MR. KOJO NNAMDIFrom WAMU 88.5 at American University in Washington welcome to "The Kojo Nnamdi Show" connecting your neighborhood with the world. There are timeless songs of love, lust and longing. "It Had To Be You," "You Made Me Love You, I Didn't Want To Do It," "I Only Have Eyes For You." They still tug on the heartstrings 40, 60, 80 years after they were first immortalized on wax, but the best love songs of the 20th century also tell an interesting story.

MR. KOJO NNAMDIConsider Etta James' iconic 1961 rendition of "At Last."

MR. KOJO NNAMDIEtta James undoubtedly made "At Last" her own, but the song stretches back to a time many consider the golden era of American love songs, first appearing in a 1942 movie called "Orchestra Wives." This hour, we're venturing back to that golden era and the decades that preceded it to explore what makes a truly great, timeless love song.

MR. KOJO NNAMDIJoining us in studio is Eugene DeAnna, head of the Recorded Sound Section of the Library of Congress, Packard Campus for Audio-Visual Conservation. Gene, good to see you again.

MR. EUGENE DEANNANice to see you, thanks.

NNAMDIAlso in studio with us is David Sager, curator of the National Jukebox Project at the Library of Congress, an online catalogue of music from before 1925. He's also a jazz trombonist. David Sager, thank you for joining us.

MR. DAVID SAGERNice to be here, thank you.

NNAMDISam Brylawski is with us, he's a consultant at the National Jukebox Project and editor and project manager of the American Discography Project, Sam, good to see you.

MR. SAM BRYLAWSKINice to be here, thanks.

NNAMDIYou, too, can join our conversation. Call us at 800-433-8850. What are your all-time favorite love songs? 800-433-8850. Send us a tweet at kojoshow, email to kojo@wamu.org or simply go to our website and tell us what your favorite all-time love song is at kojoshow.org. Sam, you guys are all lovers of music and all music, but particularly music from the early 20th century.

NNAMDIWe just heard the Etta James' version of "At Last," Let's take a step back, oh, maybe two decades and listen to the first version of the song. Here is the Glenn Miller Orchestra.

NNAMDIThat's Ray Eberle and Pat Friday in 1942. You can find the video at our website, kojoshow.org. Sam, this lands us smack in the middle of the time period that many people consider the golden age of American love songs. What is it that makes a great love song?

BRYLAWSKII think...

NNAMDITen, nine...

BRYLAWSKII think truly what makes a great love song is the song you heard, the first time you fell head-over-heels in love and the song speaks to you personally. And like with popular music, the song you can relate to in your own personal life. In the case of Etta James, you know, her impassioned delivery and I might add a great song to begin with, Harry Warren, a Mack Gordon song. And I think in the case of Etta James, really one of the great arrangements ever written for a song.

NNAMDIWhat do you hear when you hear that song, David Sager?

SAGERWith "At Last," I notice immediately the hook which is that blue note that comes right away in the chorus and it's like an elbow in the ribs. And, you know, Harry Warren handled it so beautifully in this composition. I don't think anyone's ever really thought twice about it, but, you know, a decade or so earlier, I think it would have been a bit of a shocker.

NNAMDIReally? We'll get to that in a second. Eugene, the Library of Congress is tasked with preserving some of our earliest recorded music and coming up with new ways to make it accessible. What is the National Jukebox?

DEANNAWell, the National Jukebox is our biggest effort to do just that. We've managed to digitize over 10,000 sides of Victor recordings made, commercial recordings made before 1925, through 1925 and make them freely available, searchable, listenable on the web, streaming audio, so we're really excited about that.

NNAMDIDavid, you're the keeper of this incredible collection and you dug deep to find us some interesting, early examples of love songs from the period before 1925, music that predated the electronic microphone. Let's listen to one of the songs that you picked out. First, tell us about "Roses of Picardy"?

SAGERIt's was composed by two British gentlemen, Haydn Woods and I think it's Frederick Weatherley. I can't remember the first name.

NNAMDIF.E. Weatherley.

BRYLAWSKIF.E. Weatherley and it came out around 1915 or 1916. It was very popular amongst the British servicemen. And one of the early recordings of it was by John McCormack. I think that's the one I picked out for us today.

NNAMDIIndeed, let's give a listen to John McCormack and "Roses of Picardy."

NNAMDIYou mentioned that it's a British song.

BRYLAWSKIYes.

