ABSTRACT
The Archive of Recorded Poetry and Literature began in 1943 when Allen Tate was consultant in poetry to the Library of Congress. It contains recordings of over 2,000 poets reading their own work; recordings of poetry readings and other literary events held at the Library; tapes of poets reading their poems in the library’s recording laboratory or elsewhere for the archive; and recordings received through occasional gifts, exchanges, or purchases.—Manning [Published guide:Literary Recordings:A Checklist of the Archive of Recorded Poetry and Literature in the Library of Congress (1981) is cataloged: PS 306.5.Z9U53 1979. It supersedes the earlier 1966 edition and Archive of Recorded Poetry and Literature: A Checklist (1961). Website: https://lcweb.loc.gov/poetry/archive.html.]
A unit of the college of arts and sciences at Indiana University, Bloomington, Indiana, established in 1949. It was formerly known as the Archives of Folk and Primitive Music. The collection, consisting of some 350,000 musical and textual items, covers folk music and folklore of all regions. There are two audio laboratories and a video laboratory for dubbing archival materials. A quarterly periodical, Resound, is published, and also catalogs of the sound recordings. [Website:https://www.indiana.edu/~libarchm/]
A Chicago firm established on 3 June 1907, marketing a disc player made by Hawthorne & Sheble. The machine had a three-inch spindle, requiring a disc with a center hole of comparable diameter:this was provided by the company under the Aretino label. Most of the discs were 10-inch single or double, (with a few 12-inch, single faced), relabelled from Columbia or Leeds & Catlin matrices. It may be that the label name was drawn from that of the founder, Arthur O’Neill, in some anagramatic fashion, but Fabrizio suggests the name of the renaissance satirist Pietro Aretino as the source. After injunction difficulties with Victor in 1909, Aretino had to switch from Hawthorne & Sheble machines to one made by Columbia. The firm did not recover from the financial loss involved, though it continued to sell machines (later with adapters to accommodate normal discs) and records into 1913. In 1910 it was merged with the O’Neill-James Co.,
which was succeeded in 1918 by the Consolidated Talking Machine Co. [Fabrizio 1973; Fabrizio 1977; Fabrizio 1980; Rust 1978.]
FRANK ANDREWS
A specialist company, registered in U.K. in 1952, with the intention of issuing performances by Britons. In 1954 there was a notable success with the BBC production of UnderMilk Wood. Decca acquired the firm in 1957 but retained use of the label name. An acclaimed set of 137 LP records, covering the complete works of Shakespeare, was completed in 1964. It is believed to be the longest set of records ever issued. In 1991 the label was revived for Decca compact discs. [Usill 1980.]
An important pop label of the 1950s and 1960s, specializing in rhythm and blues and jazz. It was issued by the Argo Record Co., Chicago, a subsidiary of Chess Records, from 1956. Its roster of artists included New Orleans vocalist Clarence “Frogman” Henry and a moderately successful doo-wop group, the Pastels.
