Association For Recorded Sound Collections Number 149 • Spring 2019
Newsletter
Contents
ARSC Conference 2019 . . . . . . 1
President’s Message . . . . . . . . .3
Guide to Portland . . . . . . . . . . .4
Historical Recording . . . . . . . . . 8
Chapter News . . . . . . . . . . . . 10
Member News . . . . . . . . . . . . 11
New Members . . . . . . . . . . . . 12
Experience ARSClandia in Portland.
ARSC will be returning to the Pacic Northwest for the rst time in thirteen
years for the 53rd annual conference, to be held on May 8-11, 2019 in Portland,
Oregon. Known variously as the City of Roses and Beervana, due to the
growing number of craft breweries, Portland also has a thriving record collecting
scene and claims to have more record stores per capita than any city in the U.S.
It should come as no surprise that Discogs and CD Baby, two of the largest
online marketplaces for recordings, are also headquartered in the city.
We hope
to tap all of these resources for a truly memorable experience.
The conference will be held at The Benson, a historic landmark hotel built in
1913. Located at the edge of the trendy Pearl District, the hotel is also within
walking distance of Pioneer Square and downtown Portland. Attendees will have
easy access to tax-free shopping, dining, and entertainment, including the city’s
hip clubs, acclaimed food carts, and downtown record stores.
Cultural opportunities also abound within the central business district,
including the Portland Art Museum and Oregon Historical Society, while the
Oregon Museum of Science and Industry is located across the Willamette River.
See Conference on page 2
Downtown Portland and Mount Tabor with Mount Hood. Photo by Cacophony.
Events
March 20-14, 2019 Society for
American Music Conference in
New Orleans, Louisiana
May 8, 2019 ARSC Pre-
Conference Workshop at the
Benson in Portland, Oregon.
May 8-11, 2019 53rd Annual
ARSC Conference at the
Benson in Portland, Oregon
June 25-30, 2019 Southeast
Asia-Pacic Audiovisual Archive
Association (SEAPAVAA)
Conference in Noumea, New
Caledonia
September 30-October 3, 2019
50th Annual Conference of
the International Association
of Sound and Audiovisual
Archives (IASA) at the
Netherlands Institute for Sound
and Vision in Hilversum,
Netherlands
October 3-5, 2019 Joint
Technical Symposium (JTS) at
the Netherlands Institute for
Sound and Vision in Hilversum,
Netherlands
Association for Recorded Sound Collections www.arsc-audio.org
ARSC Newsletter 2 Number 149 • Spring 2019
2019 Pre-Conference
Workshop
ALL THINGS DIGITAL: DIGITAL
AUDIO WORKSTATION BASICS
Wednesday, May 8, 2019
9:00 a.m.-5:00 p.m.
The Benson Hotel Crystal
Ballroom
The ARSC Technical Committee and
Education & Training Committee are jointly
presenting a full-day, hands-on workshop
that will provide a practical overview of
digital audio workstation use for archival
applications. The workshop is intended for
archivists, collection managers, researchers,
students, and anyone who needs to have a
working knowledge of digital audio.
The morning segment will cover digital
audio fundamentals and digital audio
workstation setup and basic usage. During
the afternoon, the focus will shift to le
management, le formats and wrappers, and
will conclude with an overview of mastering
and asset preparation and delivery.
Instruction will be done with commonly-
used workstations such as Audacity,
Adobe Audition, and Wavelab. Attendees
are encouraged to bring laptops with
their workstation of choice and a set of
headphones. Audio les will be provided
so attendees can follow along and practice
on their own. No previous experience
is necessary. Instructors include Curtis
Peoples (Texas Tech University), Konrad
Strauss (Indiana University Jacobs School
of Music), and Jessica Thompson (Jessica
Thompson Audio). Registration is limited to
50 attendees.
Roommate Clearinghouse
If you need a conference hotel
roommate (or assistance with
reservations), contact Brenda Nelson-
Strauss ([email protected]). Please
provide specic dates for your stay and
any roommate preferences. You may
wish to reserve a room in advance in
case they sell out.
Since “keeping Portland
weird” is the city’s unofcial
motto, you can also nd The
Freakybuttrue Peculiarium,
National Hat Museum, Ping
Pong’s Pint Size Puppet
Museum, and the Voodoo
Donut shop.
Nature lovers can enjoy
walks along the Willamette
River, or explore the vast
Washington Park and
adjacent International
Rose Test Garden, Hoyt
Arboretum and Portland
Japanese Garden. You may
also wish to extend your
stay after the conference to
enjoy the scenic wonders of
the state, including Oregon’s
exceptional wine country, the mountain region and Crater Lake
National Park, the beautiful Oregon coastline, and the Columbia River
Gorge.
ARSC member John Tefteller, widely known for his collection of
extremely rare records, especially blues 78s, has generously offered
to provide private tours of his archive on May 6 and 7 for conference
attendees. Though John’s location in Grants Pass, Oregon, is four hours
south of the convention site, anyone driving north from California
on I-5 will pass within ten miles of his facility. Please contact John
privately at john@tefteller.com to arrange a tour.
For those interested in visiting a record pressing plant, we’re
planning to offer a small group tour of Cascade Record Pressing,
located on the southeast side of Portland, from 2:00-2:45 p.m. on May
8. Check the conference registration form for further details.
Program chair Patrick Midtlyng anticipates many conference
presentations with a Pacic Northwest focus, ranging from local
radio stations to regional labels and artists. Several panel sessions are
being organized, including a group of local experts who will discuss
Portland’s contributions to the Northwest’s punk and rock music scene.