NNAMDIAnd I was raised on a British colony and when I saw the name of the song, I said, "Roses of Picardy" I've never heard of that. As soon as I listened to it I was like, they used to play that on the radio in British Guyana when I was growing up, "Roses of Picardy," fantastic song.

SAGERYeah, it's a beautiful tune.

NNAMDIIt is indeed. Sam, we're talking about music that predates electronic microphones. How was music recorded back then?

BRYLAWSKIWell, we call them acoustical recordings, meaning through acoustics, the pressure of the voice is carried to a diaphragm, which moves the stylus in wax, literally. No other means, no amplification of any other way except a voice or instruments playing into maybe like a funnel, a conical horn. And from there, as I say, a diaphragm is vibrated. The diaphragm is connected to a needle which cuts warm wax and the sound wave, you can actually see it, unlike a digital recording. You can see the waves just like you can see sound waves in an oscilloscope.

NNAMDI800-433-8850 is the number to call if you'd like to join this Valentine's Day conversation. What, in your view, makes a great love song timeless? 800-433-8850. You may just want to share some of your all-time favorite love songs. You can do that at our website, kojoshow.org, or by sending us a tweet at kojoshow.

NNAMDIYou can also check out a playlist of some love songs, lust and longings from the earliest days of recorded music and you can share your own at our website kojoshow.org. The number again, 800-433-8850 to share some of your favorite, or all-time favorite love songs. The Library of Congress that you guys all are associated with has been preserving some of our earliest recorded music. How did you get involved in this in the first place, Eugene?

DEANNAIn the project to preserve early recordings?

NNAMDIYes.

DEANNAWell, I think what we're trying to do with the Jukebox, in addition to preserving and, of course, digitizing these shellac recordings and putting a high quality file into the Library's archives is the preservation piece. What we really wanted to do was get them off the shelves, so to speak, and out there so people can listen to this music again. It's been long-gone from our collective memory and that's really the big motivation to get the Jukebox on. And the preservation piece, of course, is really, really essential as an underpinning to the project, but we saw this as is an access project for forgotten music, unfortunately long-forgotten music.

NNAMDISam, I'd like to explore another great song called "You Made Me Love You, I Didn't Want To Do It." Tell us about this song.

BRYLAWSKIWell, I'm very fond of this song myself. It was written almost 100 years ago, probably written 100 years ago, but recorded by Al Jolson in 1913. And you know, in show biz, if something lasts, if a movie plays for more than two weeks, they say it has legs.

NNAMDIYes.

BRYLAWSKIAnd this song has two of the strongest legs I can think of. It's been recorded by Aretha Franklin several times and lots of people in between, Al Jolson and Aretha Franklin. The interesting thing is, I think, Al Jolson, who is really considered one of the greatest stage performers of his time and in McLuhan-esque terms is sort of a little too hot for sound recordings. He's in your face. He's expressive. It doesn't always come across.

NNAMDILet's hear a little bit of Al Jolson so we can understand exactly what you're talking about. Here's Al Jolson, "You Made Me Love You, I Didn't Want To Do It."

NNAMDINow, explain what you mean about the difficulty of recording him.

BRYLAWSKIWell, at some point later on, he becomes much more expressive and uses different inflections. And I don't know that it's so difficult to record him. I just think he's a performer that was better, I'm sorry I didn't see, whereas as much as I would have loved to have seen Etta James, I never had that privilege. That song speaks to me personally. I don't need to think about what she was like in person.

BRYLAWSKIAnother thing that's interesting to me about that song is the Jukebox itself representing, as it does 1900 to 1925, right now represents the emergence of Tin Pan Alley, of pop songs. And the two songs you've just played, you know, are a good contrast, even though "The Roses of Picardy" was written after "You Made Me Love You," it sounds to me like a 19th century song. It's a heart-felt gentile song whereas "You Made Me Love You" is one that has slang in it. It represents a more modern view of life and love.

BRYLAWSKII was looking at the sheet music and I'm going to read you one line in it...

NNAMDISure.

BRYLAWSKI...which we didn't hear, it's from the verse. And the singer sings, "Once I used to laugh at you, but now I'm crying, no use denying. There's no one else but you." There's something about, you know, I'll settle for you in the lyric. You don't hear that in a 19th century song.

NNAMDIThere's something almost cynical about it.

BRYLAWSKIVery much so, yeah.

