Do Not Sell at Any Price
Tags: #music #culture #collecting #history #technology
Authors: Amanda Petrusich
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Overview
In ‘Do Not Sell At Any Price,’ I explore the passionate and sometimes peculiar world of 78 rpm record collecting, a pursuit often seen as a relic of a bygone era. I delve into the history and sonic qualities of 78s, their enduring appeal in the face of modern technology, and the obsessive nature of collecting itself. I profile a diverse cast of collectors, from seasoned veterans to relative newcomers, examining their motivations, methodologies, and the often-intense relationships they develop with their records. Through these personal narratives, I explore broader themes of cultural preservation, the subjective nature of musical taste, and the ways in which technology shapes our understanding of music and its history. Ultimately, I argue that 78 collecting, though often seen as a niche pursuit, offers a compelling lens through which to understand our relationship with music, history, and the enduring power of objects.
Book Outline
1. That’s Mine Now, I Got That Before You Could Get It
This chapter sets the scene for my exploration of 78 rpm record collecting by introducing John Heneghan, a prominent 78 collector who specializes in early American music. I explore the history of 78s, from Edison’s cylinders to Berliner’s discs, and how their fragility and limited production make them such sought-after artifacts. I also touch upon the particular appeal of early blues music on shellac, especially country blues, and how the format uniquely captures the raw emotion of the genre. Lastly, I delve into the obsessive nature of collecting itself, its power to both isolate and connect.
Key concept: “These 78 guys are on another level.” - This quote, delivered to me by a record fair organizer when I was seeking out collectors to interview, highlights the specialized and rarefied world of 78 rpm record collecting. 78s, unlike LPs or 45s, are seen as demanding far greater commitment and knowledge, attracting a particular breed of obsessive enthusiast.
2. An Obnoxious, Bitter, Hateful Old Creep
In this chapter, I attend my first 78 rpm record fair, The Jazz Record Collectors’ Bash in Iselin, New Jersey. I describe the atmosphere of the event, the meticulous way collectors assess records for their condition, and the use of the VJM Record Grading System. I also touch upon the sense of community among collectors, the shared understanding of a culture often seen as strange or obsessive by outsiders.
Key concept: The VJM Record Grading System - This standardized schematic, used by collectors and vendors to assign letter grades to 78s based on their condition, illustrates the meticulous attention to detail and the importance of physical condition in the world of 78 collecting. The system, refined in the 1950s, demonstrates the long-standing traditions and shared language within this niche community.
3. This Is One of the Things I Would Say Is Inexplicable
This chapter centers on my relationship with Chris King, another prominent 78 collector, and his focus on capturing the raw emotion and ‘blues feeling’ of pre-war recordings. We explore the difficulty of dissecting and articulating the powerful effect of music, especially when dealing with recordings as raw and unpolished as early country blues on 78s. We delve into the stories behind two incredibly rare and moving records in King’s collection: Geeshie Wiley’s “Last Kind Words Blues” and Blind Uncle Gaspard’s “Sur le Borde de l’Eau.”
Key concept: “This Is One of the Things I Would Say Is Inexplicable.” - This quote, from 78 collector Chris King, reflects the difficulty of articulating the profound emotional impact of certain 78 recordings. It points to the limitations of language and analysis when confronting the raw, visceral power of music.
4. A Form of Protection Against the Loss of Self
This chapter focuses on 78 Quarterly, a magazine for 78 collectors, and its editor and founder, Pete Whelan. I explore the importance of such publications in creating and sustaining collector communities in the pre-Internet era. I also delve into the concept of contextualization in 78 collecting, exploring the motivations behind the collectors’ desire to meticulously research and document the histories of their records, and how that knowledge both isolates and empowers them.
Key concept: 78 Quarterly - This magazine, created by and for 78 collectors in the pre-Internet era, served as a vital resource for sharing information about records, artists, and the broader world of 78 collecting. It exemplifies how collectors create and maintain their own specialized communities, developing shared languages, grading systems, and hierarchies of knowledge.
