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ARSCLIST  April 2006

ARSCLIST April 2006

Subject:

Re: New National Recording Registry just announced

From:

Lou Judson <[log in to unmask]>

Reply-To:

Association for Recorded Sound Discussion List <[log in to unmask]>

Date:

Tue, 11 Apr 2006 11:48:33 -0700

Content-Type:

text/plain

Parts/Attachments:

Parts/Attachments

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Is there a direct link to this text that might be more readable? I get 
crosseyed about half way down with no line breaks or formatting...

<L>

Lou Judson  Intuitive Audio
415-883-2689

On Apr 11, 2006, at 10:58 AM, Stephen C Leggett wrote:

> LIBRARY OF CONGRESS101 Independence Avenue SEWashington DC  
> 20540Phone:  (202) 707-2905Fax:  (202) 707-9199Email:  [log in to unmask] 
> April 11, 2006 Press contact: Sheryl Cannady (202) 707-6456
> Librarian of Congress Names 50 Recordings to the 2005 National 
> Recording Registry Librarian of Congress James H. Billington has made 
> his annual selection of 50 sound recordings for the National Recording 
> Registry. Under the terms of the National Recording Preservation Act 
> of 2000, the Librarian is responsible for annually selecting 
> recordings that are "culturally, historically, or aesthetically 
> significant." Registry recordings must be at least 10 years old. In 
> announcing the registry, the Librarian said, "The National Recording 
> Registry represents a stunning array of the diversity, humanity and 
> creativity found in our sound heritage, nothing less than a flood of 
> noise and sound pulsating into the American bloodstream."The National 
> Recording Registry was created by the National Recording Preservation 
> Act of 2000, legislation that promotes and supports audio 
> preservation. The registry celebrates the richness and variety of the 
> nation's audio legacy and underscores the responsibility to assure the 
> long-term preservation of that legacy for future 
> generations.Nominations for the registry were gathered from members of 
> the public, who submitted suggestions online (www.loc.gov/nrpb/), and 
> from the National Recording Preservation Board, which comprises 
> leaders in the fields of music, recorded sound and preservation. The 
> board also assisted the Librarian with the review of nominations.The 
> new additions to the registry honor a wide variety of outstanding 
> spoken and musical recordings and span the years 1903-1988. Among the 
> selections is the first presidential inauguration to be broadcast, 
> featuring the "New England man-of-few-words" Calvin Coolidge; the 
> first official transatlantic telephone conversation that took place on 
> Jan. 7, 1927; Clem McCarthy's 1938 broadcast of the historic Joe 
> Louis-Max Schmeling fight won by Louis in round 1; Samuel Barber's 
> beautiful and haunting "Adagio for Strings," called by some the 
> "American anthem for sadness and grief"; and Gil Scott-Heron's "The 
> Revolution Will Not Be Televised," a song poem whose title has become 
> a well-known part of the American cultural lexicon. Additions also 
> include a number of performances by an American pantheon of 
> significant artists, including Bob Hope, Nat "King" Cole, Fred Allen, 
> Mahalia Jackson, Fats Domino, Buddy Holly, Jerry Lee Lewis, Dave 
> Brubeck, B.B. King, the Nitty Gritty Dirt Band and Stevie 
> Wonder.Celebrity attendees at the news conference included Robert 
> Hendrix, cousin to music legend Jimi Hendrix; Martha Reeves, renowned 
> lead singer for the classic Motown group Martha and the Vandellas; and 
> members of the comedy troupe the Firesign Theatre, who performed a 
> five-minute comedy routine.  All are connected with recordings added 
> to the registry today.At the press conference, the Library also 
> announced acquisition of 31 rare, mint-condition test pressings from 
> blues legend Robert Johnson and discovery of a jam session featuring 
> jazz great Lester Young.  Speaking on the Young discovery, Loren 
> Schoenberg, executive director of the Jazz Museum in Harlem, said, 
> "Yes, this was Lester's absolute zenith and there is precious little 
> extant from this period. Imagine a new Shakespearean sonnet, Chopin 
> nocturne or Hemingway short story * that's what we have here * an 
> American master, a true iconoclast, at his very best."On behalf of 
> Congress and the National Recording Preservation Board, the Library of 
> Congress is conducting a study on the state of audio preservation and 
> will develop a comprehensive national recording preservation program, 
> the first of its kind. The study encompasses the current state of 
> sound-recording archiving, preservation, restoration activities and 
> access to those recordings by scholars and the public. Rob Bamberger, 
> director and writer for the National Recording Preservation Plan, was 
> introduced as the person who will prepare the study and plan.The 
> Library is identifying and preserving the best existing versions of 
> the recordings on the registry. These efforts have received support 
> from record companiesand archives. Sony BMG, in particular, is 
> assisting the national preservation program by locating the best 
> surviving elements of its recordings and duplicating them at no cost 
> to the Library, ensuring that the best existing versions are added to 
> the National Recording Registry Collection at the Library of 
