Emily Dickinson Responds to the Rise and Fall of Paramount Records box set

Paramount Dickinson

Commonplace Notebook, Matthew Fluharty

On the eve of 2014, when all was calm at Art of the Rural headquarters, we received a communication from Emily Dickinson via our patented multiverse – channelling fax machine.

Though the only identifying title of the document read “298,” I sense that it was her response to the much-celebrated Rise and Fall of Paramount Records, Volume 1 set released in late 2013 by Third Man Records (and its head, Jack White) and Revenant Records (led by Dean Blackwood). With a discussion at the New York Public Library including the set’s designers alongside Greil Marcus and Daphne Brooks, and a subsequent appearance on Charlie Rose, the music, mythos, and social history of the lives entwined in the story of Paramount Records is receiving a welcome rush of public attention.

Billed as a “wonder-cabinet,” the physical material of this set is impressive: 6 LPs, a hardback book with history and advertisements, a huge book of liner notes, a packet of ephemera, and, beneath all of that, a usb flash drive shaped like an old-time phonograph stylus assembly that contains 800 songs, even more images, and a web application with which to navigate its archive. All this is in contained in a hefty quarter-sawn oak cabinet with exquisite upholstery and metalwork.

As Grayson Currin noted in his otherwise ecstatic review in Pitchfork, the price tag ($400, which only allows Third Man/Revenenant to break even on the project), places this extraordinary work beyond the reach of the general public. Both in terms of its gorgeously tactile presentation and the depth of its contents, The Rise and Fall of Paramount Records, Volume 1 feels like an apex of the last decade’s “reissue movement” just as it underscores many of its cultural and aesthetic contradictions.

In this light, Ms. Dickinson’s communique illuminates the power and ambiguity within this set, as well as the need to come to terms with last century’s massive African-American rural diaspora — so many of whom stood before the recording machines for Paramount and its contemporaries:


Alone, I cannot be –

For Hosts – do visit me –

Recordless Company –

Who baffle Key –

They have no Robes, nor Names –

No Almanacs – nor Climes –

But general Homes

Like Gnomes –

Their Coming, may be known

By Couriers within –

Their going – is not –

For they’re never gone –


Matthew Fluharty is the Director of Art of the Rural and a Research Fellow in American Culture Studies at Washington Univeristy in St. Louis.