A complete explanation of the sources used to make the graphics on the previous page is found below.
The principal source for information regarding the National Recording Registry is the Library of Congress's website and its complete list of recordings (initially imported into PowerBI and then to Excel, from which the data set grew) found here. Their list of expanded descriptions of the entries was very helpful for the more obscure or nebulous recordings.
For the field of genre, certain changes were made between the genre described on the Library of Congress listing and that used in the graphics. Pop (Pre-1955), Pop (Post-1955), and Disco were merged into Pop to shrink the legend; similarly, the Choral category was eliminated and its entries divided between Classical/Opera (Damnation of Faust, War Requiem, U.S. Marine Band Concert) and Gospel ("Adeste Fideles", A Festival of Lessons and Carols, Messiah, the Wings Over Jordan broadcast, Continental Harmony). It is not clear why the U.S. Marine Band's self-titled 1963 fundraising album was classified as choral.
The Environment category and collections in the Field category were merged into the category of "Field collection" while singles from the Field category ("Listen to the Lambs", "Suncook Town Tragedy", "Bonaparte's Retreat", "Clifton's Crew") were marked as Folk. One folk entry - the Ali Akbar Khan selections - was marked as a field collection to reflect its unavailability. The lone entry in the "Sports" category, Hank Aaron's home run, was added to "Spoken Word" with the other sports entries. The lone entry in the "Other" category, the Voyager records, became a field collection as well, even though at least three of its recordings ("Dark Was the Night", "My Melancholy Blues", and Beethoven's String Quartet No. 13 V. Cavatina [by the Budapest strings]) appear as or in other entries in other genres. Though it was tempting to classify the Voyager record's entries into separate genres, this was only done for one entry, the Crescent City collection, split into Spoken Word and Jazz.
Many changes were made to classify the music more accurately on its timbre. A Rock category was formed from various formerly Pop (Post-1955) recordings (excluding Aja, including Rumours, The Band, and every album that might more obviously be labeled as Rock, and the early rock 'n' roll singles, Sun Sessions, and Grateful Dead concert); Rhythm Nation 1814 was re-classified as R&B, as were the Melba Moore cover of "Lift Every Voice and Sing," Alicia Key's Songs in A Minor, and the Staple Singers' Soul Folk in Action. "The Revolution Will Not Be Televised" remains classified as R&B; although Rap and Spoken Word were both considered, no decision could be reached after two listenings. "Rhythm is Gonna Get You," Buena Vista Social Club, and "Livin' La Vida Loca" were added to Latin. The album A Low End Theory was marked as Rap. The A Streetcar Named Desire soundtrack was changed from Blues to Musical/Soundtrack, as much of it is rather typical of a film soundtrack even if parts contain jazz; the Superfly soundtrack was already classified as Musical/Soundtrack though it sounds very much like R&B.
Lastly, the Technology category was removed due to its appearance as a catch-all; the Phonautograms were classified as Classical/Opera to reflect their content; the St. Louis tinfoil recording became Children's to reflect its; the Talking Doll cylinder became Children's; the Gouraud and Berliner cylinders, Spoken Word; "Charleston," Jazz (it had been classified as Technology for its then-novel recording method, but the Four Seasons had been inducted for this reason while it was classified as Classical/Opera); Poeme Electronique, Switched-On Bach, and the Cleveland Symphonic Winds, Classical/Opera; "Around the World on Phonograph", the National Defense Test, the transatlantic telephone conversation, and Eisenhower's Atlas Satellite message, Spoken Word; "Fifth Regiment March," "Pattison Waltz," "Daisy Bell" sung by computer, Lincoln Mayorga and Distinguished Colleagues, and "September," Pop. It is not clear why "September" by Earth, Wind, and Fire was classified as Technology.
Much of the information in the charts regarding accessible albums comes from AllMusic, which provides data from TiVo, though some more obscure recordings' profiles were found on Discogs or transcribed from Spotify. Many non-musical recordings were found via the Internet Archive and YouTube, though it may imprudent to mention these around something of interest to the Library of Congress, as the Library is tasked in part with the enforcement of copyright while both YouTube and the Internet Archive are notorious for violating it. Other entries are found on dedicated websites. The information below is arranged by registry entry, not genre; due to inconsistencies in titles, it is recommended to use Ctrl-F to find any entry of interest.