> Congress.The Library is currently accepting nominations for the 2006 
> National Recording Registry at the National Recording Preservation 
> Board Web site, www.loc.gov/nrpb/.The Library of Congress is the 
> nation's oldest federal cultural institution and the world's largest 
> library with more than 132 million items, which includes nearly 2.8 
> million sound recordings. The Library's Recorded Sound Section holds 
> the largest number of radio broadcasts in the United States * more 
> than 500,000.A selection of audio excerpts and images will be 
> available to the press through April 18 at www.loc.gov/2005 National 
> Recording Registry  # # #PR 06-834/11/06ISSN 0731-3527NATIONAL 
> RECORDING REGISTRY ANNOUNCED                       2005 National 
> Recording Registry (in chronological order) 1.            "Canzone del 
> Porter" from "Martha (von Flotow)," Edouard de Reszke (1903)2.         
> "Listen to the Lambs," Hampton Quartette; recorded by Natalie Curtis 
> Burlin (1917)3.         "Over There," Nora Bayes (1917)4.         
> "Crazy Blues," Mamie Smith (1920)5.         "My Man" and "Second Hand 
> Rose," Fanny Brice (1921)6.            "Ory's Creole Trombone," Kid 
> Ory (June 1922)7.            Inauguration of Calvin Coolidge (March 4, 
> 1925)8.         "Tanec pid werbamy/Dance Under the Willows," Pawlo 
> Huemiuk (1926)9.         "Singin' the Blues," Frankie Trumbauer and 
> his Orchestra with Bix Beiderbecke (1927) 10.       First official 
> transatlantic telephone conversation (Jan. 7, 1927)11.       "El 
> Manisero" ("The Peanut Vendor"), Rita Montaner, vocal with orchestra 
> (1927); "El Manisero," Don Azpiazu and his orchestra (1930)  12.       
>      Light's Golden Jubilee Celebration (Oct. 21, 1929)13.            
> Beethoven's Egmont Overture, Op. 84, Modesto High School Band 
> (1930)14.             "Show Boat," Helen Morgan, Paul Robeson, James 
> Melton and others; Victor Young, conductor; Louis Alter, piano (1932) 
> 15.            "Wabash Cannonball," Roy Acuff (1936)16.       "One 
> o'Clock Jump," Count Basie and his Orchestra (1937)17.            
> Archibald MacLeish's "Fall of the City," Orson Welles, narrator, 
> Burgess Meredith, Paul Stewart (April 11, 1937) 18.       "The 
> Adventures of Robin Hood" radio broadcast of May 11, 193819.       Joe 
> Louis-Max Schmeling fight, Clem McCarthy, announcer (June 22,1938)20.  
>      "John the Revelator," Golden Gate Quartet (1938) 21.            
> "Adagio for Strings," Arturo Toscanini, conductor; NBC Symphony 
> (1938)22.            "Command Performance" show No.21, Bob Hope, 
> master of ceremonies (July 7, 1942)23.            "Straighten Up and 
> Fly Right," Nat "King" Cole (1943)24.            Allen's Alley segment 
> from "The Fred Allen Show"(Radio broadcast of Oct. 7, 1945)25.       
> "Jole Blon," Harry Choates (1946)26.            "Tubby the Tuba," Paul 
> Tripp (words) and George Kleinsinger (music) (1946)27.            
> "Move on up a Little Higher," Mahalia Jackson (1948)28.             
> "Anthology of American Folk Music," edited by Harry Smith (1952)  29.  
>           "Schooner Bradley," performed by Pat Bonner (??1952-60)30.   
>          "Damnation of Faust," Boston Symphony Orchestra with the 
> Harvard Glee Club and Radcliffe Choral Society (1954)31.            
> "Blueberry Hill," Fats Domino (1956)32.            "Variations for 
> Orchestra," Louisville Orchestra (1956)33.       "Whole Lotta Shakin' 
> Goin' On," Jerry Lee Lewis (1957)34.            "That'll Be the Day," 
> Buddy Holly (1957)35.       "Poeme Electronique," Edgard Varese 
> (1958)-more-36.       "Time Out," The Dave Brubeck Quartet (1959)37.   
>     Studs Terkel interview with James Baldwin (Sept. 29, 1962)38.      
>  William Faulkner address at West Point Military Academy (1962)  39.   
>          "Dancing in the Street," Martha and the Vandellas (1964)40.   
>     "Live at the Regal," B.B. King (1965)41.       "Are You 
> Experienced?" Jimi Hendrix Exerience (1967)42.       "We're Only in It 
> for the Money," Frank Zappa and the Mothers of Invention (1968)43.     
>        "Switched-On Bach," Wendy Carlos (1968)44.       "Oh Happy 
> Day," Edwin Hawkins Singers (1969)45.            "Don't Crush That 
> Dwarf, Hand Me the Pliers," Firesign Theatre (1970)46.       "The 
> Revolution Will Not Be Televised," Gil Scott-Heron (1970)47.       
> "Will the Circle Be Unbroken," Nitty Gritty Dirt Band (1972)48.       
> The old fog horn, Kewaunee, Wis., recorded by James A. Lipsky 
> (1972)49.       "Songs in the Key of Life," Stevie Wonder (1976) 50.   
>          "Daydream Nation," Sonic Youth (1988)                         
>    2005 National Recording Registry (in chronological order) 1.        
>  "Canzone del Porter" from "Martha (von Flotow)," Edouard de Reszke 
> (1903) Representative of the Columbia Grand Opera Series. Columbia 
> Records' 1903 "celebrity" series of discs featured seven Metropolitan 
> Opera stars who were considered some of the most significant singers 
> of the period. Perhaps of great historical significance within the 
> series are the three recordings made by bass Edouard de Reszke. They 
> are his only known published recordings, made when he was approaching 
> the end of his performing career. Other performers included in the 
> series are Giuseppe Campanari, baritone; Marcella Sembrich, soprano; 
> Suzanne Adams, soprano; Ernestine Schumann-Heink, contralto; Antonio 