Mark Cantor is poised to return with an evening of Music on Film
featuring more gems from his collection. These are just a few of the
program offerings you expect at the conference. We hope to conrm
additional special guests in the near future.
Online conference and workshop registration are now open via the
conference website at www.arsc-audio.org/conference.html. Be sure
to register for the conference and reserve a hotel room by the April 12
deadline. Complete program abstracts will be added to the website in
the near future. We hope you will join us in May for the rst ARSC
conference in the state of Oregon.
Brenda Nelson-Strauss
ARSC Conference Manager
Continued from page 1
Conference
The historic Benson hotel.Photo by Steve Morgan.
www.arsc-audio.org Association for Recorded Sound Collections
Number 149 • Spring 2019 3 ARSC Newsletter
ARSC NEWSLETTER
Issue 149
Spring 2019
The ARSC Newsletter is published
three times a year: in March, July,
and November. Submissions should be
addressed to the editor. Submissions by
email are encouraged.
Editor
Yuri Shimoda
Board of Directors
President: Cary Ginell
2nd Vice-President/Program
Chair:
Patrick J. Midtlyng
Immediate Past-President:
Matthew Barton
Secretary:
Allison D. Bohm McClanahan
Treasurer: Steven I. Ramm
Members-at-large:
Jessica Wood
Melissa Widzinski
Executive Director:
Nathan Georgitis
Claims or other notications of
issues not
received must be sent to:
Nathan Georgitis
Knight Library
1299 University of Oregon
Eugene, OR 97403-1299
The opinions expressed in this publication
are solely those of the authors and do
not necessarily represent the view of
the Association for Recorded Sound
Collections.
President’s Message
May is approaching fast so if you haven’t made plans to attend the 53rd
annual ARSC Conference in Portland, Oregon, here are a few enticements to
whet your whistle.
The conference will be held at the historic Benson Hotel, with many cultural
and culinary places of interest within walking distance, including Portland’s
seemingly innite number of independent record stores. Regarding the latter,
if you can tear yourself away from the program, or tack on a few extra days to
your trip, you will probably need to bring a bigger suitcase for the goodies you
will be carting home.
The conference program will open on Thursday, May 9th with a variety of
presentations focusing on music and personalities from Portland and the Pacic
Northwest. The region had its own rock ’n’ roll sound, typied by the Fabulous
Wailers, one of the rst of the so-called “garage bands” of the late ’50s and
early ’60s. John Broven of Golden West Records will discuss this important era
in rock history. Ronda L. Sewald, of Indiana University’s Black Film Center/
Archive, will talk about big band pianist and arranger Phil Moore, who balanced
a successful recording career with serving as vocal-coach-to-the-stars for many
prominent Hollywood actors. Carol Seymour will focus her talk on Portland
native Mel Blanc, whose career as a voice-over artist for Warner Bros. cartoons
also included a lucrative recording career.
Portland’s thriving DIY house culture has produced a rich scene for
contemporary punk and rock ’n’ roll, with many independent labels featuring a
variety of locally grown music. Mike Lastra will be leading a discussion of this
music in a session later on Thursday
afternoon.
A panel featuring representatives
from Switzerland and France as
well as our own Patrick Feaster
will explore the fascinating world
of audio retrieval via optical
methods. Yasmin Dessem of UCLA
and Stanford University’s Geoff
Willard and Franz Kunst will focus
on older technologies, including
wire, Magnabelts, and Dictabelts,
in an examination of recordings
made by television’s Rod Serling
and 20th Century Fox executive
Spyros Skouras. Approaches in the
preservation and scanning of lacquer
discs will be presented by a panel
from Indiana University and France’s
Institut National de l’Audiovisuel
(INA).
An eclectic blend of artist-
oriented topics will also be featured,
including Swedish megapop group
ABBA (Carl Magnus Palm), blues
pianist Roosevelt Sykes (Roberta
Freund-Schwartz), spirituals queen
Mahalia Jackson (Mark Burford),
Mahalia Jackson. Photo by Carl Van Vechten from the
Carl Van Vechten Photographs collection at the Library
of Congress.
See President on page 9
Association for Recorded Sound Collections www.arsc-audio.org
ARSC Newsletter 4 Number 149 • Spring 2019
ARSClist
The Online
Discussion
Group of ARSC
Since 1999, the Association for
Recorded Sound Collections has
sponsored an unmoderated mail
reector to facilitate the exchange
of information on sound archives
and promote communication among
those interested in preserving,
documenting, and making
accessible the history of recorded
sound. The list is sponsored by
ARSC as a service to its members
and the archival community at
large.
Subscribing
To subscribe to the list, send an
email message to:
listserv@listserv.loc.gov
Leave the “Subject” blank. In
the rst line of the body of the
message, type “subscribe arsclist
[your name]” and send the message
normally.
To post to the list, send an email
Only subscribers can post to the
list.You may also subscribe to the
list via the Library of Congress
website at http://listserv.loc.gov/
listarch/arsclist.html
ARSClist Archives
Current archives are maintained
by the Library of Congress on the
above website. ARSClist archives
through June 2009 are kept on the
Conservation OnLine (CoOL) site
at http://cool.conservation-us.org/
byform/mailing-lists/arsclist/. Once
archived, messages will not be
removed from the archives.