NNAMDIWell, the other thing you don't hear a lot is Aretha Franklin singing the way she sang. One of the versions of this song "You Made Me Love You, I Didn't Want To Do It," this one recorded in 1965. Aretha Franklin.

NNAMDIDavid Sager, this was the jazz Aretha Franklin that I knew before "Respect" in 1967. What does this say to you?

SAGERI'm never heard her sound like that before.

NNAMDIIt's amazing, yeah.

SAGERIt's terrific.

NNAMDIYeah, they used to play her late at night on the radio in, again, in British Guyana in the mid to late 1960s. And then, in 1967, I heard her singing "Respect." Is this the same woman I used to listen to singing jazz?

SAGERAnd she's putting it across, I think, much in the same way that Jolson did. We can hear on his later version for Decca and the way that Judy Garland did, the kind of show-stopper rendition of this song. We never think of it much as a quiet tender love song, though it could be.

NNAMDIHere is Moon Dancer is Forest Glen, Md. to share with us. Moon Dancer, you're on the air. Go ahead, please.

MOON DANCER(singing) Let me call you sweetheart, I'm in love with you.

NNAMDIOh, yeah.

DANCER(singing) Let me hear you whisper that you love me true. Let the moonlight glimmer in your eyes of blue. Let me call you sweetheart, I'm in love with you.

NNAMDIDo you know when that song was written, Moon Dancer?

DANCERI have no idea.

NNAMDI1910.

DANCERAll right.

NNAMDIThank you, Wikipedia. 1910 is when that song was written, Moon Dancer. Have our popular depictions of love and lust gotten more sophisticated or more crass, Eugene DeAnna?

DEANNAI think the answer's yes, both.

NNAMDIBoth, huh?

DEANNAYeah, I think certainly popular music has elevated sort of the crass side and then into just sort of mundane pop songs being crass. It's a very ordinary thing in a way. But I think there are different lineages. It traces back -- I think there were crass songs in the acoustical era as well. They were singing songs (unintelligible) and I've heard some blues songs from the '20s that would -- I'd match up against anything you can hear on the radio today. But it's just become more ordinary, I think, and accepted.

NNAMDILet me hear what our listeners have to say about that. In your view, have popular depictions of love and lust gotten more sophisticated or in your view, more crass? Call us at 800-433-8850. I was thinking about this topic, thinking about when there were lyrics like "birds do it, bees do it, even educated fleas do it" that suggested these things in subtle ways. And I recall the first time I heard music that hinted at some of the more carnal aspects of love and lust. The first song that I can recall was -- I heard it in 1957 by a guy called Russ Hamilton.

NNAMDII was a kid. I had no idea what he was talking about. I was like, what is this we will make love? Care to comment on that at all, David?

SAGEROh, my goodness, no, I don't. I know we have some very nice not-so-subtle examples in the Jukebox. Ironically, amongst the very earliest of the recordings going back to 1901 and 1902, there's quite a bit of material that could be considered rather risque even, and blatantly so, nothing that I would really call a love song. Although I had one up on our record of the week webpage last week called the "Tic Tac Talking of the Clocking in Her Stocking," which depicted a man's lust for a woman's ankles and the clocking, the patterns sewn into her hosiery.

SAGERAnd then it transitions to the chamber of an elderly woman who was lying in bed and is come upon by a burglar. And it turns out that she has a rifle or a gun in bed with her. And she points it at him and says, marry me or die.

NNAMDIThank you so much for sharing that with us.

SAGERAnd it's on the National Jukebox.

NNAMDIWell, that -- Moon Dancer, thank you very much for your call. We move on to Erin in Alexandria, Va. Erin, you're on the air. Go ahead, please.

ERINHi. I really love this topic. Music is a very important thing to me. And you got me thinking about how love songs -- you know, sometimes you kinda have to read between the lines and the lyrics can be a little disturbing. Like for instance, there's a song by Nirvana and I can't remember the name of it. But the lyrics begin by one baby to another says, I'm lucky to have met you. I don't care what you think, as long as it's -- unless it's about me. And the chorus is talking about passing it back and forth in a passionate kiss from my mouth to yours, I like you.

ERINAnd just these lyrics are just like -- I feel like things have changed, not for the worst, but actually for the better. People are getting more creative in how they're going to say I love you. Like, "Lily" by Smashing Pumpkins, how they say it's about a stalker. And it's my Lily, my one and only. But, you know, at the same time, he's talking about how he stares at her through her window. And look, there's a cop coming to take me away because I can't stop looking at you.