> Scotti, baritone; and Charles Gilbert, baritone.  2.         "Listen 
> to the Lambs," Hampton Quartette; recorded by Natalie Curtis Burlin 
> (1917) Natalie Burlin (1875-1921), a pioneer in the study of American 
> minority cultures, was one of the leading collectors and transcribers 
> of indigenous music of Africa and the United States. Beginning around 
> 1903, she worked to document and preserve Native American culture and 
> in 1910, extended her work to carry out important studies of 
> African-American and African culture. Burlin published four volumes of 
> transcriptions taken from performances by students at Virginia's 
> Hampton Normal and Agricultural Institute in 1918-1919. Recordings by 
> the Hampton Quartette made on wax cylinders during the 1880s, 
> including this recording of  "Listen to the Lambs," were probably the 
> basis of some of her published transcriptions. 3.         "Over 
> There," Nora Bayes (1917) Inextricably associated in popular 
> imagination with World War I, Nora Bayes' recording introduced George 
> M. Cohan's song and became an international hit. Cohan had 
> specifically requested that Bayes be the first singer to release his 
> composition. A former member of the "Ziegfeld Follies," an extremely 
> popular vaudevillian and a Broadway star, she recorded a number of 
> other songs to boost morale during the war and performed extensively 
> for the soldiers. 4.         "Crazy Blues," Mamie Smith (1920) With 
> her recording of "Crazy Blues," Mamie Smith became the first black 
> vocalist to make a commercial vaudeville blues record. The recording 
> was a surprise hit, reputedly selling more than 250,000 copies. It 
> revealed to record companies a previously neglected market for 
> records, African-American buyers. Subsequently, thousands of 
> recordings were made of black jazz and blues artists, invigorating the 
> record business and enabling the documentation and preservation of one 
> of the richest eras of musical creativity in the United States. 5.     
>     "My Man" and "Second Hand Rose," Fanny Brice (1921) Performed by 
> Fanny Brice in the "Ziegfeld Follies of 1921," "My Man" and "Second 
> Hand Rose" were recorded by Victor Records the same year and issued 
> together on a double-faced 78-rpm disc. Known for her comedic songs in 
> Yiddish and other dialects, Brice was in the midst of marital woes 
> when she recorded "My Man." Audiences, connecting strongly with her 
> passionate performance, concluded she was singing about herself. 
> "Second Hand Rose" was a follow-up to a previous hit song, "Rose of 
> Washington Square," and was a rare instance of the sequel excelling 
> its predecessor.  6.         "Ory's Creole Trombone," Kid Ory (June 
> 1922)  This ensemble of trombonist Kid Ory, originally called "Spikes' 
> Seven Pods of Pepper," was the first recording ever issued of a black 
> jazz band. It was recorded by Andrae Nordskog for his Santa Monica, 
> Calif.-based Nordskog record label. Under confusing circumstances, the 
> record was issued on the Sunshine label belonging to Los Angeles music 
> promoters the Spikes Brothers. 7.         Inauguration of Calvin 
> Coolidge (March 4, 1925) Calvin Coolidge's inauguration in 1925 was 
> the first presidential inauguration to be broadcast. Using the latest 
> technology, RCA and Bell Telephone aired the ceremonies over a 
> makeshift network of radio stations. The New York Times estimated that 
> more than 25 million Americans would be able to hear the president's 
> address, thus making it a national event in a manner not previously 
> possible. Twenty-one radio stations, linked in a circuit throughout 
> the country, broadcast the president's 47-minute inaugural address 
> from the steps of the U.S. Capitol. This recording was made as an 
> experiment, not for publication. It features announcers Graham McNamee 
> on AT&T's Red Network and Major J. Andrew White and Norman Brokenshire 
> for the RCA/Westinghouse stations. 8.         "Tanec pid werbamy/Dance 
> Under the Willows," a Ukrainian violin solo with cymbaly, bass and 
> sleigh bells, Pawlo Huemiuk (1926)  Pawlo Humeniuk was a renowned 
> violin player in Ukranian communities before beginning his recording 
> career with Columbia, for which he made this dance number. He learned 
> violin in western Ukraine at the age of 6 and enjoyed a busy career 
> playing concerts, dances and vaudeville theaters. The song is an 
> excellent example of the ethnic releases that record labels began to 
> produce in the 1920's for sale to immigrant communities in the United 
> States.  9.         "Singin' the Blues," Frankie Trumbauer and his 
> Orchestra with Bix Beiderbecke (1927)  Saxophonist Frankie Trumbauer 
> and cornetist Bix Beiderbecke created some of the most  significant 
> jazz recordings of the 1920s, works still noted for their beauty and 
> influence on fellow musicians. Traumbauer and Beiderbecke had worked 
> together in the orchestras of Jean Goldkette, Adrian Rollini and Paul 
> Whiteman. For a brief period in 1927, Trumbauer had his own recording 
> contract with Okeh Records. Together with guitarist Eddie Lang and 
> other members of the ensemble, Trumbauer and Beiderbecke recorded 
> "Singin' the blues," which contains one of Beiderbecke's greatest 
> solos.    10.       First official transatlantic telephone 
> conversation (Jan. 7, 1927) Upon the opening of the transatlantic 