See Guide on page 6
DRINK, SHOP, EAT
Guide to Portland Breweries, Indie
Record Stores, and Restaurants
BREWERIES
List curated by Melissa Widzinksi
Bailey’s Taproom (1-minute walk from the Benson)
213 SW Broadway, Portland, OR 97205
baileystaproom.com
Open noon-midnight daily
A beer geek’s nirvana, this place offers 26 rotating taps of craft ales, lagers, and
ciders, with a focus on Oregon breweries. The tap list is displayed on a at-panel
behind the bar, showing all the pertinent style info and even how much is left
in the keg. Tasting ights and different size single pours are available. Glancing
at the current tap list, they have such incredible brews as Russian River’s 2015
“Supplication” and fresh “Pliny the Elder”!
Deschutes Brewery – Portland Public House (0.3 miles, 7-minute walk)
210 NW 11th Ave, Portland, OR 97209
https://www.deschutesbrewery.com/
Open 11 AM-10 PM Sun-Thurs; 11 AM-midnight Fri-Sat
Deschutes Brewery is known for their world-class Black Butte porter, and
the bourbon-barrel aged version that comes out each year. The brewery itself is
located in Bend, Oregon, but at this location, you can grab a bite to eat and sample
from 20-plus rotating drafts, including experimental, brewpub-only brews.
Cascade Brewing Barrel House (1.5 miles, 30-minute walk or 5-minute drive)
939 SE Belmont St, Portland, OR 97214
cascadebrewingbarrelhouse.com
Open noon-11 PM Tues-Thurs; noon-midnight Fri-Sat; noon-10 PM Sun-
Mon
Cascade is a pioneer of fruited-sour beers aged in wooden barrels. Each recipe
emphasizes year-to-year variation, capturing subtleties of that year’s growing
www.arsc-audio.org Association for Recorded Sound Collections
Number 149 • Spring 2019 5 ARSC Newsletter
an invitation to influence a new generation of leaders
Become an ARSC Mentor
Going to the Portland conference? How about taking a new member or two under
your wing? Answer their questions. Enthuse in their aspirations. Guide them to the right
sessions. Introduce them to the right people. Discuss how things get done. And show
through example how to be an active member, contributor, and leader in their chosen
pursuits … and in ARSC itself.
Mentors are invaluable sources of wisdom, teaching, and support. And they often learn
as much from their mentees as their mentees learn from them – a worthwhile experience
for both teacher and student.
If you’re up for this rewarding task, please sign up at
https://www.surveymonkey.com/r/SR7RLK2
or email us at arscmentors@dgio.net. We’ll introduce you to ARSC’s promising new mem-
bers at a special board reception in Portland.
David Giovannoni & Yuri Shimoda
Co-Chairs, ARSC Mentoring Initiative
Association for Recorded Sound Collections www.arsc-audio.org
ARSC Newsletter 6 Number 149 • Spring 2019
2019
Conference
Travel Grant
Recipients
The ARSC Travel Grants
Committee received many
worthy applications this
year, and we are excited
to announce the grant
recipients for the 2019
conference:
Crystal Willer
project archivist for Music
Special Collections, Oberlin
College
Suzy Thompson
Cajun music performer,
researcher, and discographer
Timothy Lake
audio engineer and MLIS
student, University of
Maryland
Mariana Mejia
Ahrens
MLIS student, McGill
University
We’re excited to welcome
these rst-time attendees
and hope that ARSC
members will make a
special effort to greet them
at the conference in a few
months!
David R. Lewis, PhD.
Chair
ARSC Travel Grants
Committee
season. They are well-known for their Apricot and Kriek
(cherry) ales and more experimental brews such as Sang
Royal, a blend of sour red ales aged in Pinot Noir and
Port wine barrels with Pinot Noir grapes.
Modern Times Portland/The Belmont Fermentorium
(1.2 miles, 4-minute drive, 26-minute walk, near Cascade
Brewing)
630 SE Belmont St, Portland, OR 97214
http://www.moderntimesbeer.com/tasting-room/portland
Open 11 AM-midnight Thurs-Sat; 11 AM to 10 PM Sun-Mon; and 4 PM-10 PM
Tues-Wed
A brewery native to San Diego, Modern Times is quickly expanding up the west
coast, and now has a Portland location. They are known for their west-coast style IPAs
and more limited monthly special releases. During the conference, “Telesto” will be
available, which is an IPA loaded with Simcoe and Amarillo hops with a bit of rye.
“Booming Rollers,” which features the juicy Citra hops and New Zealand Montueka
hops, will also be available.
10 Barrel Brewing (0.6 miles, 12-minute walk)
1411 NW Flanders St, Portland, OR 97209
10barrel.com/pub/portland
Open 11 AM-11 PM Sun-Thurs; 11AM-midnight Fri-Sat
Another brewery native to Bend, Oregon, 10 Barrel has a great location in the Pearl
District with a rooftop patio. There are 20 rotating taps, and pub fare is available. They
offer a variety of IPAs and the popular “Crush” kettle sour series with cucumber and
raspberry variants.
Record Shops
List compiled from the “Portland Guide to Independent Record Stores”
Vinyl Resting Place (7.5 miles, 20-minute drive)
8332 N. Lombard, Portland, OR 92703; vinylrestingplaceusa.com
10 AM-6 PM Wed-Sat; 10 AM-5 PM Sun
With over 20 years in business, we feature jazz, blues, folk, classic country, and old-
school rock. We also carry 45s and roots 78s.
Mississippi Records (4.2 miles, 10-minute drive)
5202 N. Albina, Portland, OR 97227; mississippirecords.net
Noon-7 PM daily
All kinds of records, cassettes, books, record players, and stereo equipment. No CDs.
