Category Archives: Music

Bowling Green State University Music Library and Bill Schurk Sound Archives partners with Internet Archive

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BGSU Music Library and Bill Schurk Sound Archives partners with Internet Archive to provide digital access to thousands of historic recordings 

The BGSU Music Library and Bill Schurk Sound Archives, one of the largest collections of popular music at an academic institution in the United States, has partnered with the Internet Archive’s Great 78 Project to digitize thousands of records made in the early 20th century.  

The University’s collection of over 100,000 of these discs represents one of the largest collections processed by the Internet Archive’s Great 78 Project, a program dedicated to the preservation and dissemination of these early recordings.  

The recordings from the BGSU Music Library and Bill Schurk Sound Archives’ collection trace the history of the recording industry in the United States, including many standard popular and jazz tunes, as well as more niche materials.

Browse the Bowling Green State University 78rpm Collection at Internet Archive.

Many of the less-common items, such as recordings made by and for immigrant and minoritized groups in the United States, children’s recordings and novelty records, are only available on the original recordings since they were never released on LP, CD or digital streaming services. The collection establishes a digital record of underrepresented artists. It also reflects the cultural and political atmospheres of each time period in which the original material was pressed, meaning that some of the materials included reflect stereotypes and language that may be offensive to today’s listeners. These materials do not represent the values of Bowling Green State University, University Libraries, and Music Library and Bill Schurk Sound Archives.  

Digital versions of these records created through the partnership make it easier for BGSU to provide on-campus access to the recordings while adding those digital files to the thousands already digitized by the Great 78 Project.  

Early phonograph records were made to spin at 78 revolutions per minute (rpm) and were the most common format for sound recordings in the United States from the early 1900s until the early 1950s. Because of their age and the developing practices of the early sound recording industry, these discs require specialized equipment for modern playback and, unlike modern LPs, often require the attention of a professional audio engineer to coax optimal sound quality from the aging records.   

“The pace at which George Blood LC, the vendor working with the Great 78 Project, began processing and digitizing the collection was astounding,” said Dr. David Lewis, a former sound archivist at the Music Library and Bill Schurk Sound Archives. “Within two months, they had digitized and uploaded thousands of recordings to the Bowling Green 78 rpm Collection page. That same work would have taken years longer to complete in-house at BGSU. Working with the Great 78 Project has the added benefit of contributing the University’s materials to a global network of fans, researchers and listeners alongside many other collections of 78 rpm discs.”   

The digital files created from BGSU Music Library and Bill Schurk Sound Archives’ 78 rpm discs will be preserved by the Internet Archive and made available for online listening and downloading from the Internet Archive’s BGSU collection page.  

In addition, staff at the Music Library and Bill Schurk Sound Archives will begin work to preserve copies of selected digital items from the project at BGSU, providing additional safeguards for Ohio-related content and other rare and unique recordings that align with major collecting areas in the sound archives as well as faculty research and teaching.    

The wide access provided by the Internet Archive’s Great 78 Project, combined with the rare and unique material contributed to the project by BGSU, will add to the depth and breadth of material available both on campus and through the Internet Archive.   

Reposted with permission from BGSU News.

Public Domain Day Festivities Draw Global Audience of Enthusiasts

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People from around the world — many wearing their best roaring ‘20s attire — came to the Internet Archive’s online party on January 19 to toast creative works recently added to the public domain.

The event was hosted in partnership with SPARC, Creative Commons, Library Futures, Authors Alliance, Public Knowledge, and Duke’s Center for the Study of the Public Domain.

Watch recording

View table of contents & speakers

“We’re celebrating works published in 1927 becoming open to all in the United States where we can legally share, post, and build upon them without permission or fee,” said Jennifer Jenkins of the Center for the Study of the Public Domain at Duke Law School. “You’re free to reimagine the characters, the events, the settings, the imagery, and use them in your own stories, musical plays, and movies.”