> telephone circuit for commercial service, W.S. Gifford, president of 
> the American Telephone & Telegraph Co., called Sir Evelyn P. Murray, 
> secretary  of the General Post Office of Great Britain, offering 
> felicitations.  11.       "El Manisero" ("The Peanut Vendor"), Rita 
> Montaner, vocal with orchestra (1927); "El Manisero," Don Azpiazu and 
> his orchestra (1930)   Popular Cuban singer and radio artist Rita 
> Montaner recorded the first version of the traditional song "El 
> Manisero" in Havana in 1927. The Don Azpiazu Orchestra version of "El 
> Manisero," adapted from Montaner's recording, was made in New York 
> City three years later. It is the first American recording of an 
> authentic Latin dance style. This recording launched a decade of 
> "rumbamania," introducing U.S. listeners to Cuban percussion 
> instruments and Cuban rhythms. 12.       Light's Golden Jubilee 
> Celebration (Oct. 21, 1929)  Celebrating the 50th anniversary of the 
> invention of incandescent light, inventor Thomas Edison was honored at 
> a dinner Oct. 21, 1929. Portions of the celebration were broadcast 
> over an NBC radio network. Hosted by announcer Graham McNamee, the 
> radio program included speeches by President Herbert Hoover, Marie 
> Curie, Henry Ford and, speaking over shortwave from Berlin, Albert 
> Einstein. Messages from the Prince of Wales, President Von Hindenberg 
> and Commander Richard Byrd from the South Pole were read to Edison 
> during the broadcast.  13.       Beethoven's Egmont Overture, Op. 84, 
> Modesto High School Band (1930) This 1930 recording of the Modesto, 
> Calif., High School Band is the only known recording made by a high 
> school band participating in the National High School Band contests 
> held between 1926 and 1934. Under the direction of Frank Mancini, 
> Modesto High School placed third in the 1927 and 1928 contests, and 
> second in 1929. An important educator and conductor who directed band 
> programs in California area schools, Mancini was a former member of 
> the bands of John Philip Sousa and Patrick Conway. Limited edition 
> high school band recordings were once common, produced as fundraising 
> tools for school bands and treasured as souvenirs by band members. 
> However, few high school bands were recorded before the advent of tape 
> recording and long-playing discs inthe late 1940s. 14.       "Show 
> Boat," Helen Morgan, Paul Robeson, James Melton and others; Victor 
> Young, conductor; Louis Alter, piano (1932)
>
> Original cast recordings of hit musicals were not made at the time of 
> Jerome Kern and Oscar Hammerstein's landmark 1927 show, "Show Boat." 
> Brunswick Records recorded 10 sides of selections from the musical in 
> 1932 and issued them as an album set. The most notable performances on 
> the set are those of Helen Morgan, the original "Julie" in the 
> musical, and Paul Robeson, who played "Joe" in the London cast. The 
> set also includes discs of the musical's overture and finale, making 
> it as close to an original cast album as one may encounter from this 
> period.  15.       "Wabash Cannonball," Roy Acuff (1936) Fiddler and 
> vocalist Roy Acuff's "Wabash Cannonball" was first recorded in 1936, 
> featuring the vocals of Sam "Dynamite" Hatcher of Acuff's band, the 
> Crazy Tennesseans. Acuff later changed the band's name to the Smoky 
> Mountain Boys while continuing to make himself well known through 
> motion picture appearances, recordings and personal tours. He first 
> appeared in 1938 as a regular on the Grand Ole Opry and was its top 
> star by 1942. "Wabash Cannonball" was recorded again by Acuff, this 
> time with his own vocals, in 1947. Acuff was the first living artist 
> to be elected into the Country Music Hall of Fame in 1962.  16.       
> "One o'Clock Jump," Count Basie and his Orchestra (1937) This landmark 
> of the big band Swing Era first came together as a "head arrangement." 
>  Head arrangements, worked out in rehearsal and committed to memory 
> rather than written down, gave much freedom to soloists and allowed 
> the musicians to concentrate on the rhythmic drive for which Kansas 
> City jazz and the Basie orchestra is noted. The Basie orchestra, like 
> most Kansas City-style bands, was organized around its rhythm section. 
> The interplay of brass and reeds on the "One o'Clock Jump" serves as a 
> backdrop for the unfolding solos of the band's extraordinary players, 
> including Lester Young, Herschel Evans and Buck Clayton. 17.       
> Archibald MacLeish's "Fall of the City," Orson Welles, narrator, 
> Burgess Meredith, Paul Stewart (April 11, 1937)  As broadcast on "The 
> Columbia Workshop," Earle McGill's production of Archibald MacLeish's 
> chilling vision of a not-so-future war featured Orson Welles as the 
> narrator. This program brought experimental radio as pioneered by "The 
> Columbia Workshop" to maturity and profoundly influenced a generation 
> of creative radio producers and directors.   18.       "The Adventures 
> of Robin Hood" radio broadcast of May 11, 1938 Prior to the release of 
> its 1938 film, "The Adventures of Robin Hood," Warner Bros. studio 
> arranged to promote the motion picture by broadcasting portions of its 
> musical score over its Los Angeles radio station, KFWB. The radio 
> broadcast included composer Erich Wolfgang Korngold's symphonic 
> scoring of 10 sequences from the film, with narration by actor Basil 