No credit cards accepted. A great place to nd comfort and solace through music.
Green Noise Records (4.4 miles, 12-minute drive)
720 N. Killingsworth St., Portland, OR 97217; greennoiserecords.com
Open 11 AM-7 PM Tues-Sat; noon-5 PM Sun
Specializing in new and used punk, metal, and garage. Growing selection of
electronic, experimental, jazz, hip-hop, funk, and soul.
2nd Avenue Records (0.3 miles, 7-minute walk)
400 SW 2nd Ave., Portland OR 97204; 2ndavenuerecords.com
11 AM-8 PM Mon-Fri; 10-8 Sat; noon-6 PM Sun
Continued from page 4
Guide
www.arsc-audio.org Association for Recorded Sound Collections
Number 149 • Spring 2019 7 ARSC Newsletter
ARSC Newsletter
Submission Deadlines
No. 150, Summer 2019: June 1, 2019
No. 151, Fall/Winter 2019: October 1,
2019
No. 152, Spring 2019: February 1, 2019
Since 1982, downtown’s quintessential brick-and-mortar
independent record store. New and used vinyl, CDs, and
tapes. Rock, punk, metal, rap, ‘60s, jazz, soul, blues,
reggae, and more.
Everyday Music (0.4 miles, 8-minute walk)
1313 W. Burnside, Portland, OR 97209
10 AM-10 PM daily
Open since 1995. Over 100,000 used and new LPs, CDs,
DVDs, and more. Listen before you buy. We carry all
genres.
Future Shock (1.7 miles, 6-minute drive)
1914 E. Burnside, Portland, OR 97214
futureshockpdx.com
11 AM-9 PM daily
A record, designer toy, and apparel store with an art
gallery. We specialize in funk, soul, hip-hop and more.
Music Millennium (2.5 miles, 7-minute drive)
3158 Burnside, Portland, OR 97214
musicmillennium.com
10 AM-10 PM Mon-Sat; 11 AM-9 PM Sun
“You’ll be hard pressed to nd a more exhaustive
selection of music anywhere, from classical to international
to early ‘60s rock ‘n’ roll” —Esquire Magazine “Best
Record Store”—Willamette Week.
Jackpot Records (3 miles, 9-minute drive)
3574 SE Hawthorne Blvd., Portland, OR 97214
jackpotrecords.com
10 AM-7 PM Mon-Thurs; 10 AM-8 PM Fri-Sat; 11
AM-6 PM Sun
Since 1997, Jackpot Records has been bringing you
carefully curated selections of new and used LPs, CDs,
imports, collectibles, turntables, accessories, amd more.
Always friendly, always here to help.
Clinton Street Record & Stereo (3 miles, 9-minute drive)
2510 SE Clinton St., Portland, OR 97202
1 PM-7 PM daily
Rarities, used vinyl, cassettes, and stereo equipment.
Main focus on disco, house, Italo, new wave/synth, indie.
We got it all! We can nd you anything, try us!
Little Axe Records (3.2 miles, 9-minute drive)
4142 NE Sandy Blvd., Portland, OR 97212
noon-7:30 PM daily
Specializing in second-hand records and cassettes, from
international to experimental and everything in between.
Exiled Records (3.6 miles, 10-minute drive)
4628 SE Hawthorne, Portland, OR 97215
11 AM-7 PM Tues-Sat; noon-5 PM Sun
New and classic psych, experimental, rock, soul,
international, punk, jazz, folk. Rare and out of print. New
and used vinyl, CDs & tapes.
Musique Plastique (4.7 miles, 14-minute drive)
1627 NE Alberta St., #5 (in the Alberta Studios
Building), Portland, OR 97211; musique-plastique.com
11 AM-6 PM daily
A well-curated boutique shop located in the Alberta Arts
District. We specialize in post-punk, minimal synth, new/no
wave, industrial, krautrock, psychedelic rock, 20th century
classical, jazz, new age/ambient, electronic, reggae, classic
rock, and music from around the world.
Dig Vinyl (5 miles, 15-minute drive)
8235 SE 13th Ave., Portland, OR 97202
11 AM-6 PM, Mon-Sat; noon-5 PM Sun
We buy, sell, trade, and consign all kinds of vinyl
records. While we do have high-end collectible records, a
large portion of our inventory is under $10.
Variety Records (5.2 miles, 17-minute drive)
4932 SE Foster, Portland, OR 97206
10 AM-7 PM, daily
Located at the intersection of SE Powell & Foster &
See Guide on page 9
Musique Plastique
Association for Recorded Sound Collections www.arsc-audio.org
ARSC Newsletter 8 Number 149 • Spring 2019
Historical Recording
Selected by David
Giovannoni: VICTOR 2828,
MILITARY SERENADE
On April 23, 1904, violinist Charles D’Almaine stood
before the Victor recording horn and drew his bow over
an innovative musical instrument – a Strohviol, invented
by acoustic instrument maker John Matthias Augustus
Stroh, familiar to ARSC members as a pioneer phonograph
builder in Britain. Indeed, the Strohviol was the direct
result of Stroh’s phonographic experiments. It was played
with a ngerboard familiar to any violinist. But its strings
were bridged to an amplifying diaphragm akin to a
gramophone sound box. And like the squawking machines
on which it was based, the Strohviol directed its vibrations
through a horn – two actually, a small trumpet pointed at
the performer’s ear and a larger horn aimed at the audience.
A Strad it wasn’t. But
what it lacked in nuance it
made up for in projection.
