‘No one else is saving it’: the fight to protect a historic music collection
The ARChive of Contemporary Music, which houses more than 90m songs and is supported by names such as Martin Scorsese, is in need of a new home
by David Smith
It all started in a loft in Tribeca, New York, long before it was a trendy neighbourhood. “I had 47,000 records and nobody wanted them,” recalls Bob George, who had just published a discography of punk and new wave music. “That led a lot of people coming to me and saying you have to save this stuff; no one else is saving it. That got the ball rolling in my loft in what is now fashionable Tribeca, which was an incredibly unfashionable war zone in 1974 when I was first there.”
George turned his record collection into the ARChive of Contemporary Music (Arc) in 1985 with co-founder David Wheeler. The non-profit music library and research centre now contains more than 3m sound recordings or over 90m songs, making it one of the biggest popular music collections in the world. Donors and board members have included David Bowie, Jonathan Demme, Lou Reed, Martin Scorsese and Paul Simon.
The Arc is not open to the public but has been a vital resource for film-makers, writers and researchers ranging from Ken Burns looking for a song for his series Baseball to the new Grammy Hall of Fame and Museum in Los Angeles needing cover art for its inducted recordings. Now, however, this unique treasure trove is under existential threat.
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Sleeping Beauty Spring: "Let's Pretend: Sleeping Beauty" (late 1940s record album)
For children of the Great Depression and World War II era, a weekly source of fairy tales was the acclaimed radio show Let's Pretend, which aired on CBS from 1934 to 1954. Created, directed, and written by a woman named Nila Mack, and with a cast of "juvenile performers" mostly in their teens and early 20s, the show offered half-hour adaptations of fairy tales, myths, and other fantasy stories. Several record albums of stories were released as well, with the same cast, scripts, and music heard on the radio.
While no Sleeping Beauty episode of the original radio series has survived, the Sleeping Beauty record album does. The cast includes Marilyn Erskine as Princess Beautiful (yes, that's really her name in this version), Albert Aley as Prince Charming, Miriam Wolfe as the Witch, Arthur Anderson (a.k.a. the original voice of Lucky the Lucky Charms Leprechaun) as the King, Sybil Trent as the Queen, Gwen Davies as the Fairy Queen, and the show's host, "Uncle" Bill Adams, as the narrator. The script is by Nila Mack and the musical score is by the series' regular composer/conductor Maurice Brown.
The story is told in a concise, straightforward way, but with a surprising number of creative choices. The opening scene places far more emphasis than usual on the religious nature of the baby princess's christening, as it takes place in a cathedral instead of at the castle. The villainess who curses the baby isn't a fairy whom the King and Queen neglected to invite, but (as the cast list above indicates) a witch. Her anger at being snubbed seems less valid and more insane than the traditional fairy's, and her curse is especially sadistic too, as she declares that when Beautiful pierces her hand with a spindle, "blood will flow, her hand turn green" and "pain will twist her body crooked" before she dies. The traditional "last good fairy who hasn't yet given her gift" is also omitted. Here, the only significant good fairy is the Fairy Queen, and despite having already given the baby the gift of beauty, it's she who softens the Witch's curse from death to a hundred year sleep.
On Princess Beautiful's sixteenth birthday, her parents make the mistake of leaving her alone in the garden to pick roses. Then along comes the Witch, disguised as an old peddler woman with a spinning wheel for sale. In keeping with her sadistic words, after Beautiful pricks her hand, the curse takes effect so slowly that Beautiful runs away, bleeding and in pain, finds her parents, and tells them all that happened before collapsing. The King and Queen summon the Fairy Queen, but all she can do is instruct them to make their sleeping daughter look lovely on her couch (dressed in pink velvet robes, with a crown studded with diamond stars on her head), and then put the whole castle to sleep as well.
A hundred years later, Prince Charming and his squire Alan find the castle surrounded by dense trees, but when they approach, the trees part to form a pathway to the castle gates. The two explore the sleeping castle, and eventually, the prince finds Princess Beautiful's chamber, is smitten by her beauty, and kisses her. Upon waking, Beautiful instantly knows Prince Charming by name, explaining that the Fairy Queen told her in her sleep that he would come. The King and Queen wake and reunite with their daughter, the rest of the castle follows, and the wedding is joyfully announced.
Like most Let's Pretend installments, this Sleeping Beauty is full of simple charm. The young cast acts their roles well, the writing is poetic, and Maurice Brown's music provides the perfect compliment. One oddity, though, is that the actors always say "an hundred years" instead of "a hundred years. Did it used to be considered "proper grammar" for "H" to always be preceded with "an"?
I wholeheartedly recommend this album to old-time radio fans and fairy tale lovers alike.
@ariel-seagull-wings, @thealmightyemprex, @reds-revenge, @faintingheroine, @thatscarletflycatcher, @autistic-prince-cinderella, @the-blue-fairie, @paexgo-rosa, @themousefromfantasyland
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