Animals: Art, Science and Sound is the first major exhibition to explore the many different ways in which animals have been written about, visualised and recorded over time. Focusing on the British Library’s extensive natural history collections, the exhibition brings together chronologically and geographically diverse material produced over the past 2000 years, from some of the earliest encyclopaedic works on zoology to stunning high-resolution photographs of insects produced using the latest technologies.

The exhibition features over 100 objects selected from the Library's diverse collections and is divided into four main zones that cover darkness, water, land and air. As the name suggests, sound features heavily in the exhibition, both in terms of physical objects and sound recordings themselves. There are soundscapes playing in the gallery space that help create atmosphere and listening points where visitors can explore some of the more weird and wonderful recordings held by the Library. Published discs, field tapes, recording equipment and personal notebooks sit alongside historical manuscripts, paintings and printed works, and many of these items are on display for the very first time. There are objects of celebration, such as the first commercial record of an animal, but also objects of sadness, the most poignant of which is a reel of tape containing the song of a now extinct songbird.

Below are just a few highlights from this textually, visually and sonically rich exhibition.

The Holgate Mark VI bat detector which was one of the earliest portable models produced (British Library, WA 2009/018)

Greater Horseshoe Bat echolocation recorded using the Holgate MK VI by John Hooper in Devon, England, 1968 (WS7360 C10)

Illustration of the defects of a horse from Kitab al-baytarah (Book on Veterinary Medicine) by Abu Muhammad Ahmad ibn Atiq al-Azdi, 13th century (British Library, Or 1523, ff. 62v-63r)

Musical notation used to represent the songs and calls of birds, from Athanasius Kircher's Musurgia Universalis (Universal Music), Rome, 1650 (British Library, 59.e.19.) 

Second edition of Julian Huxley and Ludwig Koch's Animal Language sound book, USA, 1964 (British Library, 1SS0001840)

Bactrian Camel calls taken from disc 1 of Animal Language (1CS0070755)

An image of a 'monkfish' from Pierre Belon's De aquatilibus (Of aquatic species), Paris, 1553 (British Library, 446.a.6.)

An illustration of a fruit bat, painted at Barrackpore, India. 1804-7 (British Library, NHD3/517)

The Hip-po-pot-a-mus children's educational record published by the Talking Book Corporation, USA, 1919 (British Library, 9CS0029512)

A section in the Land zone displaying textual and visual accounts of animals appearing in countries beyond their usual geographic range.

A section in the Air zone exploring the history of recording bird voices including the first commercially released record of an animal from 1910.

Actual Bird Record Made by a Captive Nightingale (No.1), Gramophone Company, 1910

Animals: Art, Science and Sound runs until 28 August 2023. Please visit https://www.bl.uk/events/animals to book tickets and to find out more about the exhibition's accompanying events programme. Thanks go to the Getty Foundation, Ponant, the American Trust for the British Library and the B.H. Breslauer Fund of the American Trust for the British Library. Audio soundscapes were created by Greg Green with support from the Unlocking our Sound Heritage project, made possible by the National Lottery Heritage Fund, and scientific advice provided by ZSL (the Zoological Society of London). 

 

Publicity shot of Sun Ra, 1973. Distributed by Impulse! Records and ABC/Dunhill Records. Photographer uncredited. Public domain.
 
Throughout his long career the pianist, composer, bandleader and Afrofuturist pioneer Sun Ra (1914-1993) released over one hundred albums, many under his own record label Saturn Records. His sprawling recorded output is matched in extent only by the longevity of his band, the variously-named Arkestra, which formed in the 1950s and still performs to this day under the leadership of saxophonist Marshall Allen - surely one of the longest-running bands in existence.

This combination has served well to preserve the legacy of Sun Ra who passed away almost 30 years ago today on 30 May 1993. His death was mourned worldwide but not more so than by his devotees from within the Arkestra as captured by an all-day KPFA memorial programme which aired in the summer of 1993. This week’s highlighted recording is from this broadcast, which forms part of the Christ Trent Collection (C833). Chris Trent is a Sun Ra historian and founder of the archive-led, Ra-oriented record label Art Yard. The programme features interviews with several members of the Arkestra including saxophonist John Gilmore, trombonist Julian Priester and trumpeter Michael Ray as well as Evidence label founder Jerry Gordon and Jim Newman who produced the Afrofuturist sci-fi film Space is the Place (1974). Whilst the majority of the interviews are anecdotal and focus on Sun Ra’s history, saxophonist Ronald Wilson’s contribution stands apart in its pertinent reflections on the future of Sun Ra’s music.

