Looking through the documentation about the Collection, equipment lists for what became known as “Battle Broadcasting” included all types of gear correspondents carried with them onto the battle fields. The Collection contains over fifteen hundred discs in addition to the thousands of feet of original filmstrips and wires made between 19. The discs were later transferred to magnetic tape by Library audio engineers.
For many years, this was the playback medium used by the Library. Josephy, Jr., the reporter featured in many of these recordings, arrived at the Library and helped transfer the audio from the Amertapes to acetate discs. Marine Corps.Īmertapes were a film-type format with sprocket holes and a series of sound grooves running down the center of the film.
Actual recording began late in 1943 and continued through the occupation of Japan in 1945.Īn article in a 1944 issue of Radio News highlighted the recording facilities at the Library of Congress. The correspondents were to attempt to record some of the choral rituals and music in the islands of the Pacific that the Marines would visit in their island-hopping offensive campaign. Plans were formulated to give a few Marine Corps Combat Correspondents recording devices to take into the field.
Harold Spivack, Chief of the Music Division of the Library, and Brigadier General Robert Denig, wartime director of Marine Corps public information. The idea and basic work for the collection of the Marine Corps records at the Library of Congress can be credited to Dr.
Not only are these recordings one of the most historically significant collections in the Recorded Sound Section, but the Library played a key role in their creation. What you’ve just heard is from the Marine Corps Combat Recordings, an amazing and vivid accounting of the war in the South Pacific during World War II. Battle of the Marshall Islands, Namur, Feb.
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