Librarians and archivists are eager to preserve these cultural materials, the vast majority of which are out of circulation. Now that they’re in the public domain, anyone can preserve them and digitize them — making them more discoverable.

“The public domain is important because it enables access to cultural materials that might otherwise be lost to history,” Jenkins said. 

Among some of the best-known works that entered the public domain in 2023 include books, such as To the Lighthouse by Virginia Wolfe and The Big Four by Agatha Christie; sheet music for The Best Things in Life Are Free and I Scream, You Scream, We All Scream For Ice Cream; silent movies such as Metropolis by Fritz Lang, Putting Pants on Phillip with Stan Laurel and Oliver Hardy.

The first full-length film featuring synchronized sound was produced in 1927: The Jazz Singer with Al Jolson. 

Rob Byrne, a film restorer and president of the San Francisco Silent Film Festival, explained at the event that previous films were not truly silent since every motion picture performance in the 1920s was accompanied by live musicians—from full orchestras in big cities to single piano players in small town theaters. The average American went to the movies more than three times every week, and international movies were accepted because there were no language barriers, Bryne added. 

Unfortunately, more than 80% of all the films produced prior to 1930 have been lost.

Even fewer films featuring Black casts made for Black audiences survived, said Cara Cadoo, associate professor of history, cinema and media studies at Indiana University. “Race has always been a part of the story of the American cinema,” she said. 

It was because she could easily view movies in the public domain that Cadoo said she was recently able to discover a clip from a lost Black film. Through some detective work, she identified footage from the 1917 film, “The Trooper of Troop K,” while studying another film from 2023. “This history is something that just in recent decades, people have taken seriously,” Cadoo said.

Interest in the public domain is global! The map above shows where our viewers watched the celebration.

Brigitte Vezina, director of policy and open culture at Creative Commons, explained that libraries, museums and archives still face big challenges simply to fulfill their mission in the digital world. (See report Barriers to Open Culture.) Institutions are working in an outdated framework and copyright policy reform is needed, she said. 

“We’ve been promoting open culture to build a more equitable, accessible, and innovative world,” said Vezina, citing its new call to action policy guide. “It’s based on this rich experience that our open culture program supports better sharing of cultural heritage globally.”   

Along with works celebrated from 1927, SPARC’s Nick Shockey talked about another important milestone in expanding public access to knowledge. In August, the White House Office of Science and Technology Policy issued new guidance that requires the federal government set the default to open for all publicly funded research in the United States. 

“This will make over $80 billion each year in research produced with the support of U.S. taxpayer dollars immediately available to anyone online,” Shockey said. “The priority is part of a broader commitment to advancing equity in science and scholarship and recognizing the ways in which openness can be a powerful enabler of more equitable systems.”

The government has also set 2023 as the Year of Open Science. What is and is not publicly and openly accessible is a public policy question, said Shockey, noting the disappointing 20-year pause for the Canadian public domain.

“As we celebrate today, I hope the momentum that we generate can be channeled into ongoing advocacy to ensure that more and more of the knowledge that shapes our world is made available to everybody and to more fully realize the right of sharing knowledge,” Shockey said.

For an example of the value of free sharing of information from the federal government, Meredith Rose, senior policy counsel with Public Knowledge, highlighted NASA’s public posting of images from the Webb space telescope.

“Some things are born free,” said Internet founder Brewster Kahle. “Democracies around the world publish openly because they believe in education and they want it to be spread as widely as possible.”

Open does not always mean easily accessible, however. Kahle is working on Democracy’s Library, a project to gather government material from the U.S., Canada and around the world and preserve them in one place.

“This is the internet we’re dreaming of. Let’s go and make sure that it’s got all of the public domain materials publicly accessible – not just all those things that are from the classic era. Let’s go and celebrate the current public domain.”