The organization First Sounds is dedicated to the digitization and restoration of early recordings; it was they who made de Martinville's phonautograms well-known. The estimations that comprise the far left of the graphics are based on their catalog; other recordings may exist. Note that one of the recordings offered for streaming is actually the same recording repeated at different phases of restoration.
Six recordings were located, between Spotify and YouTube, that could be related to Gouraud - an address to Edison (found on Spotify, in a collection of historical speeches) by Prime Minister William Gladstone (three minutes, ten seconds); a snippet from Israel in Egypt (two minutes, twelve seconds), two directed to Edison from Gouraud, one of Arthur Sullivan, and one of Queen Victoria, totaling nine minutes and fifty-six seconds.
The entire collection is available for browsing at the University of Berkeley's website; it has 15,333 entries, many of which are of uncertain years or are not yet digitized (and thus, not yet measured). For the estimates in this graphic; each was presumed to be, at most, three minutes. The search results for the recordings in each year 1890-1929 was measured, and, when the whole did not sum to 15,333 due to undated/multi-dated recordings, proportional quantities that did sum to 15,333 were calculated, and these fractional quantities of recording were considered to be three minutes each.
In terms of accuracy, three minutes seems a reasonable estimate based on the lengths of many of the digitized recordings; in terms of years, the years 1890 and 1920 are perhaps favored as they were often used as boundary estimates. One recording, "Around the World on Phonograph," found in the collection is from outside the 1890-1929 range (it is from 1888), but it is not digitized in the collection and is represented in the registry with its own entry.
There is a possibility that only a subset, the "Vernacular Recordings," was intended to be inducted; those number 713 and can be browsed in their archive as well here.
The Library's description states that the Benjamin Ives Gilman collection contains 101 cylinders (though the collection page says 102), which were assumed for the purpose of the graphic to contain about two minutes each; however, earlier wax cylinders often contained less, and the whole of the collection is likely shorter. The Library holds the recordings and does have a catalog record, but not durations.
The Library mentions that Jesse Walter Fewkes made 28 cylinders; these were estimated based on the few digitized ones to be two minutes and thirty seconds each.
The Library's short description lists which rags are included in this collection; their durations were estimated from YouTube.
There were at least 11 songs that were recorded by Williams and Walker in their 1901 Victor sessions; these can be found by combining the entries in the National Jukebox with the YouTube results for the other songs mentioned in the Library's essay. No recording of "The Phrenologist Coon" could be found; it is presumed to be about two minutes for the graphic; besides this, there may be other songs.
The complete contents of the Mapleson cylinders were released on a rare six-LP set, the tracklist of which can be found at the New York Public Library's page for that object. The Library's essay states that 126 cylinders survive; these are also the library's property and reside in the Rodgers and Hammerstein archive. For this graphic, the length of each LP was presumed to be about an hour, which would make each cylinder hold about three minutes of music; however, the actual length of the discs is unknown; the total length is likely less than the estimate. Years 1900-1903 were arbitrarily given equal amounts, hence the flat profile in the graphic.
Many of the recordings can be found on YouTube.
This entry likely refers to an album released by Archeophone, Attractive Hebrews, a compilation of very obscure recordings. The graphic sources that album, although as the label points out, one track is not actually by one of the Hebrew artists for that company, but rather a song parodied by one and included for comparison. The lengths of the tracks are unknown, only the whole.
The Library of Congress's catalog entry for this - which does not include streaming online - mentions that the recordings total fifteen hours and four minutes.
The Library description states that the recordings total five hours and forty-one minutes; recording dates are unknown. In the graphic, this time was spread arbitrarily across the years 1911-1914.
The times in the graphic are based on AllMusic's description of the album Calypso Dawn: 1912, an album which cannot be found on Spotify. Some of these songs go on to appear on other compilations - two of them are on Spotify via an album called A Guide to Calypso (1912-1940), Vol. 1.
The first Bubble Book was presumed to be one minute and thirty seconds, owing to the recording of "Mary Had a Little Lamb" offered by the Library being 30 seconds and a dedicated website's Bubble Book discography listing two other cylinders with the first Bubble Book.
This was found in the Archives of Traditional Music at Indiana University, the first track of a playlist. It is two minutes and twenty-seven seconds long.