In the days before electrical
amplication, similarly
“improved” string
instruments – violas, cellos,
guitars, mandolins – were
welcomed into performance
venues that benetted from
volume, early recording
studios among them.
D’Almaine played the
“viol-horn” (per the record
label) on several sides in
that April 1904 session, beginning with Léonard’s Military
Serenade – a composition that provided a perfect drumbeat
for the Stroh’s metallic spiccato march into the studio. To
our knowledge this is the rst session featuring a family
of amplied instruments that would become hallmarks of
twentieth-century American music –from the Strohviol
to the National guitar to even heavier metal. Hear the
recording at: http://dgio.net/av/Victor_A-1253-2.mp3
David Giovannoni has been playing old records since he
could climb a chair and peer into a Victrola. His interest
in sound has led to a modest yet signicant collection
of pioneer disc and cylinder records, which he strives to
make available to historians, researchers, producers, and
others with far-reaching applications. He has contributed
to numerous discographies, documentaries, and reissues
which have earned seven Grammy nominations and one
Grammy. Collections curated by him are included in the
Library of Congress’ National Recording Registry and
UNESCO’s Memory of the World Register.
Stroh Violin from the Musical Instruments Collection, Music Division,
Library of Congress, gift of.George D. Powell, 1994.
*****
Hidden in Plain View?
Discovery of Russian
Recordings on American
Berliner Discs
It has been known in Russia that dealers there produced
lists as far back as 1898, to advertise gramophones and a
wide selection of the American Berliner discs. But it has
only recently been discovered that one block of numbers,
consisting of songs and arias in Russian, ts into a gap in
the series of known American recordings. In the West, the
only concrete reference to any of these numbers has been
found (without further details) in letters from William
Sinkler Darby to the National Gramophone Company in
May and June 1897.
This new discovery conrms an international outreach
by the young American gramophone industry that matches
the export of machines and records to London, likewise in
1897. Darby’s early 1899 trip to St Petersburg may now
therefore be seen to parallel Gaisberg’s mid-1898 trip to
London – in both cases in order to supplement and supplant
American imports with local recordings.
Peter Adamson
Jolyon Hudson
Nick Morgan
Victor 2828 (7”), matrix A-1253-2,
from the Giovannoni-Lynch Victor
Pre-Matrix Collection.
www.arsc-audio.org Association for Recorded Sound Collections
Number 149 • Spring 2019 9 ARSC Newsletter
television provocateur Ernie Kovacs (Seth Winner),
and even Laurel & Hardy (John Tefteller). Label
freaks will be enlightened by talks on Black Swan and
Paramount, and Allison Schein-Holmes will discuss
the unveiling of the new Studs Terkel Radio Archive.
If that isn’t enough to get you to click on your
Tripadvisor bookmark, lm music maven Mark Cantor
will be on hand to present another of his informative
and entertaining evenings of rare lms, short subjects,
Soundies, and television broadcasts. If you arrive in
town early, on Wednesday, May 8, you can sign up
for a digital audio workstation primer and later, tour
Cascade Record Pressing, Oregon’s only remaining
vinyl record pressing plant.
For a full listing of the conference program, visit the
ARSC website at www.arsc-audio.org and be sure to
reserve your room at the Benson soon. Hope to see you
in Portland!
Cary Ginell
ARSC President
Continued from page 3
President
Continued from page 7
Guide
50th. Thousands of LPs, DVDs, CDs & cassettes. Cheapest
prices anywhere.
Speck’s Records and Tapes (5.3 miles, 18-minute drive)
8216 N. Denver, Portland, OR 97217;specksrecords.com
noon-7 PM daily
A choice selection of mostly used vinyl and cassettes.
From tried and true classics to the rare and unusual.
Also: stereo equipment, books, movies, and in-store
performances. Just off the MAX Yellow Line.
Restaurants
List compiled by Yuri Shimoda
Maurice (0.1 miles, 3-minute walk)
921 SW Oak St., Portland, OR 92705; mauricepdx.com
10 AM-4 PM Tues-Sun
Perfect spot for a cup of tea and pastry – savory or sweet.
Boxer Ramen (0.2 miles, 5-minute walk)
1025 Stark St., Portland, OR 92705; boxerramen.com
11 AM-9 PM Mon-Fri; noon-9 PM Sat-Sun
You can’t go wrong with a bowl of the traditional
Tonkotsu Shio ramen.
Grassa (0.3 miles, 7-minute walk)
1205 SW Washington St., Portland, OR 92705
grassapdx.com
11 AM-10 PM daily
Handcrafted pastas at an affordable price.
Pine Street Market (0.3 miles, 7-minute walk)
126 SW 2nd Ave., Portland OR 97204
pinestreetpdx.com
Hours vary per eatery, but mostly 11 AM-10 PM daily
Can’t decide on just one place to try? Get a little
something from all the food vendors.
Tasty n Alder (0.3 miles, 7-minute walk)
580 SW 12th Ave., Portland OR 97205; tastynalder.com
9 AM-10 PM Sun-Thurs; 9 AM-11 PM Fri-Sat
Good for brunch or an early dinner, as they get very busy
as the day progresses.
The Picnic House (0.4 miles, 8-minute walk)
723 SW Salmon St., Portland, OR 97205
picnichousepdx.com
11 AM-3 PM, 5 PM-10 PM Mon-Sun
Great lunch combinations, especially the Tomato Basil
Soup with a their Grilled Cheese sandwich.
Blue Star Donuts (0.4 miles, 8-minute walk)
1155 SW Morrison St., #102, Portland, OR 97205
bluestardonuts.com
7 AM-7 PM (or until they run out)
Voodoo denitely takes the prize for decorating, but if
you’re after unique avor proles and overall taste, head to
Blue Star.
