The National Museum of the Pacific War presents an oral presentation given by George DeLong in 1993. DeLong tells of joining the Navy in January 1941 and of being on the battleship Oklahoma (BB-37) during the Japanese attack on Pearl Harbor. He describes the ship turning over and his being trapped, along with 32 other shipmates for one and a half days. DeLong describes the struggle to stay alive before being rescued and spending time in the hospital. He discusses causes of the war with Japan, actions which various admirals and generals took and various battles that were fought. He closes the presentation by answering questions presented by members of the audience.

The National Museum of the Pacific War presents an interview with Prudence Burns Burrell. Burrell was an African American woman who enlisted in the Army Reserve and served as a medical nurse in World War II. She was stationed in Australia, Java, New Guinea and the Philippines. She provides some details of her work in these areas and with the natives. She also shares experiences of racial discrimination. She completed her degree in public health at the University of Minnesota. She then served as a nurse aboard SS America. Upon returning home she became the first black instructor at Mission High School in San Francisco, teaching health and participating with the Future Nurses of America organization.

The National Museum of the Pacific War presents an oral interview with Martin Clemens. Clemens was born in Aberdeen, Scotland in 1915 and, after attending Cambridge University, joined the British Colonial Service and was posted to Guadalcanal in 1938. After Pearl Harbor, Clemens became the only British colonial authority on Guadalcanal and, in February 1942, was assigned coast watching duties prior to the Japanese invasion in May. After the Japanese invasion, he was forced to relocate from his village to a location in the jungle, where he describes his activities in conjunction with island volunteers in gathering intelligence and transmitting radio signals to British and Australian listening posts. When the Allied Forces landed on Guadalcanal in August 1942, Clemens provided volunteer scouts and laborers to Colonel Carlson of the Second Raider Battalion. He also recalls his encounters with General Vandegrift, who awarded him a Military Cross following the battle.

The National Museum of the Pacific War presents an oral interview with Norman Hatch. Hatch was born in Boston in 1921. Following graduation from high school in 1939, he joined the Marine Corps. He volunteered for an English instructor billet at the Marine Corps Institute in Washington, DC. After six months he left for an editorial position at Leatherneck Magazine. Soon thereafter, he took a position at the Office of Information in the Office of Naval Operations, where he assisted in putting out press releases. In September 1941 he was accepted to the March of Time School of Pictorial Journalism operated by a major newsreel company in New York City. He recalls photographing President Roosevelt from the Capitol Gallery on 8 September 1941 as he asked Congress for a declaration of war. In 1942 Hatch was sent to Quantico, Virginia to join the newly-formed Marine Corps Photographic Section. From there, he joined the Second Marine Division in New Zealand. He was one of only two movie photographers assigned to the Second Division, and he describes being at Tarawa. Hatch describes the events that took place over the next three days, many of which were featured in his film With the …

The National Museum of the Pacific War presents a monologue by David Richardson. Richardson served as a journalist and Sergeant in the Army from 1941-1945. In 1941 he worked as editor of the Camp Pendleton newspaper. He then worked for the Army weekly, Yank, in New York in 1942. They sent him, with orders, to General MacArthur in Australia to put together a group of journalists to document the war in the China, Burma, India Theatre of Operations. He participated in battles in New Guinea, the Solomon Islands, Leyte Gulf, India, Burma, the Philippines and shares his grim experiences in journaling through combat. In Burma, Richardson walked 700 miles with Merrill’s Marauders. He shares details of casualties, illnesses, attacks, weapons and military vehicles he handled and writing GI stories from the front lines.

The National Museum of the Pacific War presents an oral interview with Dick Keresey. Keresey was born in Delawana, New Jersey in 1913 and graduated from Columbia Law School in 1941. He joined the V7 Midshipman Program while at Columbia and completed training in January 1942, followed by motor torpedo boat training in Melville, Rhode Island, from which he graduated in March 1942. He served as captain of PT-105 in the Solomon Islands and recalls meeting John F. Kennedy, when Kennedy, as captain of PT-109, pulled Keresey’s boat off a reef. Keresey describes his participation in a major battle involving 15 PT boats in the Western Solomons on 6 March 1943, which became known as the Battle of Blackett Strait. Following that battle, he recalls learning that Kennedy’s boat, PT-109, had been cut in half by a Japanese destroyer. Finally, he describes another action in the Russell Islands on 22 August 1943 where he was assigned to Motor Torpedo Boat Squadron Five along with nine other boats. He recalls PT-108 was destroyed by Japanese shore batteries during the battle.