> Rathbone. "Robin Hood" is one of Korngold's most respected dramatic 
> scores, an outstanding example of what he termed "operas without 
> words." Because commercial recordings of motion picture scores did not 
> exist in 1938, this unusual film score recording was not published 
> until 1975. 19.       Joe Louis-Max Schmeling fight, Clem McCarthy, 
> announcer (June 22,1938) It is believed that more than 70 million 
> people, the largest audience to date for a single radio broadcast, 
> listened to NBC's broadcast of the boxing rematch between American Joe 
> Louis and German Max Schmeling. From its inception, the fight was 
> viewed as more than a sports event. The symbolism of an African 
> American defeating a citizen of the political state that proclaimed 
> the superiority of the white race was lost on no one. Veteran 
> announcer Clem McCarthy delivered a blow-by-blow account of the 
> 124-second match to radio audiences from a packed Madison Square 
> Garden.  20.       "John the Revelator," Golden Gate Quartet (1938)  
> This pioneer Virginia gospel quartet of the 1930s and 1940s had a 
> profound influence on gospel music, furthering the development of 
> gospel vocal quartets from the Jubilee-style of the 19th century to 
> one influenced by 20th century jazz and popular music. Their smooth 
> Mills Brothers-influenced harmonies, humor and vocal improvisations 
> brought the quartet large audiences that extended far beyond the 
> church. 21.       "Adagio for Strings," Arturo Toscanini, conductor; 
> NBC Symphony (1938) "Adagio for Strings," adapted for orchestra by 
> Samuel Barber from a movement of his 1936 String Quartet No. 1, Op. 
> 11, was created for maestro Arturo Toscanini. It was premiered to a 
> widely enthusiastic audience on a Nov. 5, 1938, radio broadcast of the 
> NBC Symphony. Its tense melodic line and taut harmonies have made this 
> moving composition one of the most popular of all 20th century 
> classical works. The work is often performed and can be heard in the 
> scores of many motion pictures and television programs, most notably 
> "Platoon" and an episode of "Seinfeld." 22.       "Command 
> Performance" show No. 21, Bob Hope, master of ceremonies (July 7, 
> 1942) Although Bob Hope is known for his tireless touring for United 
> Service Organizations (USO) shows, he also lent his services to other 
> entertainment projects for the troopsduring World War II, including 
> "Command Performance." Of the programs broadcast by the Armed Forces 
> Radio Service * a wartime broadcasting service for the troops * 
> "Command Performance" consistently attracted the biggest stars of the 
> day. Hope appeared on the program as master of ceremonies a number of 
> times, and service personnel reported greatly enjoying his 
> performances. 23.       "Straighten up and Fly Right," Nat "King" Cole 
> (1943) The King Cole Trio, featuring Nat "King" Cole on piano and 
> vocals, is one of most respected small-group ensembles in jazz 
> history. Cole's astonishing technical command of the piano, featuring 
> a deceptively light touch, influenced many of the greatest piano 
> virtuosos who followed him, including Erroll Garner, Oscar Peterson 
> and Bill Evans. His vocal solo on this recording introduced audiences 
> to his beautifully smooth singing, immaculate diction and liquid 
> style, launching his career as a one of the most popular singers of 
> the mid-20th century. 24.       Allen's Alley segment from "The Fred 
> Allen Show"(Radio broadcast of Oct. 7, 1945)  Starting on Dec.13, 
> 1942, "The Fred Allen Show" featured a segment known as "Allen's 
> Alley" in which Allen would stroll along a fictitious alley and meet a 
> colorful cast of characters, including Senator Bloat, Minerva Pious, 
> Mrs. Pansy Nussbaum and Falstaff Openshaw. One measure of the 
> continuing influence of the show was Warner Bros.' modeling the 
> cartoon rooster Foghorn Leghorn on Senator Claghorn, the blustery 
> Southern politician who was a regular character on "Allen's Alley." 
> The Oct. 7, 1945, broadcast marked the debut of the Senator Claghorn 
> character. 25.       "Jole Blon," Harry Choates (1946) "Jole Blon," by 
> fiddler Harry Choates, is credited with introducing Cajun music to a 
> national audience and making that genre a significant component of 
> country music. Choates is known to many as the "Godfather of Cajun 
> Music" and "Fiddle King of Cajun Swing." "Jole Blon," recorded for the 
> Gold Star label, quickly became a country charts hit, the first Cajun 
> song to make the top 10. 26.       "Tubby the Tuba," Paul Tripp 
> (words) and George Kleinsinger (music) (1946) The charming musical 
> story of Tubby introduces children to the sounds and roles of 
> orchestra instruments and is one of the most enduring children's 
> recordings ever made. The work was first recorded in 1946, featuring 
> the narration of character actor Victor Jory. "Tubby" has since been 
> recorded in many different forms. 27.       "Move on up a Little 
> Higher," Mahalia Jackson (1948)  This recording was gospel singer 
> Mahalia Jackson's breakthrough disc, a best-seller that  appealed 
> equally to black and white audiences and reputedly became the 
> best-selling gospel release to date. Jackson blends the vocal styles 
> of blues singers, such as Bessie Smith and Ma Rainey, with the 
> heartfelt emotion and commitment common to traditional gospel singing. 