There exists an album on Spotify called The Early Victor Recordings, featuring Heifetz and the pianist André Benoist mentioned in the Library's essay. The essay also refers to recordings not found on this album, some of which - such as a cover of Drigo's "Valse Bluette" appear on other albums - though it is unclear whether these are the original Victor recordings or later covers. The graphic acknowledges only the album and the two Victor recordings of Heifetz in the National Jukebox. Years of recording for the jukebox entries come from the jukebox; a few more come from tsort.info's 1918 and 1920 charts; the other years of recording are simply estimates.
Curiously, Benoist does not appear much outside this album on Spotify; as such, his account's profile picture is taken from the cover of this album. It is a picture of Heifetz.
Lengths of the first two are mentioned in this archived webpage's description of surviving radio broadcasts from the 1920s; the latter is mentioned on this linked archived webpage. The Old-Time Radio website no longer carries these pages; suggesting that these may be inaccurate.
The Library's essay suggests that the length of the entire test was ninety minutes; nearly the whole of this can be found on YouTube. The graphic assumed the exact length of the YouTube video, slightly less than ninety minutes.
These were estimated to be twenty-eight and thirty-one seconds, respectively, from the Library samples. The latter seems to be the complete message, as also found in the Internet archive; the first, delivered to the Library of Congress from the AT&T archives, is likely not the whole.
The Library offers an unusually long sample on its webpage - six minutes and forty-nine seconds - which, as he recorded in four different years - was quadrupled and spread from 1925-1928 for the graphic. The recordings are held at the University of North Carolina, which otherwise does not seem to have digitized them; as such, this length remains a great underestimate.
The Complete Hot Five and Hot Seven recordings are available on Spotify as a 2000 compilation album; track listing was taken from there. Years of recording are based off of Wikipedia's descriptions of the Hot Five and the Hot Seven, with the album presumed to be in chronological order and the CD breaks corresponding on occasion to different sessions.
Wikipedia has a well-sourced list of 76 songs recorded in the original Bristol sessions; their lengths were retrieved from the AllMusic page for the album The Bristol Sessions: The Big Bang of Country Music 1927-1928. A few songs were not included on this album; their lengths were presumed to be the average of those that were.
The recordings consist of 195 wax cylinders, according to Indiana University, though none are available to listen to. For the chart, the collection is estimated to be three hours and twenty minutes, though the cylinders could likely hold much more.
The entry described by the Library is the oldest recording of Show Boat, not any of the newer and more complete versions; it is found here in the Internet Archive.
The recording of Rachmaninoff on piano with Stokowski conducting the Philadelphia Orchestra is found on a compilation album, with "Rachmaninov plays Rachmaninov" on the cover, under the title Rachmaninoff: Piano Concerto No. 2 in C Minor, Op. 18 & Other Works on Spotify.
Indiana University offers some samples of this collection for streaming, but not this narrative. Uncited, the Wikipedia page for the "Archives of Traditional Music" states that this narrative consists of 152 aluminum disc recordings, though the IU page states that such is the length of the Archives' portion of the Turner collection. The narrative may be only Disc 10, according to Northwestern University's finding aid. It is estimated here to be one hour and forty-two minutes, a generous estimate of the length of an aluminum disc record but a small one for 152. The real narrative is likely shorter.
Of the items in the Orbis cascade alliance's Melville Jacobs papers collection, the first 46 audio tapes correspond to the description of the inducted collection in the Library's essay. Each tape is estimated to be ten minutes, as tape 2 (Box 158) is said to contain five songs. This is a rough estimate of song length and tape length.
The Library's essay points to a 1979 compilation album (Early Hi-Fi) of Leopold Stokowski's recordings for Bell Labs, which can be found with track lengths on Discogs. This was sourced in the graphic; however, other recordings may have been made. YouTube, in fact, suggests that Duke Ellington's orchestra was also allowed to make experimental stereo recordings for Bell Labs.
Data regarding the fireside chats is based on the table found on the Wikipedia page, "Fireside chats". The chats can be heard from the Miller Center, by filtering by president for "Franklin D. Roosevelt." Note also that many speeches of his that were not fireside chats are also available on the Miller Center website, while the website of Roosevelt's presidential library offers his complete speeches and utterances; this collection - totalling approximately one hundred and four and a half hours - may be beyond what the Registry intended to induct, but was used as the source for the Complete Presidential Speeches entry.
The original recording could not be found; the speech is estimated to be twenty-seven minutes, forty seconds, from re-enactments.
The Cornell Lab of Ornithology's Macaulay Library offers the recording for streaming; it is ten minutes and thirty-one seconds.
The debut episode was not found, but episodes of the show are generally half and hour, so that was assumed here.