5. Suck All the Blossoms and He Leave You an Empty Square
This chapter delves into the history of the Paramount Records label, highlighting the label’s origins in the furniture business, its focus on ‘race records,’ and the technical limitations and unique sonic qualities of its recordings. I discuss the rise and fall of the label, its impact on early blues and American music, and the mystery surrounding the ultimate fate of its metal masters - the original recordings from which all subsequent reissues were sourced.
Key concept: Edison’s Tone Tests - These early public demonstrations, designed to highlight the fidelity of Edison’s Diamond Disc phonograph, marked a pivotal shift in the cultural understanding of recorded music. For the first time, audiences could not distinguish between live performance and recorded sound, suggesting that recordings would no longer simply reflect the world, but the world would start to sound like recordings. This highlights the power of technology to shape our perception of reality and art.
6. We Are Not Drowning
This chapter follows my (mostly foolish) attempt to find lost Paramount masters at the bottom of the Milwaukee River. I chronicle my scuba diving training in New York City, my anxieties about the endeavor, and the eventual dive itself in Beaufort, North Carolina. The search ultimately proves unsuccessful but provides a powerful lesson in the allure of the chase and the importance of managing expectations in the face of near-impossible odds.
Key concept: “Diving in the river is not something people do.” - This quote, from a seasoned scuba instructor, encapsulates my ill-conceived quest to find lost Paramount masters by diving into the Milwaukee River. The absurdity of the endeavor highlights the lengths to which collectors will go to unearth hidden treasures, and the inherent tension between rationality and obsession that often drives such quests.
7. I Like to Get into the Field and Hunt Them Down in the Wild, So to Speak
This chapter chronicles my trip with Chris King to the Hillsville VFW Flea Market and Gun Show in Virginia, a potential hotbed for finding rare records. I describe the experience of ‘junking’ - searching for valuable records among piles of miscellaneous items - and how it differs from the more structured world of record fairs and auctions. I also discuss the importance of contextualization for collectors, and how some prioritize meticulously researching the history and provenance of their records, while others find such endeavors a distraction from the music itself.
Key concept: “Shakin’ Down That Town” - This phrase, coined by John Tefteller, a renowned Paramount collector, describes his aggressive, exhaustive approach to finding rare records in areas where a label operated. It highlights the dedication, resourcefulness, and sometimes intrusive tactics employed by collectors in their relentless pursuit of completing their collections.
8. All I’m Saying Is There’s No Way You Can Game This Kind of System
This chapter recounts the thrilling and devastating story of how a previously unknown Blind Blake 78 surfaced at the Hillsville flea market while King and I were there. We dissect the circumstances surrounding its discovery, how I narrowly missed out on buying it myself, and the complex emotional responses that accompany such a near-miss. It highlights the frustration and elation inherent in the collector’s quest, and how the value of music shifts based on scarcity and personal connection.
Key concept: “All I’m Saying Is There’s No Way You Can Game This Kind of System.” - This quote, from Chris King, captures the inherent unpredictability and serendipity of the 78 collecting world. It highlights the importance of luck, timing, and being in the right place at the right time, suggesting that even the most meticulous research and planning can’t guarantee success.
9. Now There’s a Man on His Way Down
This chapter focuses on the Jazz Record Center, a hub for early 78 collectors in New York City, and James McKune, a prominent collector of the era. I explore McKune’s idiosyncratic personality, his unwavering dedication to finding the best possible versions of specific recordings, and his aversion to the commercialization of music. The chapter also highlights the role of collectors in shaping musical narratives, as McKune’s passion for Charley Patton played a key role in the eventual rediscovery and popularization of the Delta blues.
Key concept: The Jazz Record Center - This long-defunct music shop in midtown Manhattan, operated by the eccentric Big Joe Clauberg, became a gathering place for early jazz and blues 78 collectors in the 1940s and 50s. It illustrates the emergence of specialized collector communities, driven by shared passions and the desire to connect with like-minded individuals in a pre-Internet world.
