1. Finding Common Ground PUBLIC-PRIVATE PARTNERSHIPS AND THE NATIONAL RECORDING PRESERVATION PLAN

2. “This plan … emphasizes that coordination among public and private stakeholders in the recorded sound community will be essential for achieving a successful national sound recording preservation program.” (p. 1) 3/1/2014 Public-Private Partnerships 2

3. 1. Building the National Sound Recording Preservation Infrastructure 2. Blueprint for Implementing Preservation Strategies 3. Promoting Broad Public Access for Educational Purposes 4. Long-Term National Strategies 3/1/2014 Public-Private Partnerships 3

4. 4. Long-Term National Strategies  4.2 Executive Leadership Committee on Recorded Sound Preservation  Organize an advisory committee of industry executives and heads of archives, under the auspices of the National Recording Preservation Board and in collaboration with the National Academy of Recording Arts and Sciences (NARAS), to address recorded sound preservation and access issues that require public-private cooperation for resolution 3/1/2014 Public-Private Partnerships 4

5. Who are we?  General public  Collectors of sound recordings  Libraries, archives and museums  Recording companies  Performers  Broadcasters  Copyright holders 3/1/2014 Public-Private Partnerships 5

6. 4. Long-Term National Strategies  Recommendation 4.4: Preservation of Twenty-First Century Recordings  Develop strategies that will enable research libraries and archives to collect and preserve culturally significant recordings that are currently restricted by end-user license agreements 3/1/2014 Public-Private Partnerships 6

7. 1. National Infrastructure  Recommendation 1.1: Recorded Sound Media Storage Facilities  Construct environmentally controlled storage facilities that provide optimal conditions for the long- term preservation of recorded sound media 3/1/2014 Public-Private Partnerships 7

8. 2. Blueprint for Implementing Preservation Strategies  Recommendation 2.3: Public- Private Partnerships  Disseminate guidelines—via the Audio Preservation Resource Directory website—for establishing collaborative preservation partnerships between public institutions, private companies, private collectors, and other stakeholders to preserve endangered recordings 3/1/2014 Public-Private Partnerships 8

9. 2. Blueprint for Implementing Preservation Strategies  Recommendation 2.6: Tools to Support Preservation throughout the Content Life Cycle  Encourage the development of tools to support adherence to standards and best practices in the creation of sound recordings and in the management of their preservation 3/1/2014 Public-Private Partnerships 9

10. 2. Blueprint for Implementing Preservation Strategies  Recommendation 2.7: Best Practices for Creating and Preserving Born-Digital Audio Files  Research, develop, and promote improved and scalable processes to package multipart and metadata-rich digital audio objects, and to develop (and update) practices for the transformation and management of these objects when they are archived for the long term. Define preferred formats (including metadata) in order to maximize the initial creation of born-archival files by those who produce sound recordings, or develop recommendations for preferred file formats, embedded and/or associated metadata, and object packaging 3/1/2014 Public-Private Partnerships 10

11. 3. Promoting Broad Public Access for Educational Purposes “Without collaborative efforts between artists, distributors or recordings, and libraries and archives, the preservation of recordings made in the twenty first century will be impossible, and our national heritage will remain at risk of being lost forever.” (p. 34) 3/1/2014 Public-Private Partnerships 11

12. 3. Promoting Broad Public Access for Educational Purposes  Recommendation 3.1: National Discography  Encourage the continued development of an authoritative national discography through the expansion of existing discography projects 3/1/2014 Public-Private Partnerships 12

13. 3. Promoting Broad Public Access for Educational Purposes  Recommendation 3.2: National Directory of Recorded Sound Collections  Create a publicly accessible national directory of institutional, corporate, and private recorded sound collections  Recommendation 3.7: Licensing Agreements for Streaming  Develop a basic model licensing agreement to allow on-demand secure streaming by libraries and archives of out-of-print recordings to researchers and the general public  Recommendation 3.9: Sound Recording Labels Ownership Database  Create an online public registry of owners of sound recording labels 3/1/2014 Public-Private Partnerships 13

14. The Collector  Chris Strachwitz  Christian Alexander Maria, Graf Strachwitz von Groβ-Zauche und Camminetz  German immigrant with some US antecendents  Passion for roots styles: blues, hillbilly, bluegrass, Cajun, zydeco, norteño…  Proprietor of Arhoolie Records and Down Home Records (store)  Released field recordings and music from his collection  An outsider championing outsider music 3/1/2014 Public-Private Partnerships 14

15. “He is probably more American than man of us, but he experienced this music not as something he was born into and took for granted like the air we breathe, but as something rare and delightful, not available to the rest of the world. Coming from another language and culture, he perhaps saw the artistry in this music a little sooner, a little earlier than the rest of us, and this vision of a kaleidoscopic American musical culture, from Tejano to country and Southwestern blues, has helped thwart the single standard the music industry has tried to impose on us over the years.” Richard K. Spottswood, on Chris Strachwitz 3/1/2014 Public-Private Partnerships 15

16. Strachwitz Frontera Collection  100,000+ recordings of a vast array of styles, including norteño and conjunto music of northern Mexico and southwestern U.S., comic skits, re- enactments of historic events, dance music  Sources: recording companies, radio stations, collectors, juke box operators  Method of collection favors the less popular (less worn side in jukeboxes; those left with distributors etc.; those more likely sold by owners)  “Since I was the only one, apparently, in the whole wide world collecting this sort of stuff, the word got out: ‘Oh yeah, you can call Chris. He’ll take that whole stash.’” 3/1/2014 Public-Private Partnerships 16

17. Description, Digitization, Archiving  1996: Collection donated to Arhoolie Foundation; description funded by NARAS, NEA, Arhoolie Productions  2000: Funding from Los Tigres del Norte Foundation for digitization; additional funding from NEH, NEA, others  UCLA set standards (BWAV, 24-bit, 96kHz) and equipment  Digitization on site in El Cerrito (home of Arhoolie)  Metadata mapped to UCLA MODS; master files deposited to UC digital preservation repository  Collection available on campus and for research upon demand  2000-2014: 78s, 45s, cassettes completed 3/1/2014 Public-Private Partnerships 17

18. Reflections on working with the Strachwitz Frontera Collection  Strachwitz is an atypical collector; Arhoolie is an atypical label  Fruitful collaborative model  Collector/Label proprietor  Digital Library with robust preservation and access services to contribute  Fund raising collaboration  Scholarly support (UCLA Chicano Studies Research Center) 3/1/2014 Public-Private Partnerships 18

19. Reflections on working with the Strachwitz Frontera Collection  1.1 Recorded Sound Media Storage Facilities  2.3 Public-Private Partnerships  2.6 Tools to Support Preservation throughout the Content Life Cycle  2.7 Best Practices for Creating and Preserving Born-Digital Audio Files  3.1 National Discography  3.2 National Directory of Recorded Sound Collections  3.7 Licensing Agreements for Streaming  3.9 Sound Recording Labels Ownership Database 3/1/2014 Public-Private Partnerships 19