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Did Doubling Reserve Requirements Cause the Recession of 1937-1938? a Microeconomic Approach
NBER WORKING PAPER SERIES DID DOUBLING RESERVE REQUIREMENTS CAUSE THE RECESSION OF 1937-1938? A MICROECONOMIC APPROACH Charles W. Calomiris Joseph Mason David Wheelock Working Paper 16688 http://www.nber.org/papers/w16688 NATIONAL BUREAU OF ECONOMIC RESEARCH 1050 Massachusetts Avenue Cambridge, MA 02138 January 2011 The authors thank Hong Lee and David Lopez for research assistance, and Allan Meltzer for helpful discussions. Views expressed in this paper do not necessarily reflect official positions of the Federal Reserve Bank of St. Louis, the Federal Reserve System, or the National Bureau of Economic Research. NBER working papers are circulated for discussion and comment purposes. They have not been peer- reviewed or been subject to the review by the NBER Board of Directors that accompanies official NBER publications. © 2011 by Charles W. Calomiris, Joseph Mason, and David Wheelock. All rights reserved. Short sections of text, not to exceed two paragraphs, may be quoted without explicit permission provided that full credit, including © notice, is given to the source. Did Doubling Reserve Requirements Cause the Recession of 1937-1938? A Microeconomic Approach Charles W. Calomiris, Joseph Mason, and David Wheelock NBER Working Paper No. 16688 January 2011 JEL No. E51,E58,G21,G28,N12,N22 ABSTRACT In 1936-37, the Federal Reserve doubled the reserve requirements imposed on member banks. Ever since, the question of whether the doubling of reserve requirements increased reserve demand and produced a contraction of money and credit, and thereby helped to cause the recession of 1937-1938, has been a matter of controversy. Using microeconomic data to gauge the fundamental reserve demands of Fed member banks, we find that despite being doubled, reserve requirements were not binding on bank reserve demand in 1936 and 1937, and therefore could not have produced a significant contraction in the money multiplier. -
J. Dorsey, Earl Hines Also Swell Trombone Showcased
DOWN BEAT Chicago. April 15. 1941 Chicago fl by his latest cutting. Everything Depends On You, in which he spots Gems of Jazz’ and Kirby Madeline Green and a male vocal trio. On BBird 11036, it’s a side which shows a new Hines, a Hines who can bow to the public’s de Albarns Draw Big Raves; mands and yet maintain a high artistic plane. Backer is In Suiamp Lande, a juniper, with the leader’s I—Oh Le 88, Franz Jackson’s tenor and a »—New ' J. Dorsey, Earl Hines Also swell trombone showcased. Je Uy, 3—dmapi Jelly (BBird 11065) slow 4—Perfid by DAVE DEXTER, JR. blues with more sprightly Hines, 5—The A and a Pha Terrelish v ical by Bill 6—High I JvlUSICIANS SHOULD FIND the new “Gems of Jazz” and Eckstein. Flipover, I’m Falling 7—There' For You, is the only really bad John Kirby albums of interest, for the two collections em side of the four. It’s a draggy pop 9—Chapeí brace a little bit of everything in the jazz field. The “Gems” with too much Eckstein. [O—Th> l include 12 exceptional sides featuring Mildred Bailey, Jess 11—f Unti Stacy, Lux Lewis, Joe Marsala and Bud Freeman. Made in Jimmy Dorsey 12—Frenes 1936, they’ were issued only in England on Parlophone and Hot as a gang of ants on a WATCH O have been unavailable domestically until now. warm rock, Jim and his gang click again with two new Tudi« Cama Ma «mvng tl B a i 1 ey’s rata versions uf Yours (the Man Behind the Counter in soda-jerk getup in that rat. -