10. I Saw America Changed Through Music
This chapter explores the legacy of Harry Smith and his influential Anthology of American Folk Music, released in 1952. I delve into Smith’s eccentric personality, his fascination with esoteric knowledge, and his meticulous approach to compiling and sequencing the Anthology’s 84 tracks. The chapter also examines the Anthology’s lasting impact on folk music, its role in sparking the folk revival, and the ongoing debate about its artistic merit and cultural significance.
Key concept: The Anthology of American Folk Music - Harry Smith’s seminal six-LP compilation, released in 1952, served as a foundational text for the folk revival and introduced a vast audience to the obscure world of pre-war American music. This highlights the power of curation and how a single individual’s vision can shape a genre’s trajectory and influence generations of musicians.
11. There Will Be No Service
This chapter focuses on the story of Nathan Salsburg, a 78 collector and curator, who unearthed a trove of discarded records from a deceased collector’s home. I explore the ethical considerations and complexities of inheriting and managing such a collection, and how Salsburg used this material to create ‘Work Hard, Play Hard, Pray Hard,’ a three-disc compilation released in 2012. The chapter also explores the unique allure of obscure and regional music, and how Salsburg’s curatorial approach challenged the prevailing narratives surrounding traditional American folk music.
Key concept: “You’d Holler Too Like That if You Was to Get Left” - This line, from a 1930 recording of ‘Flat Wheel Train Blues’ by Red Gay and Jack Wellman, perfectly encapsulates the empathy and emotional resonance that can be found in even the most seemingly mundane or obscure recordings. It highlights the unexpected moments of beauty and connection that draw collectors to this music.
12. But There’s Another Part of Me That Finds It Kind of Disgusting
This chapter delves into the ethical and philosophical implications of 78 collecting, particularly as it relates to the subjective nature of curation, the power dynamics inherent in shaping musical narratives, and the dangers of fetishizing rarity and obscurity at the expense of artistic merit. I discuss these ideas through conversations with collector Jonathan Ward, who specializes in non-Western 78s, and my own evolving understanding of the field.
Key concept: “‘Ethnic records’—come on. That’s jive.” - This quote, from the collector Jonathan Ward, highlights the limitations and potentially harmful biases embedded in the language used to categorize and discuss non-Western music. It emphasizes the need for greater cultural sensitivity and a more inclusive approach to understanding and appreciating music from around the world.
13. Luring Me Out Here for Nothing but a Damn Bunch of LP Records!
This chapter centers on my visit to the legendary 78 collector Joe Bussard at his home in Frederick, Maryland. I describe his impressive collection, his eccentric personality, his passion for pre-war music, and his strong opinions about everything from modern music to food. The chapter culminates with Bussard sharing his famous junking story - how he unearthed a stack of fifteen near-mint Black Patti 78s in a trailer park in Virginia, a find that would significantly impact his life and the world of 78 collecting.
Key concept: “Original Stack O’Lee Blues” - This 1927 recording by Long Cleve Reed and Little Harvey Hull, the Down Home Boys, offers a compelling example of the ‘Stack O’Lee’ murder ballad, a popular and enduring American folk narrative. It highlights the historical and cultural significance embedded within 78s, and how these recordings can serve as primary sources for understanding complex social issues and cultural trends.
14. An Obsessive Need for Things to Stay the Same and an Immersion in Arcane Knowledge
This chapter delves into the psychology of collecting, examining the potential links between 78 collecting and obsessive-compulsive disorder, obsessive-compulsive personality disorder, and addiction. I explore the role of gender in collecting, questioning why 78 collecting is such a predominantly male pursuit, and what biological, social, and cultural factors might contribute to the gender divide. I also discuss the role of neurobiology in understanding the collector’s drive for knowledge, organization, and the ‘thrill of the chase.’
Key concept: “Pleasure Is Replaced by Desire; Liking Becomes Wanting.” - This quote from neurobiologist David Linden, exploring the biological basis of addiction, offers a compelling lens through which to understand the obsessive nature of collecting. It suggests that collectors may be driven less by the enjoyment of the music itself and more by the relentless pursuit of acquiring new records, highlighting the complex relationship between pleasure, desire, and obsession.