Salt and Straw (1.5 miles, 30-minute walk/8-minute drive)
838 NW 23rd Ave., Portland, OR 97210
saltandstraw.com
10 AM-11 PM daily
This is the only place on the list that is over a mile from
the Benson, but trust me, the long walk or short Lyft ride
will be worth it.
Pine Street Market
Association for Recorded Sound Collections www.arsc-audio.org
ARSC Newsletter 10 Number 149 • Spring 2019
Regional Chapters:
Upcoming Events
NEW YORK CHAPTER
arsc-audio.org/chapters/newyorkchapter.html
March 21, 2019, 7 p.m., CUNY Sonic Arts Center:
“Maintaining vintage analog audio equipment in a
digital age,” a conversation with Bob Shuster and
Marcos Sueiro Bal
Around the age of 10, Bob Shuster was fascinated with
mechanical things, particularly reel-to-reel tape decks, and
he began taking them apart and putting them back together
astonishingly well. Over the years, this developed into
Bob’s ultimate love and amazingly deep knowledge of
all reel-to-reel machines, both professional and consumer
models. He has assisted AES (Audio Engineering Society)
with their Audio History Museum project to recover and
document lost materials and information relating to the
history of the reel-to-reel machine. Bob’s long career in the
upper echelon of world-class recording studios includes
time at Media Sound in Manhattan, Power Station Studios,
Record Plant, Electric Lady, Sony Studios, Pomann Sound,
Avatar Studios, NBC, and MTV/Viacom Networks. Now,
Bob’s business, Shuster Sound, focuses on professional
and consumer audio technical maintenance, repair and
installation.
Marcos Sueiro Bal is the Archives Manager at New
York Public Radio. He is also Co-Chair of ARSC’s
Technical Committee and was part of the Collection
Management Task Force that drafted the Library of
Congress National Recording Preservation Plan in
2012. In 2011, he co-translated the denitive text on
audio preservation, Guidelines for the Production and
Preservation of Digital Audio Objects. He is a member
of the Standards Committee of AES and director of the
Education Committee of the Archivists Roundtable of
Metropolitan New York.
April 18, 2019: “RIAA Equalization for Velocity-
Sensitive and Displacement-Sensitive Phono
Cartridges” with Gary A. Galo,
*****
THE STUDENT CHAPTER OF ARSC AT
UCLA
arsc-audio.org/chapters/uclachapter.html
March 14, 2019, 7 p.m., UCLA Moore Hall Reading
Room: “LA Women: Female Voices in Audio”
panel discussion with audio preservation and music
library professionals. Open to all ARSC members.
Panelists: Lenise Bent is one of the rst women audio
engineers and honed her skills on many iconic records
including “Aja” by Steely Dan and “Breakfast in America”
by Supertramp. She is the rst female engineer to have
received a platinum album (for Blondie’s AutoAmerican).
Lenise is also a post-production audio professional,
specializing in recording and editing foley sound effects
for lms and animated series, and has traveled the world
for Dreamworks supervising the foreign dialogue recording
and producing the vocals for animated features such as
Shrek, Spirit: Stallion of the Cimmaron, and Shrek 2.
Julie Bill, MSLIS, is the Director of Library Services
at the Musicians Institute College of Contemporary Music
and currently serves as the Music Library Association
California Chapter (MLACC) Chair Elect. Julie was a
December 2017 recipient of the Carnegie Foundation,
New York Times, New York Public Library, and American
Library Association sponsored I Love My Librarian Award.
Elizabeth Kirkscey supervises the music and audio
preservation team at Paramount Pictures. A graduate of
Northwestern University’s lm program, she worked in
physical production on features including Syriana and
Tenacious D in the Pick of Destiny before realizing that her
experience in lm and as a truly terrible cellist could be
combined into an exciting career as a music archivist. She
earned an MLIS from San Jose State University and has
worked for the Paramount Archives since 2010.
Moderator: Siri Luk is a recent MLIS graduate from
UCLA, where she focused on audio preservation and
archiving. During her last two quarters, she worked at
Capitol Records’ archive, and her nal portfolio focused
on the challenges that record label archives face, including
an argument for why labels need specialized archivists.
Siri now works as an archive engineer in-training at
United Archiving. Recent projects include transferring the
master tapes of one of the most prominent country singers
of the 1960s and ’70s, major early ’90s hip-hop artists,
and Scandinavian 1980s metal – a wide variety of genres
indeed!
www.arsc-audio.org Association for Recorded Sound Collections
Number 149 • Spring 2019 11 ARSC Newsletter
My Collection of Opera Recordings is Looking for a New Home
I h
ave near-complete collections of the recordings
of Enrico Caruso (all S/S, and including two of the
tenor’s three 1903 recordings for Anglo-Italian
Commerce – two Pathé cylinders and two Pathé
discs – but no Zonophones), and of Beniamino Gigli
(SS & D/S, many of the latter on the La Voce de
Padrone label). Many uncommon and rare labels.
M
y 78s also include a near-complete collection of
the HMV Archive Heritage Series. The fourth
“category” in my collection of opera 78s comprises
250 recordings by a wide range of singers, again
with many rarities, and also eight complete operas.
The Caruso and Gigli 78s are stored in archival
sleeves; the balance of the collection is in regular
albums; 12 Albums (6 10” & 6 12”) are stored in
V
ictor antique record cabinet (c.1935). With few exceptions, the recordings are above average
to excellent condition (most hovering between 1-2 and 2, according to Larry Holdridge’s grading
system). Detailed lists are available on request.