The National Museum of the Pacific War presents an oral monologue with Gerald Martel. Martel was born in Massachusetts and joined the Army in the spring of 1941. He was assigned to the 182nd Infantry Regiment as a machine gunner and headed for Australia. His unit comprised the Americal Division when it was formed. Martel went to Guadalcanal and Leyte. He eventually was pulled from the ranks and put into special services where he performed for GI audiences. Sometimes, he opened before other celebrities performed (Irving Berlin, Bob Hope, and Jack Benny).

The National Museum of the Pacific War presents an interview with John Brush. Brush was assigned to serve as the Chief Engineer of the Philippine Manufacturing Company in Manila, before World War II. He and his wife traveled to Manila in May of 1941 and operated the factory until the end of December. He and his wife were taken prisoner into Santo Tomas Internment Camp in January of 1942. Brush shares details of the accommodations, building structure, atmosphere, food rations, starvation, illnesses, separated living conditions of men, women and children as well as their required daily work. They were later moved to Los Baños Internment Camp. In December of 1943 his wife, along with other women from Santo Tomas, were brought to Los Baños and allowed to live together as a family. Brush provides vivid details of their rescue in February of 1945.

The National Museum of the Pacific War presents an oral interview with Eddie Albert. Albert was born in Rock Island, Illinois on 22 April 1908 and joined the Navy in 1942. Following officer training at Cornell University, he was shipped to the South Pacific. Albert recalls spending a night in November 1943 with Lieutenant Colonel Evans Fordyce Carlson (of Carlson’s Raiders fame) in a hole during the Battle of Tarawa. After the battle he relates that he was called to Washington, DC for duties relating to public relations and was sent around the United States selling war bonds. He recalls that by the end of the war he also had produced at least six war-related training films.

The National Museum of the Pacific War presents an oral interview with Jack Jacobson. Jacobson was born in 1916. In 1940 he was accepted in the aviation cadet program and graduated in December 1941. He was sent to Fiji where he received additional flight training and was then sent to Guadalcanal. He describes being bombarded for over four hours one night by Japanese ships off the coast. He tells of the experiences of dropping bombs, strafing and escorting bombers during his more than 100 missions and three tours on Guadalcanal. He was selected to be Captain John Mitchell’s wingman during Operation Vengeance. He describes the precise flight plotted by Mitchell for intercept of Admiral Yamamoto’s plane over Bougainville. A vivid description is given of the actions taken by the planes involved in the attack.

The National Museum of the Pacific War presents an oral interview with Sanford Hunt. Hunt was born in Newark, New Jersey on 18 October 1915 and after graduating from high school in 1934, joined the Naval Reserve as a radioman. In October 1940 he resigned from the Navy Reserves and enlisted in the Marine Corps Reserve. He was sent to Guantanamo Bay, Cuba as a radio operator, where he worked with Holland M. Smith. He was next transferred to the newly established Camp Lejeune, North Carolina, and was trained as a cryptographer and cipher machine repairman. He describes his role in setting up and operating a radio transmitter station on Guadalcanal. While there, he worked closely with Major General Alexander Vandegrift and Brigadier General Gerald C. Thomas, Commanding General and Chief of Staff of the First Marine Division, respectively. The three of them were the only Marines on Guadalcanal authorized access to ULTRA message traffic (intelligence obtained by breaking encrypted enemy radio and teleprinter messages). Upon returning to Pearl Harbor he was given a field commission to second lieutenant. Hunt accompanied General Vandegrift to Noumea, New Caledonia as Special Assistant and Chief of Staff for Special Traffic and Messages, until …

Recording of Joshua Fried's About Howard Johnson/Affirmative. This work uses MIDI in unusual ways. Sound modules become a silent controller of analog gates, and continuous controllers manipulate digital processors in real time. When channel gates are triggered at an even rate, one obtains the well-known strobe effect of slowing down, stopping or even reversing the apparent motion of a rotating object. As trigger cycle and loop cycle move out of phase, bits of sound seem to wander from speaker to speaker through the space. This work also functions as a study for live performances that will process found sound with a combination of selectable algorithms and performer control.