15. Who Wants to Hear a Story About a Boy Learning Guitar from a Book?
This chapter explores the future of 78 collecting in the digital age, examining how technology both threatens and enhances the field. I reflect on the enduring appeal of 78s, their tactile qualities, and the sonic uniqueness of their recordings. I also discuss the growing popularity of 78-themed events and the reemergence of the format among younger generations of music fans. Ultimately, I argue that while technology may change how people access and consume music, the fundamental human needs that drive collecting—the desire for knowledge, connection, and meaning—will endure.
Key concept: “The people I used to play around with, they all done died out.” - This quote from blues musician Furry Lewis, reflecting on the passing of his contemporaries, poignantly encapsulates the power of 78s to preserve and resurrect lost voices. It highlights the historical weight embedded within these recordings and how they connect us to a vanished world, reminding us of the ephemeral nature of life and art.
Essential Questions
1. What compels individuals to devote their time, energy, and resources to collecting 78 rpm records, often at the expense of personal relationships or financial stability?
This question delves into the driving forces behind 78 rpm record collecting. I explore the various motivations, from the pursuit of rare and valuable objects to the desire for historical knowledge and cultural preservation. I analyze the emotional pull of these recordings, the sense of connection to the past, and the thrill of the chase. Additionally, I examine the complex psychological factors at play, such as obsessive-compulsive tendencies and the need for control and authority, that contribute to the collector’s dedication.
2. What are the ethical considerations surrounding the world of 78 rpm record collecting, particularly in light of the music’s origins in marginalized communities and the potential for exploitation of artists?
This question delves into the ethical considerations surrounding the preservation, commodification, and dissemination of 78 rpm records. I explore the power dynamics inherent in the collector-artist relationship, the potential for exploitation of musicians, and the impact of market forces on the value of these recordings. Additionally, I question the role of the collector as curator and gatekeeper, examining the subjective nature of taste and the potential for bias in shaping musical narratives.
3. How has the rise of digital technology, from the internet to streaming services, impacted the world of 78 rpm record collecting, and what does the future hold for this niche community in an increasingly digitized world?
This question explores the impact of digital technology on 78 rpm record collecting and the broader landscape of music consumption. I analyze the ways in which technology both enhances and threatens the field, facilitating research and access while simultaneously raising concerns about oversaturation, decontextualization, and the loss of tactile experience. I examine the evolving role of the collector in the digital age and consider the future of 78s in a world increasingly dominated by streaming and digital files.
Key Takeaways
1. 78 rpm record collecting, while driven by passion, raises important ethical questions about cultural appropriation, commodification, and the potential for exploitation.
The pursuit of rare and valuable 78s often comes at a cost. The collectors I encountered frequently wrestled with ethical dilemmas, questioning the power dynamics inherent in acquiring music from often-marginalized artists. The book explores the potential for exploitation, the commodification of suffering, and the need for collectors to operate with sensitivity and respect.
Practical Application:
In AI development, the emphasis on data collection and analysis sometimes overshadows the ethical and social implications of the technology. This takeaway encourages AI engineers to consider the broader context of their work, ensuring that data is sourced responsibly, algorithms are designed with fairness in mind, and potential biases are mitigated.
2. The obsessive nature of collecting, often associated with 78 rpm enthusiasts, offers valuable insights into the psychology of human desire, addiction, and the pursuit of knowledge.
78 collectors, driven by a complex interplay of passion, obsession, and the desire for knowledge, often display behaviors that mirror addiction or obsessive-compulsive tendencies. The book explores the neurobiological basis for these behaviors, highlighting the ‘thrill of the chase’ and the satisfaction derived from organization and control.
Practical Application:
In product design, understanding user psychology is paramount. This takeaway encourages designers to go beyond surface-level data and consider the underlying motivations, emotions, and biases that shape user behavior. By tapping into these deeper needs, designers can create more engaging and fulfilling user experiences.