I will will also consider offers for an Owl 1 Restoration Unit, an Owl Multifilter that comes with a
range of Stanton (truncated elliptical) styli and Stant
on cartridges.
I
nspections/viewings can, of course, be arranged. My preference, unrealistic as it may seem to
some seasoned collectors, is to avoid selling-off my collection in a piece-meal fashion. Selling
price/s negotiable ...but please, only serious, informed-offers will be considered.
Please e-mail any expressions of interest no later than 30 April 2019 to: Barry R. Ashpole,
Guelph, CANAD
“Standard Hour” Radio
Broadcasts at Stanford
The Archive of Recorded Sound at Stanford
University, in collaboration with the Stanford
Media Preservation Lab, recently completed the
digitization and cataloging of 684 analog recordings
of “The Standard Hour” radio broadcasts that
occurred between 1938 and 1955. This extensive
project was generously funded through the
Recordings at Risk program sponsored by the
Council on Library and Information Resources
(CLIR).
These historically signicant programs were
the rst broadcast radio series in the United
States devoted to symphonic music, and they
won the George Peabody Medal for exceptional
contributions to music in America in 1942. Live
performances of the San Francisco, Seattle, and
Portland Symphony Orchestras, Los Angeles
Philharmonic, and Hollywood Bowl Symphony
were broadcast throughout the Western United
States with acclaimed conductors, such as Pierre
Monteux, Alfred Wallenstein, Gaetano Merola, and
Carmen Dragon prominently featured throughout
the series of broadcasts.
The collection is a signicant primary source for
how the orchestras of the period actually played
in concert and how cultural programming was
received by the general American public.
The program content, originally recorded on 609
lacquer transcription discs and 75 tape reels, has
now been digitized and deposited in the Stanford
Digital Repository. Descriptive information for all
of the recordings is available for discovery in the
Stanford Searchworks catalog without restriction
(https://searchworks.stanford.edu/).
A Title search on “Standard Hour” with the
Access facet limited to “Online” and the Resource
Type facet limited to “Music recording” will
retrieve all of the metadata records for the
recordings digitized in this project.
We invite you to share this information with
faculty, students, and other researchers who may be
interested in these unique, historic recordings.!
Frank Ferko
Sound Archives Metadata Librarian
Archive of Recorded Sound at Stanford University
ARSC Election Notice
The 2019 election of ARSC Ofcers and ARSC Awards Judges
is now open.
ARSC Members with email addresses on le have received an
election notice and the opportunity to cast an electronic ballot
or paper ballot.
ARSC Members without email addresses on le may request a
paper ballot from ARSC Executive Director (execdir@arsc-
audio.org / 541-743-5636). Ballots must be returned by mail or
email by May 1.
The ARSC election ballot and candidate statements may be
viewed at: www.arsc-audio.org/pdf/ARSC_ballot_info_all.pdf
Thank you to all candidates for standing for ofce!
Nathan Georgitis, ARSC Executive Director
Association for Recorded Sound Collections www.arsc-audio.org
ARSC Newsletter 12 Number 149 • Spring 2019
New Member Spotlight:
MORGAN TAYLOR
Were music and/or sound recordings always a part of
your home growing up?
Yes! My dad has alwasy been an avid music lover and
collector, so he raised me to be the same. I spent many
nights with him listening to records, cassette tapes, and
CDs, watching music documentaries, and just talking about
music. He taught me how to appreciate music. I grew up
in Austin, Texas, so music culture was also a huge part
of my environment outside the home. I attended concets
regularly as a teen and watched “Austin City Limits”
religiously. Audio recording is still a major part of my life.
My boyfriend is a musician and audio engineer. We have
a little recording studio in our house, so it’s quite literally
a constant in my life. I gure between him and myself
we have the whole lifecycle of a sound recording under
control.
What kinds of formats do you collect?
Mostly grooved media, but I have a decent collection of
cassette tapes as well.
What led you to start collecting?
My parents eventually moved out of my childhood home
and into a smaller one. Unfortunately, my dad had to make
the tough decision to sell his record collection, but I got
rst dibs. I took about 100 from him, and he sold the rest
to a local record shop. Those 100 LPs were the seed to my
current collection.
Around the same time, I got my own weekly show on
a pirate radio station in town and began to DJ regularly at
local bars and venues. I was always looking for new stuff
to play, so “acquisitions” became a regular activity for me.
I still nd a lot of joy in spending hours at the record store
just listening, even though I haven’t DJed in a few years.
What was the rst recording you bought?
Well, I didn’t purchase these because I would have been
around 4 at the time, but the rst recordings I remember
owning and playing on my own accord were three cassette
tapes: The Supremes’ Where Did Our Love Go, an Elvis
Presley compilation, and a Patsy Cline greatest hits album.
I had a little battery-powered tape player in my bedroom,
and I would listen to those three tapes in a rotation and
singalong and dance. The rst recording I ever bought with
my own money was the Spice Girls single “Wannabe” on
cassette tape.
Do you currently have a favorite recording in your
collection?