All were found in the Internet archive.
Robert Johnson's complete recordings were re-released as an album The Complete Recordings in 1990; this can be found on Spotify. Durations in the graphic come from AllMusic's page on the album, original years of recording from Wikipedia. For listeners, consider also the 1961 compilation album King of the Delta Blues, which was owned by many of the blues-inspired musicians of the 1960s and 70s and does not contain alternate takes right after songs.
Here it is estimated at one minute and eleven seconds, based on the excerpt in NPR's "The Fight of a Century." The whole recording may be longer.
The Library's essay states that the interview survives as 80 songs on acetate discs, kept in the Archives of Traditional Music at Indiana University. A search reveals one of them, "Feast Song," inside a playlist made for a bicentennial celebration; this is the same as the Library's sample.
The graphic depicts the recordings that are available from the catalog here in Harvard's Hollis archive. The graphic only notes the fraction of works which have been digitized and made public; many more recordings are present only as images of sleeves. Many more may be available to those with a Harvard login at other websites.
The graphic lists a total of three hours, forty-one minutes, and forty-three seconds of Harvard poets reciting their works, including T. S. Eliot, W. H. Auden, Randell Jarrell, Robert Lowell, Marianne Moore, and Muriel Rukseyer; two hours, forty-three minutes, and fifteen seconds of Latin poetry read by professors including E. K. Rand; Vladimir Nabokov reading Russian poetry and Pushkin, and one Edwin Booth reading from Othello, for a total of six hours, thirty-seven minutes, and eight seconds.
The charts source AllMusic; and a similar album is on Spotify; however, track lengths vary widely among sources, and it is often unclear which parts are spoken and which are musical. Some of the later tracks on the Spotify album seem to be mislabeled.
The whole collection is available for streaming at the Library of Congress website; lengths appear in the streaming player. Each page includes the year of recording. As such, this collection is represented wholly and accurately in the graphic.
John and Ruby Lomax's trip is also made available by the Library of Congress, which offers 895 entries, each a bit longer than a minute. As such, the whole was estimated to be sixteen hours and forty minutes, or one thousand minutes.
Found by searching Spotify for "Mahler Symphony 9 Vienna Bruno Walter" to find this particular cover.
The New York Public Library maintains this collection of 23 discs and describes the composers, performers, pieces, and durations on 23 webpages linked to from the collection's page, though they cannot be heard there. Some of the recordings can be found on major platforms thanks to re-compilations (Copland's "Vocalise" sung by Ethel Luening, for example, appears on the album Copland Before the LP on Spotify), others cannot and are not likely to; the NYPL notes of some that they end abruptly or are of poor quality and thus would not sell.
This recording was estimated to be a half-hour long, not uncommon for radio shows, because no information about it could be found.
The interviews were released on a CD described by Discogs; this is likely a complete collection. Many excerpts can be found on YouTube.
Though many recordings of this exist, the Library's entry describes a disastrous debut most like the one found in the Internet Archive here.
Though there would be more recordings of the soundtrack to this movie, also attributed to composer Erich Wolfgang Korngold, the library describes an incomplete soundtrack recording made for promotion by the Warner Brothers Studio Orchestra. It can be found on Spotify on the album Korngold, E. W.: Adventures of Robin Hood (The) or by searching for "The Adventures of Robin Hood Warner Brothers".
The length of the work was based on a YouTube copy lacking timestamps for tracks.
Track lengths from Discogs's page on the CD re-release of this event, presumed to be complete. The album is not on Spotify, though it can be found track-by-track on YouTube.
Though difficult to find, the whole of it is available as an album on Spotify.
Stravinsky himself conducted and recorded this with the New York Philharmonic in 1940; his version is not on Spotify but is on YouTube with timestamps.
Found in the Internet archive.
This is presumed to be entry 159 in the Internet Archive's 1940 radio news, as this contains the phrases in the Library's essay on the broadcast; however, Murrow made many broadcasts from London that year.
All found in the Internet archive.
Many episodes of this show were found in the Internet archive, but not the inducted one. The inducted one is estimated to be an hour, just like the others.
These were compiled on the album Never No Lament: The Blanton-Webster era recordings. Years of recording on the graphic are based on the assumption that the album is arranged chronologically and the years of recording of various hit singles according to tsort.info.