> She helped to make gospel music popular with racially diverse 
> audiences of all religions.  28.       "Anthology of American Folk 
> Music," edited by Harry Smith (1952)  The "Harry Smith Anthology," 
> compiled for Folkways Records from obscure, commercially released 
> 78-rpm discs originally recorded between 1926 and 1934, brought a 
> variety of neglected and virtually forgotten genres of American music 
> to the public's attention. The anthology was drawn from the personal 
> record collection of the independent filmmaker and record collector 
> Harry Smith, who also annotated and illustrated the set. It includes 
> country blues, hillbilly tunes, Cajun social music, Appalachian murder 
> ballads and other genres of American music rarely heard on record in 
> the early 1950s. The LP set was widely influential and played a 
> seminal role in the folk music revival of the 1950s and 1960s. 29.     
>   "Schooner Bradley," performed by Pat Bonner (1952-60). 
> Representative of the Ivan Walton Collection, Bentley Library, 
> University of Michigan. In the 1930s, Great Lakes folklorist Ivan 
> Walton collected songs and music in the northern part of Michigan's 
> Lower Peninsula in an effort to save the music of Great Lakes sailors. 
> This recording by fiddler Pat Bonner reflects and preserves [AS1] a 
> fading tradition tied to maritime life at the end of the schooner era. 
> 30.       "Damnation of Faust," Boston Symphony Orchestra with the 
> Harvard Glee Club and Radcliffe Choral Society (1954) Recorded in 
> Boston's Symphony Hall on Feb. 21 and 22, 1954,  this  "live" 
> performance of  Berlioz's "dramatic legend" was recorded through a 
> single condenser microphone suspended 17 feet above the conductor's 
> podium, with one auxiliary microphone enlisted occasionally to 
> strengthen the chorus. Conductor Charles Munch, considered one of the 
> great interpreters of Berlioz, leads the Boston orchestra with 
> assistance from G. Wallace Woodworth directing the Harvard Glee Club 
> and Radcliffe Choral Society. Soloists include Suzanne Danco, David 
> Poleri, Martial Singher and Donald Gramm. 31.       "Blueberry Hill," 
> Fats Domino (1956) Domino's relaxed-tempo, R&B version of  "Blueberry 
> Hill" was inspired by Louis Armstrong's rendition of the 1940 
> composition. The singer's New Orleans roots are evident in the Creole 
> inflected cadences that add richness and depth to the performance. 
> Recorded in Los Angeles for Imperial records, Domino insisted on 
> performing the song despite the reservations of the producer of the 
> session. The wisdom of this choice is borne out by the enduring 
> association of the song with Domino, despite a number other 
> popularrenditions. 32.       "Variations for Orchestra," 
> representative of the Louisville Orchestra First Edition Recordings 
> series, Louisville Orchestra (1956)        "Variations for Orchestra" 
> by Elliot Carter is one of many works commissioned by the Louisville 
> Orchestra under its Rockefeller Foundation-funded program to 
> commission, premiere and record 20th century classical music. 
> Premiering on April 21, 1956, with Robert S. Whitney conducting, 
> "Variations for Orchestra" was recorded the next month. From 1954 
> through 1959, the Louisville Orchestra commissioned and performed 116 
> works from 101 composers, issuing 125 long-playing discs on its First 
> Edition Recordings label, the first recording label owned by an 
> American orchestra.  33.       "Whole Lotta Shakin' Goin' On," Jerry 
> Lee Lewis (1957) Jerry Lee Lewis' second release for Sun Records 
> included this lively number that jettisoned the performer to 
> international popularity. A reworking of an R&B single penned by Roy 
> Hall (aka Sunny David) and Dave Williams, Lewis radically altered the 
> original, adding a propulsive boogie piano that was perfectly 
> complemented by the drive of J.M. Van Eaton's energetic drumming. The 
> listeners to the recording, like Lewis himself, had a hard time 
> remaining seated during the performance.  34.       "That'll Be the 
> Day," Buddy Holly (1957) Buddy Holly had actually recorded an earlier 
> version of this song with a more country-and-western feel than the hit 
> version that Brunswick records released. In an era when performers 
> were not necessarily songwriters, Buddy Holly and the Crickets wrote 
> most of their own material, including this number. 35.       "Poeme 
> Electronique,"  Edgard Varese (1958) Described by composer Joel 
> Chadabe as "the ultimate statement of tape music as mastic concrete," 
> this work premiered in the Philips pavilion designed by famed 
> architect Le Corbusier for the 1958 Brussels Exposition. The work 
> incorporated innumerable recorded sounds * voices, sirens, bells, tone 
> generators * that were all heard by visitors to the pavilion from 425 
> loudspeakers positioned throughout the hall. The speakers allowed the 
> sound to be moved through the space in interesting patterns that 
> clashed with or complemented an array of projected images. The 
> Columbia release (ML 5148) used the actual tapes that Edgard Varese 
> employed in the original performance.  36.       "Time Out," The Dave 
> Brubeck Quartet (1959) Spawned by the "Cool Jazz" movement, "Time Out" 
> is an album both accessible and musically and rhythmically 
> sophisticated. "Take Five,"composed by the Quartet's saxophonist Paul 