Also presenting at the celebration was Rick Prelinger, an archivist, filmmaker, writer and educator. He began collecting ephemeral films (used for specific purposes such as advertising, educational and industrial films) in 1983. His collection of 60,000 films was acquired by the Library of Congress in 2002. He partnered with the Internet Archive to make a subset of the collection — now more than 8,500 films — available online for free viewing, downloading and reuse in the Prelinger Archive. 

Throughout the program, students from the Snowden International School (Boston) and the Ruth Asawa San Francisco School of The Arts (San Francisco) read poetry newly entered into the public domain from Caroling Dusk: an anthology of verse by Negro poets by Countee Cullen.

Jennie Rose Halperin, executive director of Library Futures, and Lila Bailey, senior policy counsel at the Internet Archive co-hosted the party.

[Cross-posted blog with SPARC / Internet Archive]

Music Library Association Opens Publications at Internet Archive

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For librarians who specialize in caring for music collections, it can be challenging to keep up with the latest technology and resources in the profession. The Music Library Association recently helped address this problem by making many of its publications openly available online.

The MLA donated 21 of its monographs to the Internet Archive for digitization and worked with authors to make the material free to the public under Creative Commons licenses. 

The new collection of backlist titles includes information on careers in music librarianship and history of the field. It also covers planning and building music library collections, which can be complicated and involve individual creators and small publishers, said Kathleen DeLaurenti, who helped lead the partnership with the Internet Archive in her role as MLA’s first open access editor. There are also valuable materials on music library approaches to technical services—everything from how to preserve music materials to how to bind and catalog them.

“Increasingly in librarianship, we have people who are being tasked to do this work who don’t have a specialized background, especially in smaller organizations, rural places, and public libraries,” DeLaurenti said. “We’re really excited to be able to make this content available to folks who may not have access to professional development in those spaces, and who may be looking for some materials to bolster their training and their own work.”

The MLA has been publishing new research of interest to music librarians since the 1970s and wanted to find a platform to make the information easier to discover, said DeLaurenti, director of the Arthur Friedheim Library at the Peabody Institute of Johns Hopkins University in Baltimore. The Internet Archive provided the open infrastructure to share and leverage the work of the MLA, which is a small organization with about 1,000 members.

While the MLA began with 21 of the monographs, it is working to obtain rights clearance for an additional 20 titles and DeLaurenti hopes the online collection will grow. So far, authors have been excited that the association is making their work available as it increases access for scholars with the potential for more citations of their research.

The audience for the online collection will likely be “accidental music librarians”—people tasked with music library responsibilities who aren’t musicians but are looking for professional development resources in the area, DeLaurenti said, as well as individuals considering music librarianship as a career.

“As libraries are looking at what kinds of open infrastructure is out there and available, I think the work that the Internet Archive has done through COVID has really changed our perception and how they can work as a potential collaborator in that space,” DeLaurenti said. “We hope to continue different kinds of collaborations with [the Archive] in the future.”

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Meet the Librarians: Alexis Rossi, Media & Access

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To celebrate National Library Week 2022, we are taking readers behind the scenes to Meet the Librarians who work at the Internet Archive and in associated programs.

Alexis Rossi has always loved books and connecting others with information. After receiving her undergraduate degree in English and creative writing, she became a book editor and then worked in online news. 

Alexis Rossi

In 2006, Rossi joined the staff of the Internet Archive. She was working on the launch of the Open Library project when she recognized the need to learn more about how to best organize materials. She enrolled at San Jose State University and earned her Master’s of Library and Information Science in 2010.

“It gave me a better grasp of how to hierarchically organize information in a way that is sensible and useful to other libraries,” Rossi said. “It also gave me better familiarity with how other more traditional libraries actually work—the types of data and systems they use.”

Rossi concentrated on web interfaces for library information, understanding digital metadata, and how to operate as a digital librarian. In addition to overseeing the Open Library project, at the Internet Archive, Rossi managed a revamp of the organization’s website, ran the Wayback Machine for four years, founded the webwide crawling program, and is currently a librarian and director of media & access.