From AllMusic's page on Joseph Szigeti & Bela Bartok Perform Bartok, Debussy, Beethoven, the tracklists and durations were retrieved. Much of it is on YouTube.
In the graphic, this 1941 recording is presumed to be three minutes long (typical of a song), because outside the Library's sample, it cannot be found.
The Library of Congress does not make it clear what is special about the 10 May 1942 episode of this serial radio show, except that it is presumed to have been recorded. Parts of two other episodes can be found on the Internet archive. In the graphic, the episode from 1942 is listed as an hour long, because the Library mentions that the show was previously called "The Negro Hour," however, the length of the episode is unknown.
Estimated to be thirty-eight minutes, thirty-seven seconds, based on recordings 408-410 of the Internet Archive's WWII Radio Archive, as these are dated to Christmas Eve, 1941, and correspond to the Library's essay's description.
Found in the Internet Archive; however, some scenes appear to be missing.
This episode - with special guest Zora Neale Hurston - is estimated to be fourteen minutes and forty-one seconds long, though radio shows are typically half an hour or an hour; the estimation is based on the length of the one available episode - with guest Carole Landis - on Old-Time Radio.
The set from the collection was presumed to be five recordings, based on a list at https://star1.loc.gov/cgi-bin/starfinder/3502263/sonic.txt; this strange-looking, allegedly library-affiliated website has since vanished. A bit of one of the recordings can be heard at the Josephy Library audio archives; the other site did not offer sound.
Estimated from the length of two speeches on YouTube - "Soldiers, Sailors, and Airmen," and "People of Western Europe," one minute and forty-seven seconds and three minutes and fifty-two seconds, respectively.
From this album in the Internet Archive. The oddly repeated track is ignored.
Estimated at twenty-seven minutes, seven seconds, based on the beginning of the 1945 News Archive at the Internet Archive.
This recording is available from numerous websites, as it continues to be shared by various church groups. One website that seems licensed to sell copies is scourby.com, though its web design is laughable. Another website appears dedicated to a religiously motivated violation of copyright. Times used in the graphic come from the Internet Archive copy, which omits the last fifty (of 150) psalms for some reason; their lengths were estimated based on a YouTube version.
Found on YouTube; it is unclear whether this is the complete recording.
The recordings can be streaming from the Hoover Institution Archives at Stanford website here.
All found on the Internet archive.
One inducted episode - half an hour - was found on YouTube; the other was not found but it is assumed to be the same length as the other non-inducted recordings.
Estimated to be an hour, as this is typical of a radio show episode; however, the episode cannot be found.
The lengths for the graphic were retrieved from the picture of the back of the album as it is sold on Amazon; this 1984 compilation album has 16 songs. The Best Of, the International Sweethearts of Rhythm's only Spotify album, has 18 songs, including all those on the 1984 compilation except "Slightly Frantic." As no dateable hits came from the group, all songs were assigned the year 1945 for recording arbitrarily.
Found in the Internet Archive. The record would become a series; however, the inductee appears to be the recording here.
The version of Louis Kaufman conducting the Concert Hall Chamber Orchestra, inducted for its recording method, was found on Spotify and can be found by searching "Vivaldi Kaufman Swoboda", "Swoboda" being the violinist.
The times in the graphic were sourced from AllMusic, the album Fauré: Requiem; Palestrina: Missa Papae Marcelli, by the Roger Wagner Chorale. Many unattributed recordings of this mass can be found, but they may be the Tallis Scholars' cover.
One paper, "On Transcribing the Metcalf Tapes" by Vi Hilbert (1974), states that the tapes total about sixty-one hours. These were spread evenly across 1950-1954 for the graphic, but such is likely not accurate.
Charles Munch's conducting of the Boston Symphony Orchestra can be found on a compilation album on Spotify, Munch Conducts Berlioz.
Found on YouTube; unclear if this is the correct recording.
For the graphic, the album does not appear in 1952, but rather, scattered in the years of recording as found on Wikipedia, which also lists lengths. Wikipedia cites the Internet Archive upload of the album, which includes lengths but not the original years of recording; these years may not be correct. Though the album itself is not on Spotify, a playlist containing 76 songs of the total 85 is. The whole album can be found on the Internet Archive.
Though the Choir of King's College produced many recordings of their annual festival, which are all on Spotify, the times were sourced from the 1954 album found by searching Spotify also for Boris Ord.
From the Spotify collections, Ruth Draper: Selected Monologues, Vol. 1 and Vol. 2. Other recordings of Draper may exist; these would likely have been made at the same time and thus be considered part of this nebulous induction.