This question is hard because it really depends on my
mood, but when I’m homesick I like to listen to Townes
Van Zandt’s Live at the
Old Quarter, Houston,
Texas. I don’t normally
love recordings of live
shows, but I think this one
translates the intimacy of
the space and the mood of
the occasion fantastically
well. His banter between
songs and the sounds of
the crowd and the room
create this aura that’s very
quintessentially Texan
for me. I also always
have Bo Diddley’s Bo Diddley Is a Gunslinger in heavy
rotation. He has this unique, reverby sound that’s really
special, and I can’t get enough of it. One nal recording
(because I can’t choose just one!) is This Mortal Coil’s It’ll
End in Tears. I grew up listening to a lot of bands on the
4AD label because of my dad, but It’ll End in Tears really
moved me at a young age. Even though it’s one of the most
melancholy albums of all time, it’s very sentimental to me.
How did you nd out about ARSC?
I saw a yer at UCLA for the student chapter meeting in
November. I had honestly never heard of ARSC before that,
but I saw there was to be a presentation on early country-
Western music, and my interest was piqued. I’m so glad I
attended!
What motivated you to join ARSC?
I was just genuinely excited that there was an
organization for people like me: people who love music and
want to care for its legacy. I’m exploring audio preservation
as a future profession at the moment, and ARSC provides a
wonderful opportunity to learn from those already involved
in that profession and culture.
What led you to media archiving and preservation?
It’s a bit of a round-about journey. I got my bachelor’s
degree in evolutionary biology which led me to an
internship at UC Berkeley’s Museum of Vertebrate
Zoology. I ended up having to move back home to
Austin, Texas for a while, and my cataloging/collection
management knowledge (and a sprinkle of nepotism) led
to a job as a library assistant at a K-8 school. I worked
there for about three years and was very suddenly laid off.
I knew I wanted to stay in the information science eld
but didn’t want to continue to work in school libraries,
so I decided graduate school would help me explore my
options. When trying to evaluate what I want to do with my
life it sort of dawned on me that there’s been this constant
pattern centered around audio recording throughout my life.
I thought, “Oh, duh. There’s something here.” I’m currently
taking my rst media archiving class right now.
www.arsc-audio.org Association for Recorded Sound Collections
Number 149 • Spring 2019 13 ARSC Newsletter
Association for Recorded Sound Collections www.arsc-audio.org
ARSC Newsletter 14 Number 149 • Spring 2019
New & Returning
Members
Roy Andrade
East Tennessee State University
Unicoi, TN
Vincent Andrieux
Paris, France
Henry Michael Apodaca
University of California - Los Angeles (UCLA)
Los Angeles, CA
Anthony Arcangeli
Wilmington, NC
James Barton
Cambridge, MA
Thomas W. Bell
Manhattan, KS
David Benitez
University of California - Los Angeles (UCLA)
Culver City, CA
Scott Burgess
University of Colorado, Denver
Denver, CO
David Callahan
Dracut, MA
Raegan Carter
Champaign, IL
Huang Chen-zen
Taipei, Taiwan
Walter Clay
Concord, MA
Clyfford Still Museum
Farah Cundiff
Denver, CO
https://clyffordstillmuseum.org/
William Corrigan
Lubbock, TX
Lourdes N. Crosby
Casselberry, FL
Abhimonyu Deb
Kolkata, West Bengal, India
Chantel Samanta Diaz
University of California - Los Angeles (UCLA)
Los Angeles, CA
Craig Evans
Saint Paul, MN
http://www.oldtimeconversations.com/
Claire Fox
New York University
Booklyn, NY
Leslie Gerber
Parnassus Records
Woodstock, NY
http://www.parnassusrecords.com/
Timothy Gillett
Nollamara, Western Australia, Australia
Dan Hockstein
Southern Folklife Collection
UNC Chapel Hill
Durham, NC
Vasiliki Ioannou
Los Angeles, CA
William Guy Jegl
Vienna, VA
Clark Johnsen
Boston, MA
www.arsc-audio.org Association for Recorded Sound Collections
Number 149 • Spring 2019 15 ARSC Newsletter
Randye Jones
Grinnell College
Grinnell, IA
http://www.randyejones.com
Derek Katz
University of California – Santa Barbara
Santa Barbara, CA
http://www.music.ucsb.edu/people/derek-katz
Charles Kirmuss
Kirmuss Audio
Westminster, OH
https://www.kirmussaudio.com
Timothy Lake
Washington, DC
Los Angeles Philharmonic Association
Selena Chau
Los Angeles, CA
https://www.laphil.com/
Terry Lewis
California State University Fresno
Fresno, CA
Karen Lund
Fairfax, VA
Louis M. Manno
New York, NY
Richard Markowitz
New York, NY
Leslie McCartney
University of Alaska Fairbanks
Fairbanks, AK
Michael McNeill
Mattapan, MA
Philip Mitchell
Motherwell, United Kingdom
Jennifer Ottervik
Bethlehem, PA
Steve Rosenthal
The Magic Shop
New York, NY
http://magicshopny.com
Joanna Smith
University of California - Los Angeles (UCLA)
Redondo Beach, CA
Thomas Stern
Acton, MA
Philip Stewart
Battle Creek, MI
Morgan Taylor
University of California - Los Angeles (UCLA)
Canoga Park, CA
Travis Taylor
Baylor University, Waco, TX
Suzy Thompson
Berkeley, CA
David N. VanMeter
Hilliard, OH
Crystal Willer
Oberlin Conservatory Library
Cleveland, OH
Dustin Wittmann
Milwaukee, WI
Catherine Wolter
Minneapolis, MN
Farah Zahra
New York, NY
Association for Recorded Sound Collections
c/o Nathan Georgitis
Knight Library
1299 University of Oregon
Eugene, OR 97403-1299
Forwarding and Return Postage Guaranteed
Address Service Requested
Photo by Tony Webster.
