Monetary Value of Film and Video
Records,was published by Scarecrow Press in 2002. His groundbreaking 1983
UNESCO report, "The Archival Appraisal of Moving Images: A RAMP Study with
Guidelines,” can be downloaded from this webpage: http://portal.unesco.org/ci/en/ev.php-URL_ID=21989&URL_DO=DO_TOPIC&URL_SECTION=201.html.
•Cinecon 46 Screens Newly Discovered Films
Featuring Charlie Chaplin and Stan Laurel
Newly discovered films featuring appearances by
Charlie Chaplin and Stan Laurel were screened at Cinecon 46, an annual film
festival that shows rarely seen motion pictures as well as classic chestnuts of
The newly discovered 1914 Keystone ComedyA Thief
Catcher, featuring Ford Sterling, Edgar Kennedy and Mack Swain, has revealed an
appearance by Charlie Chaplin that has never before been documented. The Mack
Sennett short made its west coast re-premiere at the historic Egyptian Theater
during Cinecon 46. Chaplin filmed this appearance early during his tenure with
Sennett, and it has never been included in any Chaplin filmography. Film
historian Paul Gierucki, who didn’t know of Chaplin’s inclusion until he
screened it for himself a few months after his purchase, found the print.
Also on hand was the final film footage taken of
Stan Laurel. Filmed just weeks before his death, this color home movie shows
Stan at home with his wife at their Oceana Apartment in Santa Monica. The film
was included as part of a program hosted by Laurel & Hardy authority Tyler
St. Mark, who acquired the film and has taken steps to insure its preservation.
Cinecon 46 also screened the only surviving reel
ofFlaming Youth,the lost Colleen Moore feature that helped usher in the age of
the "flapper.” Charley Chase was seen in the newly restored short
subject,From Bad To Worse; this film had not been screened since its original
release nearly seventy-five years earlier. These and other rarities were seen
over the five-day event in Hollywood. For more information, see www.cinecon.org.
•Northeast Historic Film’s Summer Symposium held
in Bucksport, Maine July 22-24
The 11th Annual Northeast Historic Film Summer
Symposium was held July 22-24, 2010 in Bucksport, Maine. The Symposium topic
was "Filmic Representations of Indigenous Peoples.” Twelve presentations
explored how amateur and noncommercial filmmakers around the world have created
a wide range of representations of Indigenous peoples and cultures.
Presenters included AMIA-list associates
Jennifer Jenkins (University of Arizona), Janna Jones (Northern Arizona
University), Ross Lipman (UCLA Film & Television Archive), J. Fred
MacDonald (Professor Emeritus of History Northeastern Illinois University), and
Paul Spehr (Independent Scholar and retired archivist at Library of Congress),
and Albert Steg (Center for Home Movies).
The NHF Summer Symposium is a multi-disciplinary
gathering devoted to the history, theory, and preservation of moving images.
Registration is open to the public and to media professionals, teachers, and
students. The evening programs and daylong sessions provide the opportunity to
exchange opinions and insights with participants from all over North America, including
students from the NYU Moving Image Archiving and Preservation Program. The
complete symposium program, along with past programs, can be found atwww.oldfilm.org.
•Association for Recorded Sound Collections 2011
The Association for Recorded Sound Collections
invites proposals for presentations at its 45thannual conference, to be held
May 11-14, 2011 at the Wilshire Grand in downtown Los Angeles, California. The
conference will be hosted by the UCLA Ethnomusicology Archive, in honor of its
The conference host, the UCLA Ethnomusicology Archive, is among the largest
ethnographic archives of its kind in North America, with over 100,000 sound and
audiovisual recordings. Its collections include non-commercial field recordings
and commercially produced recordings of traditional, folk, popular, and art
musics from Africa, Asia, Australia and the Pacific Islands, Europe, the Middle
East, and the Americas, on a variety of audiovisual formats.
ARSC welcomes papers on the preservation and
study of sound recordings—in all genres of music and speech, in all formats,
and from all periods. We seek papers and panels that are informative, display a
passion for their subjects, and include compelling audio and visual content.
For this conference, presentations related to recording in the West are
The deadline for presentation proposals is
January 3, 2011. For more information and the Call for Presentations form,
More information about the 2011 conference will be posted at: www.arsc-audio.org/conference/
The Association for Recorded Sound Collections is a nonprofit organization
dedicated to the preservation and study of sound recordings—in all genres of
music and speech, in all formats, and from all periods. ARSC is unique in
bringing together private individuals and institutional professionals—everyone
with a serious interest in recorded sound.