These have been leaked to YouTube and made into a playlist, by an organization calling itself Western PEI [Prince Edward Island] Songsters and Musicianeers.
The graphic cited the Complete Sun Sessions album on AllMusic; many similar compilations exist.
Found on YouTube; unclear if this is the correct recording.
In this graphic, only the interviews demonstrated to survive by the University of Texas in its archive are included, and from those, only interview shows (often an hour) dating from 1955-56, as described by the Library. Many newer interviews survive as well. Acknowledged are interviews with Art Tatum, George Avakian, Johnny Hodges, Benny Goodman, Milt Gabler, George Shearing, Eartha Kitt, Buddy Rich and Gene Krupa, John Lewis and Sarah Vaughan, Louis Armstrong with Barney Bigard, Bobby Hackett, and Woody Herman, Billy Taylor, Peggy Lee, Marian McPartland, Dave Brubeck, Kai Winding, Duke Ellington, Marshall Brown with John Laporta and some Farmingdale HS students, Danny Kaye, Billy Eckstine and Teddi King, June Christy with Ted Heath, Bob Flanigan, and Nat King Cole, Steve Allen and Bob Thiele, Andy Wiswell, Bob Shad, Eddie Condon, W. C. Handy, and Louis Armstrong alone. The 1956 Armstrong interview is five hours long; the whole totals between twenty-four and twenty-five hours, besides any other recordings that may surface.
The Highlander Center holds multiple collections of field recordings; in this graphic, only the first one is presumed to be inducted. Tracklist and lengths come from the Highlander Center website finding aid, which lists the length of every tape in its audio catalog, 515A, except for tape #125, estimated to be an hour. Most of the recordings are dates; those that are not are presumed for the graphic to be from the same year as the one before them, except for a Dick Gregory recording about his leaving jail, which was presumed to be from 1966 because that was the year he left jail.
There have been many additions to the Highlander Center collection since; it is not clear from the Library's brief description whether these are also inducted; regardless, the collection without additions makes up approximately three hundred hours of content, easily one of the longest entries in the Registry.
The whole is known to consist of six LPs according to the dedicated website of an anonymous figure who took over Link's sound recording business. Three of the LPs (Sounds of Steam Railroading, The Fading Giant, Thunder on Blue Ridge) have been leaked to YouTube; the other three were estimated to each be 45 minutes based on these.
The Library's catalog states that the recording is on twenty-three tapes; here, it is estimated to be twenty-three hours.
Tracklist sourced from Discogs which omitted track lengths. Track lengths retrieved from various re-compilations on Spotify, when versions by Frederick Fennell and the Eastman Wind Ensemble could be found.
The 1959 recording by the Mormon Tabernacle Choir, Philadelphia Orchestra, with Eugene Ormandy and Richard Condie, is on Spotify as Handel: Messiah, HWV 56, and can be found by searching for Ormandy and Messiah.
The graphic cites the AllMusic page for the album Southern Journey, Vol. 9: Harp of a Thousand Strings, as the Library's essay on the convention states that much of the material was released in the Southern Journey series. It is not certain that all of the material Lomax recorded is included in this album. Certainly, not all of it appears on the Spotify album, United Sacred Harp Convention: The Alan Lomax Recordings, 1959, which sounds as though it, too, though shorter, would contain the whole. The Spotify album contains songs that are not in Southern Journey and vice versa.
This speech is estimated to be six hours and forty-eight minutes, based on his speaking speed in the excerpt on the Library website (about 120 words per minute), and the quantity of pages and length of pages of the book transcribing his speech found on the Internet archive. This is a very rough estimate.
This is listed as twelve minutes, as that is a quarter of a basketball game, though much less of the coverage has been found, and games typically last longer than regulations.
Estimated to be one minute, fifty-six seconds, because this is the longest snippet of the game found on YouTube; the game is likely longer.
Many recordings of Kennedy's inauguration speech exist; however, the Library's essay also mentions a Robert Frost poetry recital. For the estimation of the length of the ceremony, recordings of these found on YouTube were combined; there may have been more to the ceremony.
The Library does not state, in its description and essay, which ten of Khan's performances are selected, but it does offer four samples. For the graphic; the concerts were presumed to be a half-hour (longer by some than the samples, based on those on the college's website), and to have been recorded each year since 1963 for ten years. This reflects only a lack of information about the selection.