NNAMDIErin, as somebody who's interested in this, you underscore the point that Eugene DeAnna made earlier, and that is our popular depictions of love and lust seem to have gotten both more sophisticated and more crass. We're going to have to take a short break. Erin, thank you very much for your call. When we come back, we'll continue our conversation about songs of love, lust and longing. I'm Kojo Nnamdi.

NNAMDIWelcome back. We're talking about songs of love, lust and longing with David Sager, Curator of the National Jukebox Project at the Library of Congress, an online catalog of music that was recorded before 1925. He's also a jazz trombonist. Sam Brylawski is Consultant at the National Jukebox Project and the Editor and Project Manager at the American Discography Project. And Eugene DeAnna is Head of the Recorded Sound Section of the Library of Congress's Packard Campus for Audio-Visual Conservation.

NNAMDIWe're taking your calls at 800-433-8850. What is your all-time favorite love song and what do you think makes a great love song timeless? 800-433-8850. As for our guests, another song that you all love is a song called "They Didn't Believe Me," a song by Jerome Kern that first appeared in the year 1914. Let's take a listen and then find out why they all love it so much.

NNAMDIYou first, Sam Brylawski. What's not to love, I suspect.

BRYLAWSKIWell, what's not to love. It's a beautiful melody. I think it, you know, I like the little aside, and when I tell them, and I'm certainly going to tell them.

NNAMDIYes.

BRYLAWSKIYou know, the best pop songs, and I say popular music sort of fits some preconception of where we think the song is gonna go and yet surprise of with turns of phrase.

NNAMDIMm-hmm.

BRYLAWSKIAnd Kern, I think, was a master of this. It's very early in Kern's career even, and early in sort of what we now call the American songbook classic American song, and so it really comes down to the melody, and it's hard to describe. David's very good at that though.

NNAMDIDavid, what we heard was Harry McDonough, the song later includes female vocalists Alice Green and Olive Klein. Why do you like it so much?

SAGERIt's such a memorable song and really has -- on paper there's kind of subtle melody for a theatre song, which is what it was. It was from a stage production. I think it was "The Girl from Utah" was the name of the show.

NNAMDIIt was.

SAGERAnd it's remembered as a popular song. Theater songs were different, and were meant to broadcast to the back of the theater, and have a kind of a dramatic slant to them, and despite Harry McDonough's treatment, this one was a more of kind of a subtle tune, and in...

NNAMDISinatra recorded this song, too, is my understanding.

SAGERI imagine he did. I'm not familiar with it.

NNAMDIMe -- I'm not familiar with his recording of it, either.

SAGERKern -- there's a very sophisticated melody and harmony that is unusual for the time.

NNAMDIWhat I found the irony of it is that on the one hand he's saying they never believe me when I tell you how beautiful she is, and on the other -- they'll never believe me when I tell her you're going to be my wife.

SAGERHmm, yes.

NNAMDIIt's like, well, if she's that beautiful, she's not going to be your wife, that's for sure.

SAGEROn two levels. I don't remember the lyricist for this, you...

NNAMDII don't have who the lyricist down on that.

DEANNAKern wrote both, I believe.

NNAMDIKern wrote both lyrics and music?

DEANNAYes, I believe.

NNAMDIWe don't...

SAGERI'm not sure. Somebody...

NNAMDIWait a minute. Herbert Reynolds is, I'm being informed, is the lyricist on this.

SAGERThere we go.

NNAMDIAll of the many of these truly timeless songs come from a nebulous period commonly referred to as the Great American Songbook. These were songs that were written for stage and film in the '20s, '30s and '40s. On the jukebox we can hear a lot of songs from Tin Pan Alley also. How are the two related? Eugene?

DEANNAA precursor. Tin Pan Alley being a precursor, Sam, and (unintelligible) kind of came out of Steven Foster and then Tin Pan Alley, and which led to...

BRYLAWSKITin Pan Alley is considered sort of the heyday or at least the beginning of a true American style in pop song. You know, as I said, going back to the "Roses of Picardy" which is, you know, something more gentile, more intellectual, and also, more reserved than the 19th century songs...

DEANNAThat's vernacular.

BRYLAWSKIYeah. You know, I cheated and did a little reading on the subject before the show.

NNAMDIGood for you.