3. While digital technology makes music more accessible than ever, the enduring appeal of 78 rpm records points to the human need for tangible connection, historical awareness, and the preservation of sonic artifacts.
The digital revolution has irrevocably altered the landscape of music consumption, making vast libraries of music instantly accessible. However, as I argue in the book, there’s an enduring appeal to the tactile experience and the sonic uniqueness of 78s that transcends mere nostalgia. These recordings offer a tangible connection to the past and a reminder of the value of preservation in a world dominated by ephemeral digital files.
Practical Application:
In technology, there’s a constant tension between progress and preservation. This takeaway encourages developers to consider the long-term implications of their innovations, striving to balance technological advancement with the preservation of valuable cultural artifacts and knowledge.
Memorable Quotes
Prologue. 13
“He who does collect can never entirely shake off an air of impoverishment and depleted humanity.”
This Is One of the Things I Would Say Is Inexplicable. 35
“This Is One of the Things I Would Say Is Inexplicable.”
Suck All the Blossoms and He Leave You an Empty Square. 74
“They did that because there was a lot of corrosion on the metal masters, and the building where the metal masters had been stored didn’t have any insulation. Pigeons came into that building and you can imagine what a bird does on a metal master.”
I Saw America Changed Through Music. 139
“You can find a needle in a haystack,” Gallo told the reporter. “But you have to find the haystack first.”
But There’s Another Part of Me That Finds It Kind of Disgusting. 230
“‘Ethnic records’—come on. That’s jive.”
Comparative Analysis
While ‘Do Not Sell At Any Price’ shares its focus on music history and niche communities with works like Elijah Wald’s ‘Escaping the Delta’ and Simon Reynold’s ‘Retromania,’ it distinguishes itself by offering a deeply personal and introspective exploration of the collector’s psyche. Unlike Wald’s more analytical critique of the blues revival or Reynold’s broad survey of retro-culture, my book centers on the intimate and often-obsessive relationships collectors develop with these fragile sonic artifacts. It also delves into the ethical considerations and anxieties surrounding the preservation and commodification of music, highlighting the power dynamics inherent in shaping musical narratives and the potential for exploitation within these communities.
Reflection
While ‘Do Not Sell At Any Price’ illuminates a fascinating subculture, it also raises critical questions about the act of collecting itself. The book grapples with the tension between the subjective experience of music and the collector’s desire to impose order and meaning through historical research and categorization. Is there a danger in over-contextualizing these recordings, in losing sight of the music’s raw emotional power? The book also leaves the reader with a sense of unease about the commodification of music and the power dynamics at play within these communities. While I celebrate the passion and dedication of the collectors I encountered, the book also serves as a cautionary tale, reminding us that even the most well-intentioned efforts at preservation can be fraught with ethical complexities. Overall, ‘Do Not Sell At Any Price’ is a compelling and thought-provoking exploration of a niche community that offers valuable insights into our relationship with music, history, and the enduring allure of objects.
Flashcards
What are 78 rpm records?
The thick, ten-inch, two-song shellac discs developed around the turn of the twentieth century.
What is the VJM Record Grading System?
A standardized schematic used by collectors and vendors to assign letter grades to 78s based on their condition.
What is the Anthology of American Folk Music?
A seminal six-LP compilation of pre-war American music released in 1952 by Folkways Records.
What is ‘Junking’ in the context of record collecting?
The act of searching for valuable or rare records among piles of miscellaneous items, often in unexpected places like flea markets or attics.
What does ‘Shakin’ Down That Town’ mean?
A metaphorical term used to describe aggressive and exhaustive record-hunting tactics employed by collectors.
What was the Black Patti label?
A short-lived Chicago-based race record label founded in 1927 by J. Mayo Williams.
What is Piedmont blues?
A regional guitar style that developed in the southeastern United States in the 1920s and 30s, characterized by complex fingerpicking and a lighter, more syncopated sound than Delta blues.