> Desmond, has an unforgettable melody but is written in 5/4 time. 
> "BlueRondo a la Turk," which Brubeck claimed to be inspired by Turkish 
> music he heard while on tour, is in the challenging 9/8 meter, but a 
> generation of listeners would instantly recognize it.  37.       Studs 
> Terkel interview with James Baldwin, representative of the Studs 
> Turkel Collection at the Chicago Historical Society, (Sept. 29, 1962)  
>  From 1952 to 1997, Studs Terkel hosted a radio program featuring 
> interviews with a broad variety of performing artists, writers, poets, 
> playwrights, historians, political commentators, activists and people 
> who in other circumstances might be termed average Americans. He has 
> long been recognized as an outstanding interviewer and practitioner of 
> oral history. His skills extend beyond getting others to talk candidly 
> about themselves to producing revealing interchanges that illuminate 
> and inform about creativity, commitment and life in the United States. 
> 38.       William Faulkner address at West Point Military Academy 
> (1962)   Three months before his death, in one of his last public 
> appearances, William Faulkner spent two days as a guest lecturer at 
> West Point, where he read from his novel "The Reivers" and 
> participated in a question-and-answer session with the press and 
> public. Recorded and transcribed by two English professors at the 
> Academy, Joseph L. Fant III and Robert Ashley, Faulkner is extremely 
> candid, lucid and generous. Among the subjects he discusses are 
> Hemingway, Dreiser, race relations and the future of the South and the 
> purpose of literature.  39.       "Dancing in the Street," Martha and 
> the Vandellas (1964) This rousing dance hit has been cited as one of 
> the first examples of what would come to be known as the Motown sound. 
> Written by Marvin Gay, William Stevenson and Ivy Jo Hunter, the song 
> was turned down by another Motown act before Martha and the Vandellas 
> performed it in the Motown studios. The group, which consisted of 
> Martha Reeves, Rosalyn Ashford and Annette Beard, had alternated 
> between singing backup for other Motown acts and working on their own 
> material, but, after the success of this song, their career as a 
> backup group was definitively ended. The African-American community 
> would come to infuse the tune with political sentiments. 40.       
> "Live at the Regal," B.B. King (1965) Bluesman B.B. King recorded this 
> album at the Regal Theater in Chicago in 1964. The recording showcases 
> King's inventive and emotional guitar style, which blends Delta blues 
> with a rhythm and blues beat, spiking the combination with his 
> "sliding note" style. The album, one of the first of an in-concert 
> blues performance, documents King's intimate relationship with his 
> audience. King, who has been called "The King of the Blues" and the 
> "best blues artist of his generation," has been a primary influence on 
> a number of artists, including Buddy Guy, Eric Clapton and Mike 
> Bloomfield. 41.       "Are You Experienced?" Jimi Hendrix Exerience 
> (1967)  This 1967 release remains not only one of the quintessential 
> statements of psychedelic rock but also has proved to be one of the 
> most groundbreaking guitar albums of the rock era. Hendrix's playing, 
> while strongly rooted in the blues, also incorporated a variety of 
> jazz influences and a uniquely personal vocabulary of emotive guitar 
> feedback and extended solos. Including such classics as "Purple Haze," 
> "Hey Joe" and "The Wind Cries Mary," the album featured the able 
> rhythm section of Noel Redding on bass and Mitch Mitchell on drums. It 
> is difficult to overstate the enormous influence that Hendrix's 
> recordings have had on subsequent guitarists.  42.       "We're Only 
> in It for the Money," Frank Zappa and the Mothers of Invention (1968) 
> Frank Zappa's inventive and iconoclastic album presents a unique 
> political stance, both anti-conservative and anti-counterculture, and 
> features a scathing satire on hippiedom and America's reactions to it. 
> The album art is a brilliant parody of the Beatles' sleeve design for 
> "Sgt. Pepper's Lonely Hearts Club Band." Zappa's radical audio editing 
> and production techniques produced an eclectic blend of electronic, 
> avant-garde and rock music that was influenced by composers such as 
> Varese and Stravinsky, with pop melodies, virtuoso instrumental 
> performances, verbal asides and sound effects that segue into a 
> cohesive work. The result is an electronic sound collage that may be 
> Zappa's definitive musical statement on America in the 1960s.  43.     
>   "Switched-On Bach," Wendy Carlos (1968) This meticulously recorded 
> album introduced the Moog synthesizer to a much wider audience than it 
> had previously reached. Many of the separate synthesizer voices on the 
> album were recorded to tape individually and carefully mixed to create 
> the final product. After the recording, Bob Moog's musical circuitry 
> enjoyed an enormous boom. Within a decade the synthesizer was well 
> established in the idioms of rock music, dance music and Western art 
> music. Wendy Carlos went on to record several more well-crafted Bach 
> recordings.  44.       "Oh Happy Day," Edwin Hawkins Singers (1969)  
> Regarded as the springboard for the development of contemporary gospel 
> music, "Oh Happy Day" was based on a 19th century white hymn. Its 