BRYLAWSKIThere's a wonderful book by Nicholas Tawa, "The Way to Tin Pan Alley," a musicologist, who sadly very recently died, and he looked at the emergence of Tin Pan Alley by studying songs of 1890 to 1910, and, you know, he finds them more cynical. I mean, he finds the melodies more -- and the harmonies more adventuresome, and like, I mean, I won't go into all the details I read, but, you know, the -- like so much popular music reflecting the times.

BRYLAWSKIYou know, he says this is a time when after the Civil War when, you know, there were more uncertainties in our lives, and, as I said, cynical and the music reflects that. But he also in describing 1890 to 1910 says these things represent hedonistic egotism. The things that many of our parents, grandparents, contemporaries even complain about songs of today, the same complaints heard a hundred years ago.

NNAMDII'm glad you brought that up because Steven on DuPont Circle has a question along that line. Steven, you're on the air. Go ahead, please.

STEVENHi Kojo. Thanks for taking my call. My question is what -- so far we've been hearing music from the turn of the century. What are the effects of the sexual revolution upon modern romantic songs, if any?

NNAMDIWhat do you say, Eugene?

DEANNAThe effects of the sexual revolution on -- that's a good question.

NNAMDIModern romantics of the...

DEANNAI think you have more -- certainly you have more women vocalists that sing about -- sing lustful and openly about love than you did before, and projecting sort of an independence and freedom that they didn't before. There's probably clearly an increase in that projection of an independent woman free of, you know, being subservient to the man, a liberated sense of it.

NNAMDISteven, thank you very much for your call.

STEVENThank you.

NNAMDIIrving Berlin was another extremely important composer and lyricist in American music. You flag some very interesting examples of his early love songs, Sam. Tell us about "Girl on the Magazine."

BRYLAWSKII can't tell you much about that at all. I'm gonna have to pass that onto David, who I think actually selected it.

NNAMDIDavid?

BRYLAWSKII mean, I love Irving Berlin, but I don't know that song.

NNAMDI"Girl on the Magazine."

SAGERYes. Also known as "Girl on the Magazine Cover."

NNAMDIYes.

SAGERWhich came out around the same time as another very curious Irving Berlin love song called "I Love a Piano," which I didn't think we were going to be talking about love of inanimate objects today.

NNAMDIBut I -- go ahead.

SAGERWhy did I select "The Girl on the --" well, it's a song of longing for something. Something that is -- seems...

NNAMDIDoesn't think he can get.

SAGER...of unobtainable, and there's this...

NNAMDIYes.

SAGER...there's this beautiful image on the cover of a magazine that he's reading, the Gibson girl.

NNAMDIAnd which of us has not experienced this at some point in our lives?

DEANNAAnd it's a painting as well. He mentions it's a painting, not a photograph on the image on the magazine.

NNAMDII don't know, but let's take a listen to the song "Girl on a Magazine."

NNAMDIA little bit about Irving Berlin?

SAGERHe's both the lyricist and the composer of this piece. He really -- he produced these things as a whole. There was no collaboration other than with this -- whomever his musical secretary was at the time because he couldn't read or write music. He would sit at his transposing piano and plunk out these melodies and would dictate to someone who would take it down, and he had his ear to the ground as far as the latest rumblings yet unpublished in popular music, ragtime and emerging jazz, and if you hear Harry McDonough, who is about as unswinging as you can get, and he sings the girl I love is on the magazine cover.

SAGERYou hear that little hint of jazz in his voice. It wasn't quite ready to pop out yet, but it was coming. He was a -- Berlin was remarkable that way.

NNAMDISome of the things people shared with us, Katherine emailed us and recommended the version of "You Made Me Love You" by Judy Garland. Email from Tom recommending "Moon River," I guess any version. Email from Kevin in D.C., "My love affairs have always been complex, hence I nominate Leonard Cohen's "A Thousand Kisses Deep," or "Hallelujah," or "Sisters of Mercy." Then again, Etta's "Damn Your Eyes," kicks assets.

NNAMDIWe got a tweet from (unintelligible) saying "Doing a segment about love songs, two words, Luther Vandross." And an email from Ron recommending "All or Nothing At All" by Diana Krall. On to the telephones now. Here is Arthur in Fredericksburg, Va. Arthur, you're on the air. Go ahead, please.