The 1963 recording of Benjamin Britten's conducting an orchestra in his own War Requiem is on Spotify; it is the version with the white title on a black background as the album cover, or it can be found by searching for "War Requiem Dietrich [Fischer-Dieskau]"
As this is a self-titled album of songs which the group would later record many more times, it is difficult to find amidst the discography of the U.S. Marine Band. It does not seem to be present on Spotify. The length of the songs was found from its page on AllMusic. Many of the songs can be identified on YouTube by the album cover's presence in the video thumbnail.
Estimated at three minutes, eleven seconds, because that much has been released to YouTube; however, this is not the whole concert (the recording ends during Beethoven's Funeral March); there is likely a longer recording in the WGBH archive.
The University of Virginia's Miller Center offers its collection of presidential recordings for listening - on this page, a filter can be applied to show only LBJ's recordings. Note that the recordings appear at first to be over five hours each; however, this is not accurate, those numbers are not the lengths. Selecting any recording can reveal the lengths. The Miller Center also provides a list of featured recordings, which are generally more interesting for listening.
The profile shown in the graphic reflects the Library's note that the conversations make up an estimated 850 hours; the portion within each year was to be based on quantity of conversations; in each year; until these were found to be too many to count; then to be based on the quantity of search results for the non-event-related keyword "read" in each year. This suggested an unusually vast decrease in the quantity of recordings after 1963, which seemed inconsistent with the quantity of conversations in January of each year, and likely reflecting the order in which conversations were having transcriptions added to their data. The graphic now shows a roughly steady production of recordings throughout the presidency, but it is only an estimate.
This album is a live recording of a concert and can be found on AllMusic and Spotify as some form of We Shall Overcome: The Complete Carnegie Hall Concert.
The graphic lists this show as thirteen minutes, thirteen seconds, based on its appearance on an album also called King Biscuit Time. Most likely, it is the only surviving snippet of the radio show that is inducted, not the album.
The expanded description states, "Sakata first researched in Afghanistan in 1966-67 and captured 25 hours of recordings ... Her second trip, from 1971 to 1973, resulted in 26 additional hours of recordings." These durations were spread evenly over the years to form the graphic.
Estimated at five minutes and fourteen seconds, based on longest recording on YouTube.
Track lengths used in the graphic come from AllMusic; a slightly different (but probably more accurate, as the recording itself is present) listing can be found in the Internet Archive.
It is not found on Spotify, likely owing to its obscurity, but has been posted both track-by-track and as a whole on YouTube, from where the duration was noted.
The album, attributed to recorder Frank Watlington, is available on Spotify.
James A. Lipsky's recording seems to have been found on YouTube.
This episode is available for streaming at the University of Michigan website; the length of this stream is cited in the graph.
Estimated at two hours, as more recent broadcasts of the show are, though the first episode may have been shorter.
The lengths and the years of all the recordings in the collection are found in the Library's essay; the recordings themselves are not available for listening anywhere outside the archive that houses them.
The Reagan Speech Preservation Society offers a list of the number of radio commentary recordings he made each year on this webpage and notes that they tend to be around five minutes; these values were used to make the chart. Many of these radio broadcasts have been brought to YouTube by a Preservation Society member.
The lengths for the first records (greetings, etc.) were found on Spotify; the whole of the music, including original years of recordings for many tracks, was found on Wikipedia's article "Contents of the Voyager Golden Record." Years not listed there were presumed to be 1977, the year the compilation was launched.
The length of the recordings is estimated at 45 hours, based only on the description of a YouTube video offering an excerpt. This is not a reliable source.
Two excerpts from these tapes were posted on YouTube by a CNN reporter; one of these excepts appears to be the same as that offered by the Library of Congress, suggesting that they are the source the Library used, though the inverse is possible. For the graphics, only these small excerpts were acknowledged as very little else about the tapes could be found; however, it is highly likely that more GOPAC tapes exist.
The lengths and credits of the songs are on AllMusic and the album can be streamed on Spotify, but for the graphic, which shows the original date of recording for compilations when possible, the Muppets Wiki pages for each song were used to find the original year of recording.
WNYC broadcast on 11 September 2001
Fourteen and a half hours of this broadcast day survive in the Internet archive here.
These podcast episodes are not on Spotify. The first is available for streaming on the podcast's own website, on this page; the second is found on YouTube (and can be found on the podcast's website as premium content).