> popular music and jazz-influenced harmonies, infectious rhythms and 
> use of instruments not often found on earlier gospel recordings have 
> made the recording enduringly popular and influential. Originally 
> recorded on a long-playing album, "Let Us Go into the House of the 
> Lord," as a fund-raising effort for the Northern California State 
> Youth Choir by director Edwin Hawkins, its compelling, exhilarating 
> sound found its way onto radio playlists in San Francisco. Re-recorded 
> under the name "Edwin Hawkins Singers," the song became an 
> international crossover hit. 45.       "Don't Crush That Dwarf, Hand 
> Me the Pliers," Firesign Theatre (1970) Firesign Theatre, the Los 
> Angeles-based comedy group, started on radio station KPFK in 1966 and 
> began producing comedy records in 1968. "Don't crush that dwarf" was 
> recorded in 1970, utilizing many sophisticated production techniques 
> for the first time on a comedy album, including 16-track recording and 
> Dolby noise reduction. The technology, enlisted in service of the 
> ensemble's creativity, enabled the use of surreal sound effects and 
> layered storytelling to create an album of far more than individual 
> comedy sketches. "Dwarf "is a one-act play that satirizes radio and 
> television programs to comment on political, social and literary 
> topics of its day, remaining funny decades later.  46.       "The 
> Revolution Will Not Be Televised," Gil Scott-Heron (1970) This poem, 
> first released on Gil Scott-Heron's first album, "Small Talk at 125th 
> and Lenox," served as a rallying cry to black America and proved a 
> foreshadowing of the more politically active strains of rap music. 
> Having published a novel before he switched to a career as a recording 
> artist, Scott-Heron's street poetry proved uncompromising in its 
> vision. Flutist Hubert Laws accompanied Scott-Heron's spoken and sung 
> pieces.  47.       "Will the Circle Be Unbroken," Nitty Gritty Dirt 
> Band (1972) For "Will the Circle Be Unbroken," the Nitty Gritty Dirt 
> Band, previously known for their country-rock and jug band music, 
> brought together a stellar group of musical giants of country music 
> for an unprecedented collaboration. The recordings, made in Nashville, 
> showcased traditional songs and country music classics with guest 
> performances by Doc Watson, Roy Acuff, Jimmy Martin, Maybelle Carter, 
> Merle Travis and Earl Scruggs. The resulting three-LP set introduced 
> acoustic country music to a new generation of audiences and revived 
> the careers of several of the guest performers. 48.       The old fog 
> horn, Kewaunee, Wis., recorded by James A. Lipsky (1972) In the late 
> 19th century, Kewaunee, Wis., one of the great maritime ports of the 
> northern Great Lakes, sought to challenge Chicago as Lake Michigan's 
> supreme port city. Its car ferry and rail loading tracks were 
> constructed in 1891 within a vast program of harbor improvements 
> toward this goal. The port's original fog signal was removed in 1981 
> when an automated signal was installed. Improved rail connections to 
> other cities led to the ultimate decline of the port; Kewaunee's 
> aspirations were short lived. This recording preserves lost sounds of 
> the once bustling northern lake port.  49.       "Songs in the Key of 
> Life," Stevie Wonder (1976)  In addition to Stevie Wonder's impeccable 
> musicianship, this album features contributions from Nathan Watts 
> (bass), Raymond Pounds (drums), Greg Phillinganes (keyboards), Ben 
> Bridges and Mike Sembello (guitar) and a guest appearance by jazz 
> pianist Herbie Hancock. To produce the album, Wonder and the group 
> worked in the studio relentlessly for two years, occasionally logging 
> sessions of 48 hours straight. These efforts paid off with a number of 
> excellent jazz, blues and gospel-influenced songs, including "I Wish" 
> and "Pastime Paradise."  The album also includes the Duke Ellington 
> tribute "Sir Duke," in which Wonder acknowledges his debt to the 
> African-American musical tradition.  50.       "Daydream Nation," 
> Sonic Youth (1988) Pioneer members of New York City's clangorous early 
> 1980s New Wave scene, Sonic Youth are renowned for a glorious form of 
> noise-based chaos. Guitarists Thurston Moore and Lee Ranaldo had 
> previously performed with Glen Branca's large guitar ensembles, and 
> their alternative guitar tunings and ringing harmonies attest to this 
> apprenticeship. On "Daydream Nation," their third album, the group's 
> forays into outright noise always return to melodic songs that employ 
> hypnotic arpeggios, driving punk rock rhythmic figures and furious 
> gales of guitar-based noise. Bassist Kim Gordon's haunting vocals and 
> edgy lyrics add additional depth to the numbers she sings.
> Steve Leggett, Program Coordinator
> National Film Preservation Board
> National Recording Preservation Board
> Library of Congress (4690)
> MBRS Division
> Washington, D.C. 20540
> p: 202/707-5912
> f: 202/707-2371
> email: [log in to unmask]
> WWW: http://www.loc.gov/film/
> http://www.loc.gov/rr/record/nrpb/Also visit the Web site of our 
> charitable
> affiliate, the National Film Preservation
> Foundation at
> http://www.filmpreservation.org"It is amazing what can be accomplished 
> when no
> one cares who gets the credit."  --  Harry S. Truman

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