“One of the themes of my life is trying to empower people to do whatever they want to do,” said Rossi, who grew up in Monterey, California, and now lives in San Francisco. “Giving people the resources to teach themselves—whatever they want to learn—is my driving force.”

“Giving people the resources to teach themselves—whatever they want to learn—is my driving force.”

Alexis Rossi, Media & Access

Rossi acknowledges she is privileged to have means to avail herself to an abundance of information, while many in other parts of the world do not. There are so many societal problems she cannot solve, Rossi said, but she believes her work is making a contribution.  

“We can build a library that allows people to access information for free, wherever they are, and however they can get to it, in whatever way. That, to me, is incredibly important,” Rossi said. It’s also rewarding to help patrons discover new information and recover materials they may have thought were lost, she added.

When she’s not working, Rossi enjoys making funky jewelry and elaborate cakes (a skill she learned on YouTube).

Among the millions of items and collections in the Internet Archive, what is Rossi’s favorite? Video and audio recordings of her dad, now 73, playing the piano, organ and accordion: “It’s just so good. It’s such a perfect little piece of history.”

Passing on a Musical Love Letter to the Next Generation

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As a teenager in the 1940s, Ben Smith became a huge fan of swing and big-band music — especially the masterful Duke Ellington, known for the classics “Mood Indigo” and “Take the ‘A’ Train.” 

Smith started collecting Ellington records in 78rpm format in high school and continued during World War II when he served in the Air Force stationed in various U.S. cities before being deployed to the Philippines and Japan. “That was my band, I was crazy about them,” he said of Ellington and his Orchestra, a centerpiece of his early swing jazz collection along with Benny Goodman, Woody Herman and other greats.

Watercolor of Johnny Hodges, famed jazz saxophonist and longtime Duke Ellington collaborator, by artist & donor Ben Smith.

Now, the 95-year-old is sharing some of the music he collected and curated over the years with the world. Smith recently donated 300 of his beloved CDs, LPs and 78s to the Internet Archive, including a mix of classical, jazz, western swing, country, folk, and blues. A first set of the 78s is now online, and the remaining collection is queued for digitization.

“I thought somebody else should have access and be enjoying them,” said Smith, who lives in Austin, Texas. “I’m just thrilled. I’m the winner here.”

View Collection

When Smith was in the hospital earlier this year, he talked with his family about what would happen to his music someday. His son, Mark Smith, recently retired as director and state librarian at the Texas State Library and Archives Commission, suggested the Internet Archive could digitize the items and provide a permanent home.

“My dad isn’t a big Internet guy, so I took my computer over and showed him how it would work, and how people could listen to his music,” said Mark. “He was excited and thought it sounded wonderful.” 

Mark then contacted Liz Rosenberg, donations manager at the Archive, who gave him instructions on how to ship the records and media to the Archive. He brought the CDs and records to the UPS store, where they were boxed up and sent. “It worked out great. It was easy,” said Mark.

Cubist-inspired Duke Ellington cover art illustration by Ben Smith ca. 1940, part of Smith’s donation to the Internet Archive.

Growing up, Mark says he was more into rock and folk music, but he understands how his dad’s generation loved the swing era and admired the musical genius of legends such as Ellington.  Ben met Ellington once at a show in Fort Worth, Texas, in 1947. After the concert, he approached Ellington for an autograph, but his pen didn’t work. “He was so cordial and in his mellow voice said, ‘I have a pen’ and reached into his vest pocket and took out this beautiful pen and wrote his very ornate signature,” Ben recalls. 

Born in Orange, Texas, in 1926, Ben was a staff artist at the University of Texas for 38 years. In his donation to the Archive, he included an illustration of Ellington he drew in the 1940s and a watercolor of longtime Ellington alto sax soloist Johnny Hodges. 