Recording of Åke Parmerud's Grains of voices. The piece is composed as a continuous flow where thematical ideas and voices are formed. The opening of the piece uses the biblical words of genesis where "darkness" and "light" has been substituted with "silence" and "sound". The second part of the piece has the theme of memories of childhood in the form of lullaby's and children's songs from different country's. The next section carries the theme of prayers through the combination of the provocative poetry of A. Ginsburg, a Hindu evening prayer, a Balinese and a Fijian priest, and finally a New Delhi citizens right demonstration. The last section of the piece is born as a slow transformation from the dramatic to the ritual music.

Recording of Roberto Doati's Pigra giornata. For solo voice and tape ad libitum. The formal structure is coming from a well-known Billie Holiday song: “Don’t Explain”. Each note of the song becomes a quotation from the same or other songs by Billie Holiday and jazz musicians considered by the singer true human and musical reference points. Computer programs written by the composer are used to transform, both in time and timbre, the songs fragments. The tape (ad libitum) contains a cymbal roll which follows the voice for the whole work.

Recording of Roberto Doati's Testa Arcaica. For electronics and voice. The basic material for digital processing is coming from the recording of "Weep, weep, mine eyes", a 5 voices madrigal by John Wilbye (1574-1638). The different degrees of transformation of the vocal sounds performed by Marianne Pousseur, and the live voice articulation are conceived according to a semantic division of the poem.

Recording of Eric Lyon's Never Mare fun of a man's cooking.

Recording of Joseph Hyde's To the last syllable (one). This work is for four voices and tape. This work is sonically dense; there's no way the listener can hear everything at the same time, so they are left to pick their own way through. The text is an amalgam of hundreds of sources, whilst the tape employs recognizable sounds to tell a story of its own. All these threads are interleaved and overlaid into a rich and complex narrative tapestry.

Recording of Eduardo Polonio's A-roving. This work begins with a reading of Lord Byson's "So We'll Go No More a Roving" and a story which is spoken in Spanish, about the architecture of Rome. The sounds are both pre-recorded and synthetic; there are nature sounds, sounds from inanimate objects, and synthetically built sounds.

Recording of Eric Lyon's The blistering price of power. It is for flute and electronics. This piece samples outside sources and changes the sound construction to accompany the flute. There is times when the electronics provide a percussive effect and guidance for musical transitions. The flute uses the full range of the instrument, contemporary technique, and explores different musical styles.

Recording of Daniel Park's Piatek. This work uses voice in different languages and styles, which are interrupted by fragments of electronics. The synthesized sound are very still and have many harmonies. The segments of speech are either processed and put through effects or kept as is containing little to no digital processing.

Recording of Mark Canfield-Taylor's Shadow dance carnival. This work uses samples from operas, voice, and electronic sounds to create an eerie soundscape. With the use of traditional electronic technique the sounds are able to manipulated to fit into this soundscape, creating a dense sound texture.

Recording of Jürgen Bräuninger and Ulrich Süsse's Le bass de auf a bourges du dat. It is a work for saxophone, bass clarinet, and electronics. There are speech snippets which are accompanied by free improv from the saxophone and clarinet, while processed and manipulated recording of these instruments play in the background.

Recording of Christopher Penronse's Manwich. There are many samples which are integrated into this piece. The synthetically built sounds help to smooth the transitions between these differing sound sources. Therefore, the piece is able to take the listener through so many different sound spaces.

Recording of Jospeh Hyde's Seven Waves. This piece is for instrument, live electronics, and pre-recorded tracks. The flutist in this recording uses lots of extended technique, while the electronics are bases on a Csound system. The pre-recorded track is made up of manipulated flute and voice sounds. Electronic amplification is used on the flute for clicking keys, and mysterious whistling tones. The live electronics similarly function as a kind of microscope, picking out elements of the flute part and bringing them to the foreground.