•2010 ARSC Preservation Grants Awards Announced
The ARSC Preservation Grants Committee has
announced the recipients of the Grants for Preservation of Classical Music
Historical Recordings. The program for these grants was founded in 2004 by Al
Schlachtmeyer and the ARSC Board of Directors, to encourage and support the
preservation of historically significant sound recordings of Western Art Music
by individuals and organizations.
Columbia University Libraries: A grant of $5000
was awarded to Columbia University Libraries, to assist in preserving and
making accessible unique recordings selected from the Composers Forum
Collection. The collection includes over 600 hours on reel-to-reel tape,
recorded at concerts between 1952 and 1968 at Columbia University’s McMillan
Theater (now Miller Theater) and the New York Public Library’s Donnell Library.
These concerts were designed particularly to support young and adventurous
composers and showcase works by William Bolcolm, George Edwards, John Harbison,
Lejaren Hiller, and Otto Luening. On the recordings, Virgil Thomson, Milton
Babbitt, Otto Luening, and others moderate question-and-answer periods.
H. W. Marston and Company: To assist with the
first stage of The Bell Telephone Laboratories Project, H. W. Marston and
Company was awarded a grant of $5000. The project will preserve, as "flat
transfers” in digital format, the earliest Hi-Fi and Stereo recordings of Bell
Telephone Laboratories, made in 1931 and 1932. The materials to be transferred
include discs of the first "live” recordings of the Philadelphia
Orchestra, conducted by Leopold Stokowski at the Academy of Music in Philadelphia,
as well as recordings made at the Riverside Church (organ and carillon),
Princeton University (organ), and the Roxy Theater in New York. The
preservation copies will later be edited in a format suitable for distribution
to appropriate sound archives and for publication of the best and most
important examples on CD.
For more information about the Grants for
Preservation of Classical Music Historical Recordings, visitwww.arsc-audio.org/preservationgrants.html.
The deadline for receipt of applications for the next grant cycle is December
The Association for Recorded Sound Collections
is a nonprofit organization dedicated to the preservation and study of sound
recordings—in all genres of music and speech, in all formats, and from all
periods. ARSC is unique in bringing together private individuals and
institutional professionals—everyone with a serious interest in recorded sound.
8. NEW DVDs
•A Century of Sound, Part 1 released on DVD by
the UCLA Film & Television Archive
A Century Of Sound—The History of Sound in
Motion Pictures—The Beginning: 1876-1932is Part 1 of an educational DVD series
featuring world-renowned preservationist Robert Gitt, Preservation Officer,
UCLA Film & Television Archive. First presented in 1992 and at special
events thereafter,A Century of Soundis a "tour de force” in its collection
of unique and memorable films documenting the introduction of sound for motion
This educational DVD is now available free of
charge ($10 shipping and handling fee) to qualifying institutions, schools,
historians, researchers, scholars and other non-profit organizations. For
ordering information, seewww.trcf.org/Pages/DVDorder.html.
•Sony Begins Releasing "Screen Classics by
Request” on DVD
Sony Pictures Home Entertainment unveiled its
new Screen Classics by Request program on September 13, 2010. Effectively
opening the Columbia Pictures film vault, the Sony home-entertainment unit
offers consumers a wide selection of films never before released on DVD. DVDs
of more than 100 classic Columbia titles covering a 75-year span will be
available for purchase.
Additional titles will be made available monthly via the program’s website at
Columbia-Classics.com. "Screen Classics by Request” discs will sell for
$19.94, plus shipping. Sony will manufacture DVDs ordered through the program
on demand; no Blu-ray versions will be available.
The strategy roughly mimics the venture launched by Warner Home Video last
year. Such on-demand programs minimize manufacturing costs on lower-volume
titles while offering a means of getting more titles before the public.
Distributors have been struggling with a shrinking availability of retail shelf
space following scores of store closures by traditional disc outlets. Sometime
in the next 12 months, SPHE also plans to begin offering some of the Screen
Classics titles for digital sell-through.