Artist and music collector Ben Smith, Jr.

Mark says he’s pleased to have his father’s collection featured alongside other digitized items available to the public.

“I think the Internet Archive is one of the coolest things on the whole internet – the Wayback Machine and all of the spoken word recordings, not to mention the vast Grateful Dead recordings,” said Mark Smith. “I’m very grateful to the Archive for taking in my dad’s collection, making it available and making my dad very, very happy.”

No Book/Music/Movie (All Media) Donation Too Big or Small: Please Donate

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Looking around your home in the new year and wondering what to do with all the stuff you’ve accumulated? You’re not alone — turns out 54% of Americans are overwhelmed by the amount of clutter around them. As people move or downsize, they are often in a dilemma about what to do with their beloved books and records. The same goes for colleges and libraries when they close or relocate. So what’s a preservation-minded person or organization supposed to do with their extra books, records, or other media?

The Internet Archive is here to help! We welcome donations with open arms — from single books to entire libraries. The Internet Archive seeks to preserve and digitize one copy of every book, record, CD, film, and microfilm in support of our mission to provide “Universal Access to All Knowledge.”

Liz Rosenberg, donation manager at Internet Archive, helping digitize a donation of 78 rpm records.

“Increasingly, people are turning to the Internet Archive to preserve materials and give them new life online,” said Liz Rosenberg, donation manager. “Staff members can even help to arrange for a convenient pick up of larger donations.” 

 “We are always looking for items that we don’t have already or ones that are in better shape,” said Rosenberg, who encourages people to check online, if convenient, if a copy is needed. For large collections or donations with special circumstances, Internet Archive will go onsite to pack and ship items at no expense to the donor. “Our goal is to make this process easy for donors.”

Internet Archive receives a variety of materials from individuals and organizations. Boxes can be mailed to facilities in Richmond, California, or brought to drop off locations in the U.S. and England. The Archive tries to digitize materials and make them available publicly, as funding allows. 

Recent personal donations have included a collection of railroad maps and atlases from the 1800s. Also, a large collection of fragile 78rpm records was donated by a person in Washington, D.C., and 18,000 LP, 45, and 78 records were donated from a home in Arkansas.

Some recent institutional donations include 80,000 books from the Evangelical Seminary, 191 boxes of journals and periodicals from Hope International University, and 70,000 books, journals and microfilm from Marygrove College. These larger gifts are made into special collections to help Internet Archive users find the materials and celebrate the donor.

We are happy to give donors a receipt for tax purposes and celebrate the donation on the archive.org site if appropriate. 

“We would love to provide a forever home for your media wherever you are located, however much you have,” said Rosenberg. “I love doing this role. It restores my faith in the goodness of the world every day.”

For more information about contributing, please visit the Internet Archive help center.

Discogs Thank You! A commercial community site with bulk data access

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https://thequietus.com/articles/24529-discogs-more-than-200-million-dollars

Discogs has cracked the nut, struck the right balance, and is therefore an absolute Internet treasure– Thank you.

If you don’t know them, Discogs is a central resource for the LP/78/CD music communities, and as Wikipedia said “As of 28 August 2019 Discogs contained over 11.6 million releases, by over 6 million artists, across over 1.3 million labels, contributed from over 456,000 contributor user accounts—with these figures constantly growing…”

When I met the founder, Kevin Lewandowski, a year ago he said the Portland based company supports 80 employees and is growing. They make money by being a marketplace for buyers and sellers of discs.  An LP dealer I met in Oklahoma sells most of his discs through discogs as well as going at record fairs.

The data about records is spectacularly clean. Compare it to Ebay, where the data is scattershot, and you have something quite different and reusable. It is the best parts of musicbrainz, CDDB, and Ebay– where users can catalog their collections and buy/sell records. By starting with the community function, Kevin said, the quality started out really good, and then adding the market place later led it to its success.

