ARChive for Contemporary Music & B. George

The ARChive for Contemporary Music is located in a Tribeca storefront next to a legal bookstore and mere blocks from the cacophony of Chinatown. This unlikely location is where B. George and a small coterie of like-minded music lovers convene daily to do their sisyphean work: collecting and cataloguing two copies of every musical recording made after the era of 78 rpm’s. Every one.

The ARChive is not open to the public, so our extended visit was for all of us a great occasion.

George first decided to initiate the ARChive after he tried to donate his hefty record collection to various libraries, only to be turned down. “I had a collection of 50,000 recordings, and I tried to give them away to the Library of Congress or Lincoln Center.” Those august institutions turned him down, though, due to the content of the collection. “Mostly what I had was punk, reggae, hip-hop, and experimental art music,” says George. People said, “Well, that’s not music.” In response, George began the ARChive, with its heroic – and some would say quixotic – mission.

George is himself an interesting character. After attending the University of Michigan for a spell, he came to New York and served stints as an artist, producer, and editor before founding the ARChive. His experiences, combined with his unparalleled depth of musical knowledge, make him a singular figure in the world of popular music.

The ARChive's board of directors is a crucial part of George’s insistence on not becoming dependent on grants to maintain the collection. “We don’t apply for any city, state, or federal grants,” he says. Instead, the Archive receives independent funding through its board of directors – stars like Keith Richards and David Bowie donate time, money, and resources – and by donations from recording companies and record collectors. “Almost everything is donated; there’s practically no acquisition budget. And as for what we'll collect, we never make quality decisions whatsoever.” The goal is quantity; the expectation is that quality will follow.

It’s a goal that requires a lot of space. The ARChive's location on White Street is filled to the brim with records, stacked on shelves that reach to the ceiling, imposing their visual heft on the awed visitor. One can imagine a disastrous scenario: being crushed by the weight tons of pressed plastic. George is working with Columbia University to move the collection to a new institutionalized home. "Our goal in the first twenty years was to build the collection; and in the next twenty years to get it out to the public."

But even as the collection overflows its space, the mission remains the same. “We work mostly for the industry, but are entirely against it,” says George. And in this independence – being part of the rich American popular music tradition, but standing outside the business side – has made the ARChive the preeminent repository of contemporary music.

-Paul Caine

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Kaum hatten sich die letzten Zuckungen gelegt, als sie sich herum warf und Martins schrumpfenden Schwanz wieder tief in ihre Kehle sog.


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