ARTHURYes. When I was growing up and my friends were getting married in the late '50s or early '60s, if you didn't have Perry Como singing "Because," you weren't officially married.

NNAMDIOoh. You know what my favorite Perry Como was? "Catch a Falling Star and Put it in Your Pocket."

ARTHURAnd never let it go.

NNAMDIThank you very much. Arthur, thank you very much for your call. On to Tim in Severn, Md. Tim, you're on the air. Go ahead, please.

TIMThank you. I wanted to go back to the song "You Made Me Love You," to ask about...

NNAMDIYes.

TIM...some of the provenance. My first encounter was in the mid-'70s when I was doing theater in Baltimore, and we put on a production of the show "Irene," which was I think from 1919, and they used the song in that show, and it shows up twice. Once it's sung as a love ballad between the two lead characters, and then the second time it's sung as a torch song between the mother of the female lead and her old flame. And it didn't make it into the movie version of "Irene," and I wondered if there were other Broadway shows or movies that it did make it into.

NNAMDIAnybody know this? Sam?

BRYLAWSKIWell, one of your listeners mentioned Judy Garland….

NNAMDIYep.

BRYLAWSKI...and I can remember her version of the song which was sort of mashed together with a love letter to Clark Gable. She's a child at the time, and she's signing -- writing a letter to Clark Gable and then segues into that song. The song just turns up everywhere in a hundred years. In terms of "Irene," it was very common particularly in the teens and the '20s to have what they called interpolated songs. You have a Broadway show and there's a major composer, and then they just bring in another song.

BRYLAWSKIIt was the thought it would be popular, or maybe they were trying to keep the show fresh and bring in repeated, you know, audience members, but Kern, his very first songs for Broadway were interpolated into shows, that were very old fashioned, what is it, 1892 "After the Ball" was then interpolated into Kern's "Show Boat." So that's common, and that's probably why the song didn't make it into the movie of "Irene." They probably -- the movie of "Irene" was made much later, and they wanted to be maybe a little more contemporary.

NNAMDIAnd I'm afraid we're almost out of time, but enough time for me to read a couple of quick emails. One from Abbie an Annapolis, well, the email is not quick. I'll read it quickly. "I developed an interest in early to mid-20th century American music, especially World War II era tunes, after playing a fantastic videogame from our own Bethesda Game Studio here in Maryland. The game is called "Fallout 3" and takes place in post-apocalyptic Washington D.C. region. The game creates an unforgettable aesthetic of post-war America with a futuristic tinge with the help of songs from Billie Holliday, Roy Brown, Bob Crosby, Tex Beneke and more.

NNAMDIThe game piqued my interest and led me to find other resources for this rich period in American musical history. Thank you to your guests for putting this music out in the public domain so it can find its way to listeners who might otherwise never encounter it." Indeed, thank you gentlemen for that. This final email from John in Ashburn, Va. "Sometime during their wartime courtship in the mid-1940s, my father gave my mother a piece of jewelry engraved with 'You Made Me Love You, Joe.'

NNAMDIWhen I first saw it, I was too young to know of the song myself, so I confronted my parents with the pronouncement, mommy, I know you that you made daddy love you. When they asked why I would say that, I recited the engraving. After they stopped laughing, they explained that it was the title of a song they liked. So not only has the song endured, it was still working well as a love song during my parents' courtship in the 1940s," and it's still working well as a love song today, John. Thank you for that email.

NNAMDIEugene DeAnna, thank you for joining us.

DEANNAThank you. My pleasure.

NNAMDIEugene is head of the recorded sounds section at the Library of Congress's Packard Campus for audio visual conservation. David Sager, thank you for joining us.

SAGERPleasure. We need another hour.

NNAMDIWe sure do. David is curator of the National Jukebox Project at the Library of Congress. That's an online catalog of music from before 1925. He's also, you should know, a jazz trombonist. And Sam Brylawski, thank you for joining us.

BRYLAWSKIYou're welcome.

NNAMDISam is a consultant at the National Jukebox Project, and the editor and project manager at the American Discography Project. Eugene, tell us about the event you've got coming up.

BRYLAWSKIYeah. David and I are going to be giving a live presentation of the Jukebox at the Hill Center on Friday, March 23 in the evening. That's at Ninth and Independence Avenue Southeast in the restored naval hospital.

NNAMDIThe date again?

DEANNAThat's March 23.

NNAMDIAnd thank you all for listening. I'm Kojo Nnamdi.