But there is something else Discogs does that sets it apart from many other commercial websites, and this makes All The Difference:

Discogs also makes their data available, in bulk, and with a free-to-use API.

The Great 78 Project has leveraged this bulk database to help find the date of release for 78’s.  Just yesterday, I downloaded the new dataset and added it to our 78rpm date database, and in last year 10’s of thousands more 78’s were added to discogs, and we found 1,500 more dates for our existing 78’s.   Thank you!

The Internet Archive Lost Vinyl Project leverages the API’s by looking up records we will be digitizing to find track listings.

A donor to our CD project used the public price information to appraise the CDs he donated for a tax write-off.

We want to add links back from Discogs to the Internet Archive and they have not allowed that yet (please please), but there is always something more to do.

I hope other sites, even commercial ones, would allow bulk access to their data (an API is not enough).   

Thank you, Discogs.

Correct Metadata is Hard: a Lesson from the Great 78 Project

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We have been digitizing about 8,000 78rpm record sides each month and now have 122,000 of them done. These have been posted on the net and over a million people have explored them. We have been digitizing, typing the information on the label, and linking to other information like discographies, databases, reviews and the like.

Volunteers, users, and internal QA checkers have pointing out typos, and we decided to go back over a couple of month’s metadata and found problems. And then we contracted with professional proofreaders and they found even more (2% of the records at this point had something to point out, some are matters of opinion or aesthetics, some lead to corrections).

We are going to pay the professional proofreaders to correct the 5 most important fields for all 122,000 records, but can use more help. We are pointing these out here in hopes to interest volunteer proofreaders and to share our experience in continually improving our collections.

Here are some of the issues with the primary performer field: before-the-after that we have now corrected from the June 2019 transfers (before | after) that we hope to upload in the next couple of weeks:

Jose Melis And His Latin American Ensemble | Jose Melis And His-Latin American Ensemble
Columbia-Orchestra | Columbia-Orchester
S. Formichi and T. Chelotti | S. Formichi e T. Chelotti
Dennis Daye and The Rhythmaires | Dennis Day and The Rhythmaires
Harry James and His Orchestra | Harry James and His Orch.
Charles Hart & Elliot Shaw | Charles Hart & Elliott Shaw
Peerless Quartet | Peerless Quartette

Some of the title corrections:

O Vino Fa ‘Papla (Wine Makes You Talk) | ‘O Vino Fa ‘Papla (Wine Makes You Talk)
Masked Ball Salaction | Masked Ball Selection
Moonlight and Roses (Brings Mem’ries Of You) | Moonlight and Roses (Bring Mem’ries Of You)
Que Bonita Eres Tu (You Are Beutiful) | Que Bonita Eres Tu (You Are Beautiful)
Buttered Roll | “Buttered Roll”
Paradise | “Paradise”
Got a Right to Cry | “Got a Right to Cry”
Blue Moods | “Blue Moods”
Auf Wiederseh’n Sweerheart | Auf Wiederseh’n Sweetheart
George M. Cohan Medley – Part 1 | George M. Cohan Medley – Part 2
Dewildered | Bewildered
Lolita (Seranata) | Lolita (Serenata)
Got a Right to Cry | “Got a Right to Cry” Joe Liggins and His Honeydrippers
Blue Moods | “Blue Moods”
Body and Soul | “Body and Soul”
Mais Qui Est-Ce | Mais Qui Est-Ce?
Wail Till the Sun Shines Nellie Blues | Wait Till the Sun Shines Nellie Blues
Que Te Pasa Joe (What Happens Joe) | Que Te Pasa Jose (What Happens Joe)
SAMSON AND DELILAH Softly Awakens My Heart | SAMSON AND DELILAH Softly Awakes My Heart
I’m Gonna COO, COO, COO | (I’m Gonna) COO, COO, COO

Please Donate 78rpm Records to the Internet Archive’s Great 78 Project

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Good news: we have funding to preserve at least another 250,000 sides of 78rpm records, and we are looking for donations to digitize and physically preserve. We try to do a good job of digitizing and hosting the recordings and then thousands of people listen, learn, and enjoy these fabulous recordings.  

