{"id":4974,"date":"2013-08-06T19:14:40","date_gmt":"2013-08-07T02:14:40","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=4974"},"modified":"2013-08-06T19:33:03","modified_gmt":"2013-08-07T02:33:03","slug":"making-records-the-hard-way","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2013\/08\/making-records-the-hard-way\/","title":{"rendered":"Making Records The Hard Way"},"content":{"rendered":"<p><a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2013\/08\/Master-78-Record.jpg\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2013\/08\/Master-78-Record.jpg\" alt=\"Master 78 Record\" width=\"90\" height=\"77\" class=\"alignleft size-full wp-image-4975\" \/><\/a>For an idea of what the RCA post-production crew went through half a dozen times to make the two-and-a-half-minute Sidney Bechet record mentioned in the Zeitlin review in the post above, watch these films about the complexities of the record-making process 72 years ago. The narrator is Milton Cross, for 43 years the host of the Metropolitan Opera&#8217;s weekly live radio performances. <\/p>\n<div style=\"text-align: center;\"> <iframe loading=\"lazy\" width=\"440\" height=\"355\" src=\"\/\/www.youtube.com\/embed\/yrq4fwKjaIs?rel=0\" frameborder=\"0\" allowfullscreen><\/iframe><\/iframe><\/div>\n<div style=\"text-align: center;\"> <iframe loading=\"lazy\" width=\"440\" height=\"355\" src=\"\/\/www.youtube.com\/embed\/MIDav7A0GNo?rel=0\" frameborder=\"0\" allowfullscreen><\/iframe><\/iframe><\/div>\n","protected":false},"excerpt":{"rendered":"<p>For an idea of what the RCA post-production crew went through half a dozen times to make the two-and-a-half-minute Sidney Bechet record mentioned in the Zeitlin review in the post above, watch these films about the complexities of the record-making process 72 years ago. The narrator is Milton Cross, for 43 years the host of [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-4974","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/4974","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=4974"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/4974\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=4974"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=4974"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=4974"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}