Ronald Wilson interview excerpt

Download Ronald Wilson transcript

In this clip, soundtracked by the syncopated piano chords of ‘Somewhere in Space’, Wilson talks about the House of Ra in Philadelphia. The house functioned as a communal living & rehearsal space, the Arkestral headquarters and to this day is still lived in and used by the very same band. At the time of broadcast the house was overflowing with tapes which spilled out onto the kitchen sink, underneath tables and on top of cabinets and windowsills. According to Wilson, Sun Ra recorded everything that he did.

The Sun Ra Arkestra performing in Brecon, Wales in 1990. Photo by Peter Tea. Sourced from Flickr under CC BY-ND 2.0.

To me, it feels as if Ronald Wilson is not only addressing the KPFA listeners of 1993 but also those of us working in the British Library’s sound archive in 2023, as well as the musicologists and archivists of the future. Whilst it is sometimes easy to lose sight of the long-term importance of archives, Wilson’s clear-sighted appeal is a reminder of why audio preservation is needed in order to understand the lives of these artists as they unfolded and the music that came from them. Sun Ra must have shared this viewpoint himself. His explanation, as recounted by writer Robert Campbell, on how he chose which music to release on the Saturn label, says as much:

Whatever I think people are not going to listen to, I’ve always recorded it. When it’ll take them some time - maybe 20 years, 30 years - to really hear it.

Reference: Campbell, R. in  Omniverse: Sun Ra edited by Hartmut Geerken; Bernhard Hefele (Wartaweil: Waitawhile. 1994).

Today’s post was written by Gail Tasker, Metadata Support Officer.

Many of you will have seen a fictionalised version of comedian Lenny Bruce in the streamed comedy-drama The Marvelous Mrs. Maisel. Although the series has no pretensions to documentary accuracy, actor Luke Kirby has clearly done his research. He gives an impressively convincing and charismatic performance.

Working in the late 1950s to the mid-60s, the real Lenny Bruce was one of the most influential stand-up comedians in US history. His discursive style, based on semi-improvised routines, was a hip and exciting contrast to the tired format of traditional jokes with corny punchlines.

In the liner notes to the LP The Sick Humor of Lenny Bruce, jazz critic Ralph Gleason drew parallels between Bruce’s approach to comedy, and jazz:

He is colossally irreverent - like a jazz musician. His stock in trade is to violate all the taboos out loud and to say things on stage which would get your nose bashed in at a party. But his outrage at society is not represented by shrill screams or loud protests. He does not pose. His is a moral outrage and has about it the air of a jazz man. It is strong stuff - like jazz, and it is akin to the point of view of Nelson Algren and Lawrence Ferlinghetti as well as to Charlie Parker and Lester Young.

But Bruce’s stance did not go unnoticed. In 1960s America, the establishment was in no mood to take a challenge lightly. If provoked, it would strike back. Bruce’s nightclub act, which dealt candidly with sex, drugs, politics, religion and race relations, began to attract police attention. Throughout the first half of the 1960s, up to his premature death in 1966, Bruce faced a relentless string of arrests and subsequent court proceedings, mainly for ‘obscenity’.

The first of these court appearances occurred in 1962, in San Francisco. In his defence, Bruce played a tape of his nightclub act, demonstrating the context surrounding his use of ‘obscene’ language. The judge was asked if those in the courtroom could be allowed to ‘respond naturally', i.e., to laugh, but the judge would allow no such thing, saying, ‘This is not a theatre and it is not a show’. Bruce was acquitted nonetheless.

Bruce subsequently issued the recording played in court as a 10” disc on his own label. The cover featured Bruce dressed as a policeman, and the following notice:  

WARNING

SALE OF THIS ALBUM MAY SUBJECT SELLER TO ARREST FOR VIOLATION OF THE ENDEMIC OBSCENITY LAWS; THE SOLE EXCEPTION BEING SAN FRANCISCO, CALIFORNIA (WHERE THE COMMUNITY STANDARDS MAY BE LOWER).

Here is a short excerpt from that recording, which was made at San Fransisco Jazz Workshop on 2 October 1961.

Listen to Lenny Bruce live in 1961

Download Lenny Bruce transcript

It is a measure of how times change that the sexual swearwords or expressions that saw Bruce arrested multiple times for obscenity would pass unremarked upon today, at least in a comedy context.

In contrast, Bruce’s use of various disparaging terms for ethnic minorities, disabled people and homosexuals would be highly likely to outrage many contemporary audiences. While it is an argument unlikely to persuade many today, Bruce maintained that the casual use of these terms could deprive them of their power to wound.

For those who would like to explore further we have digitised and made available online a number of Lenny Bruce shows recorded by Cecil Spiller in 1957-58. From available evidence, the venue for most of the recordings is thought to be the Peacock Lane nightclub, Los Angeles, USA. Please bear in mind that some of the language may offend.

Today’s post was written by Steve Cleary, Lead Curator, Literary and Creative Recordings.

With thanks to Kitty Bruce for granting permission to make these recordings available online.