If you have 78s (or other recordings) that you would like to find a good home for, please think of us — we are a non-profit and your donations will be tax-deductible, digitized for all to hear, and physically preserved. If you are interested in donating recordings of any type or appropriate books, please start with this form and we will contact you immediately

We are looking for anything we do not already have. (We are finding 80% duplication rates sometimes, so we are trying to find larger or more niche collections).  We will physically preserve all genres, but our current funding has directed us to prioritize digitization of non-classical and non-opera.

We can pay for packing and shipping, and are getting better at the logistics for collections of a few thousand and up.  These are fragile objects and we are having good luck avoiding damage.

Tina Argumedo Collection
Daniel McNeil
Boston Public Library

The collections get highlighted and if you submit a story we will post it prominently. For instance: Boston Public Library, Daniel McNeil and Tina Argumedo’s Argentinian Tango collection.

The reason to highlight the donors is twofold: one is the celebrate the donor and their story, but the other is to help contextualize these recordings for different generations. These stories help users find meaning in the materials and find things they want to listen to. This way we can lead new listeners to love this music as the original collectors have

Working together we can broaden this collection to works from around the world and different cultural groups in each country.

If you are a private individual or an institution and have records to contribute, even if they are not 78s, please start with this simple form, or email info@archive.org, or call +1-415-561-6767 and we will contact you immediately. Thank you.

A Public Peek into 1923

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Commercial radio broadcasting began in the 1920s, bringing entertainment, news and music into people’s homes. Now, instead of needing to play a 78rpm disc on your phonograph, you could just tune in to listen to popular songs.

And in 1923 that means you would have been listening to one of the many versions of “Yes! We Have No Bananas” written by Frank Silver and Irving Cohn.  

You could listen to the Billy Jones version (play below), the Billy Murray version, a Yiddish version, or an Italian version, among others.

Yes! We Have No Bananas by Billy Jones from the 78rpm collection

Then you could have moved on to dancing the Charleston, popularized by the song of the same name from the 1923 musical “Runnin’ Wild.”   And with the explosion of recordings by African American musicians, you could also enjoy “Baby Won’t You Please Come Home” by Bessie Smith and “Dipper Mouth Blues” by Louis Armstrong.

Autogyro (1934)

In the news of the day you saw the first flight of an autogyro (the precursor to the helicopter).

Jack Dempsey defended his World Heavyweight Championship title against Tommy Gibbons and Luis Firpo.

And Howard Carter’s team finally entered the burial chamber of King Tutankhamen, as covered in books, sheet music and song! 

But why are we focusing on 1923? Because for the first time in 20 years, new works are entering the public domain in the United States (read more: 1, 2, 3). And those works were all published in, you guessed it, 1923.

Settle in with a Reese’s Peanut Butter Cup, a Butterfinger, or a refreshing Popsicle (all invented in 1923!) while you watch Cecil B. DeMille’s The Ten Commandments, The White Sister starring Lillian Gish, or The Hunchback of Notre Dame starring Lon Chaney. Or any one of 50 other films available on archive.org from that year.

After your movie marathon, you can turn to your “new” reading materials to learn about sewing the latest women’s fashions, try an old recipe from a cook book (we recommend the Marshmallow Loaf), learn about theatrical lighting, construct yourself a bungalow (um, check the lastest building codes first), grab some sheet music, read up on Benito Mussolini, and learn “How You Can Keep Fit” from Rudolph Valentino (!).

Finally, settle in to read some Robert Frost, Virginia Woolf, Edith Wharton, or Kahlil Gibran. And while you’re here, take a look at the 20,000 other texts we have available from 1923. 

We look forward to introducing you to 1924 NEXT January!