Among the first disc titles to be offered areThe Pumpkin Eater(1964), with Anne
Bancroft and Peter Finch;Footsteps in the Fog(1955), starring Stewart Granger
and Jean Simmons; Sam Wanamaker’sThe Executioner(1970), with George Peppard;The
Juggler(1953), starring Kirk Douglas; Sherlock Holmes mysteryA Study in
Terror(1965);I Never Sang for My Father(1970), with Melvyn Douglas and Gene
Hackman;Genghis Kahn(1965), with Omar Sharif; andLes Voleurs(1996), with
Catherine Deneuve. Seewww.Columbia-Classics.com.
9. ON-LINE RESOURCES
•Library of Congress Places William P.
Gottlieb’s Iconic Jazz Images on Flickr
In the late 1930s, a Golden Age of Jazz started
to emerge, as hard economic times began to fade. Airwaves were pulsating with
jazz and record sales were rising. Legends like Billie Holliday, Louis
Armstrong, Duke Ellington, Charlie Parker, Dizzy Gillespie, Ella Fitzgerald,
and many more were on the scene—a and so was William Gottlieb. Equipped with a
bulky Speed Graphic camera, Gottlieb, a young columnist for theWashington
Postand later a writer forDown Beatmagazine, photographed jazz musicians and
performers, capturing classic images that are well known today. Gottlieb
photographed the jazz greats from 1938 to 1948.
Now that copyright restrictions on these images
have been lifted, a set of these iconic images, part of the Library of Congress
William P. Gottlieb Collection, has been uploaded to Flickr, the image and
video hosting website, at: www.flickr.com/photos/library_of_congress/sets/72157624588645784.
The Library of Congress will continue to add more photos each month, until all
1,600 from the collection are included.
The initial 200 images show the photographs alongside
Gottlieb’s personal recollections that were published in his bookThe Golden Age
of Jazz. The Music Division has loaded the original, un-cropped photographs on
Flickr. Gottlieb’s cropped versions of the images can be viewed in the
Library’s Performing Arts Encyclopedia, giving viewers a unique insight into
Gottlieb’s creative process. Seehttp://lcweb2.loc.gov/diglib/ihas/html/gottlieb/gottlieb-home.html.
The photographs in the Library’s William P.
Gottlieb Collection entered into the public domain on Feb. 16, 2010, in
accordance with Gottlieb’s wishes. Gottlieb died at age 89 in 2006. Although
copyright restrictions are lifted, rights of privacy and publicity may apply. Users
of photographs in the Gottlieb collection are responsible for clearing any
privacy or publicity rights associated with the use of the images.
Born in 1917, Gottlieb began working for
theWashington Postin 1938 in his last year at Lehigh University. For the Post,
he wrote and illustrated a weekly jazz column, perhaps the first in a major
newspaper. When the Post decided it couldn’t afford to pay a photographer to
shoot photos for the column, Gottlieb bought his own press camera and began
taking pictures. Gottlieb was drafted into the Army Air Corps in 1943. After
World War II, he worked as a writer-photographer forDown Beatmagazine. His work
also appeared frequently inRecord Changer, theSaturday ReviewandCollier’s.
After Gottlieb leftDown Beat, he was offered a
job at Curriculum Films, an educational filmstrip company. He then founded his
own filmstrip company, which was later bought by McGraw-Hill. Many of his
filmstrips won awards from the Canadian Film Board and the Educational Film
Librarians Association. From the 1950s to the 1970s, the filmstrip, now
obsolete, was a common form of still-image instructional multimedia technology,
a precursor to PowerPoint presentations.
Previous sets of Library of Congress photos
uploaded to Flickr, atwww.flickr.com/photos/library_of_congress,
include Baseball Americana, Farm Security Administration Favorites, Abraham
Lincoln, News in the 1910s, World War I Panoramas and more. The Library of
Congress started to place images on Flickr in January 2008.
"Archival News” reports recent news
highlights from the media archive community for theCinema Journalreadership.
Some information in this column comes courtesy of the Association of Moving
Image Archivists (AMIA) listserv, along with institutional newsletters,
websites and press releases. This column is updated quarterly. Readers seeking
more frequent news updates are encouraged to visit the AMIA news blog atwww.AMIANewsbriefs.com. Contributions to this column
are welcomed. Information should be sent to Jennifer Peterson, Assistant
Professor, Film Studies Program, 316 UCB, University of Colorado at Boulder,
Boulder, CO, 80309-0316; phone 303-735-2694; email:firstname.lastname@example.org.