CURRENT SEARCH
At this time, both Arthur Freedman and Harvard University welcome the help of band members and fans. We are searching for musicians to secure permission to stream the recordings for free on a new website dedicated to this collection. And we are asking all who frequented Boston clubs in this era to help us gather setlists, personnel listings, venue information, associated artworks, posters, records, tapes, CDs, websites, Facebook pages and as much information about the bands contained in this collection as possible. By doing so, they will be able to expand access this collection while enriching its depth.
A four-page alphabetical list of all the bands can be viewed or downloaded as a PDF. Please contact Peter Laurence at the Loeb Music Library with information, pertinent materials or questions, and read more about the Library's search for permissions and materials at their website.
At age seven in his hometown of Newton, Massachusetts, Arthur Freedman (b. 1957) sat on the basement steps of the band that practiced around the corner from his house. Inspired by the music he heard, Arthur attended concerts on the Common, the Esplanade and venues like the Music Hall (now the Wang Center), the Modern Theater and the Orpheum. When Arthur reached 18, he began to explore nightclubs like Cantone’s, the Club, the Rathskeller, Jonathan Swift’s, Jack’s and many others. That band in his neighborhood, the Rockin’ Ramrods, would eventually back up the Rolling Stones on the Canadian leg of their first North American tour, and Freedman would eventually go on to not only attentively listen to many more bands but record a whole era of local culture.
Watching the bands in the early days of the local punk rock movement, he realized that each show was unique: he witnessed set, song and personnel changes, different arrangements for some songs and, tragically, untimely deaths of band members. Many of these independent, unsigned bands would never make it into the recording studio, and those who did may not record the songs he liked or sequence the tracks on the record like a live set. Believing that the energy and exuberance of a live performance could never be reproduced within the controlled perfection based recording studio, Arthur quickly realized the critical need of chronicling the edgy and incredibly creative era of punk music within the scene he loved.
In the late 1970s, he bought a cassette deck with microphone inputs and two microphones and started to record all of the shows he attended. In 1984, Freedman bought a video camera. He was one of the only people recording or filming in the nightclubs of Boston, Cambridge and Somerville - as well as the occasional out-of-town venue. Often sighted in front of the stage, video camera in hand, he documented countless rock acts for posterity, including many bands and venues that no longer exist. Either with tape decks and microphones, video cameras or video cameras attached to video recorders, Freedman would often go from club to club recording multiple bands in one evening. He became a familiar figure in the local Boston area rock scene for nearly four decades.
About the Collection
Dedicated to the music and his craft, Freedman wanted the tapes to be always available to the bands he recorded. However, magnetic media is subject to degradation over time. He alerted the public to the massive nature of this preservation proposal through multiple articles in newspapers; thus, Harvard University became aware of a once in a lifetime opportunity to collaborate on an exclusive project and approached Freedman with a feasible way to preserve and make available the life’s work of a creative visionary.
Freedman had maintained his archive of thousands of videotapes at his home until he donated his collection to Harvard in 2012. His audio recordings of local rock, dating back to the late 1970s, now reside at Harvard’s Loeb Music Library. The collection at the Harvard Film Archive consists of over two thousand hours of recorded rock performances, recorded on VHS, Hi8, 8mm video, and MiniDV. There are associated materials including flyers and set lists for some of the tapes.
Research
A detailed finding aid describing the contents of the Arthur Freedman Collection at the HFA and a finding aid for the audio portion housed at the Loeb Music Library are available in Hollis for Archival Discovery.
While a small set of videotapes have been digitized and are currently available for research, the majority of the collection has not yet been digitized and advanced notice is required for access. Researchers should plan accordingly by requesting material at least 4 weeks in advance. Please reach out directly to the HFA with research inquires: hfa@fas.harvard.edu
Access and Re-use of Collection Materials
Digital copies of materials within the Arthur Freedman Collection are provided by Harvard Library for personal study, scholarship, or research use only. This material may be protected by copyright law.
The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. If you use this reproduction for purposes in excess of “fair use,” you may be liable for copyright infringement.
Harvard Library provides access to digital collections to further education and research. Care is taken to attribute rights holders when possible, but due to the nature of libraries, archives, and special collections, this information is not always available.
Users of Arthur Freedman Collection may find 1) unattributed or misattributed materials for which a correct attribution does exist, 2) materials for which they are the rights holder or 3) materials that include information that they do not want digitized.
In any of these cases, users of these collections should send an email to: hfa@fas.harvard.edu with the following information:
-Contact information (address, email, telephone number)
-Identification of the materials with information sufficient to locate them, such as a screen grab, URL, or an identifying number
-A statement describing the nature of the issue with the materials, such as misattribution, non-attribution, or copyright information.
Upon receiving a notice that includes the details listed above, the receipt of the request will be acknowledged and the issues identified in the notice will be reviewed.
Common Collection Questions
What can I do with this material?
Copyright law allows libraries and archives to provide materials for personal study, scholarship, or research use. If your future use of the material falls outside this category, you are solely responsible for making independent legal assessments of an item's copyright status.
When possible, Harvard Library will provide information on the copyright status of works that have been digitized and are made openly available. The nature of collections, however, is such that copyright or other information about restrictions may be difficult or even impossible to determine.
Is the work in the public domain?
The absence of explicit information on copyright is no guarantee that a work is in the public domain either in the U.S. or abroad. Nor can Harvard Library guarantee the accuracy of any information about copyright status that it does provide. Users are solely responsible for making independent legal assessments of an item's status in the arena in which it is to be used.
What if the work is under copyright?
You are solely responsible for making independent legal assessments of your potential use of this copyrighted material.
Can Harvard grant me permission to use the work?
Unless the Harvard corporation is the copyright holder, Harvard Library cannot confirm or deny permission for use. The majority of Harvard’s collections are copyrighted by other parties. Harvard Library makes no express or implied warranty to others who wish to use digital reproductions of its collections.