Ralph W. Judd Collection on Cross-Dressing in the Performing Arts
http://oac.cdlib.org/findaid/ark:/13030/kt487035r5 No online items Finding Aid to the Ralph W. Judd Collection on Cross-Dressing in the Performing Arts Michael P. Palmer Processing partially funded by generous grants from Jim Deeton and David Hensley. ONE National Gay and Lesbian Archives 909 West Adams Boulevard Los Angeles, California 90007 Phone: (213) 741-0094 Fax: (213) 741-0220 Email: [email protected] URL: http://www.onearchives.org © 2009 ONE National Gay and Lesbian Archives. All rights reserved. Finding Aid to the Ralph W. Judd Coll2007-020 1 Collection on Cross-Dressing in the Performing Arts Finding Aid to the Ralph W. Judd Collection on Cross-Dressing in the Performing Arts Collection number: Coll2007-020 ONE National Gay and Lesbian Archives Los Angeles, California Processed by: Michael P. Palmer, Jim Deeton, and David Hensley Date Completed: September 30, 2009 Encoded by: Michael P. Palmer Processing partially funded by generous grants from Jim Deeton and David Hensley. © 2009 ONE National Gay and Lesbian Archives. All rights reserved. Descriptive Summary Title: Ralph W. Judd collection on Cross-Dressing in the Performing Arts Dates: 1848-circa 2000 Collection number: Coll2007-020 Creator: Judd, Ralph W., 1930-2007 Collection Size: 11 archive cartons + 2 archive half-cartons + 1 records box + 8 oversize boxes + 19 clamshell albums + 14 albums.(20 linear feet). Repository: ONE National Gay and Lesbian Archives. Los Angeles, California 90007 Abstract: Materials collected by Ralph Judd relating to the history of cross-dressing in the performing arts. The collection is focused on popular music and vaudeville from the 1890s through the 1930s, and on film and television: it contains few materials on musical theater, non-musical theater, ballet, opera, or contemporary popular music. -
MUNI 20151109 – Evergreeny 06 (Thomas „Fats“ Waller, Victor Young)
MUNI 20151109 – Evergreeny 06 (Thomas „Fats“ Waller, Victor Young) Honeysuckle Rose – dokončení z minulé přednášky Lena Horne 2:51 First published 1957. Nat Brandwynne Orchestra, conducted by Lennie Hayton. SP RCA 45-1120. CD Recall 305. Velma Middleton-Louis Armstrong 2:56 New York, April 26, 1955. Louis Armstrong and His All-Stars. LP Columbia CL 708. CD Columbia 64927 Ella Fitzgerald 2:20 Savoy Ballroom, New York, December 10, 1937. Chick Webb Orchestra. CD Musica MJCD 1110. Ella Fitzgerald 1:42> July 15, 1963 New York. Count Basie and His Orchestra. LP Verve V6-4061. CD Verve 539 059-2. Sarah Vaughan 2:22 Mister Kelly‟s, Chicago, August 6, 1957. Jimmy Jones Trio. LP Mercury MG 20326. CD EmArcy 832 791-2. Nat King Cole Trio – instrumental 2:32 December 6, 1940 Los Angeles. Nat Cole-piano, Oscar Moore-g, Wesley Prince-b. 78 rpm Decca 8535. CD GRP 16622. Jamey Aebersold 1:00> piano-bass-drums accompaniment. Doc Severinsen 3:43 1991, Bill Holman-arr. CD Amherst 94405. Broadway-Ain‟t Misbehavin‟ Broadway show. Ken Page, Nell Carter-voc. 2:30> 1978. LP RCA BL 02965. Sweet Sue, Just You (lyrics by Will J. Harris) - 1928 Fats Waller and His Rhythm: Herman Autrey-tp; Rudy Powell-cl, as; 2:55 Fats Waller-p,voc; James Smith-g; Charles Turner-b; Arnold Boling-dr. Camden, NJ, June 24, 1935. Victor 25087 / CD Gallerie GALE 412. Beautiful Love (Haven Gillespie, Wayne King, Egbert Van Alstyne) - 1931 Anita O’Day-voc; orchestra arranged and conducted by Buddy Bregman. 1:03> Los Angeles, December 6, 1955. -
Records of the Immigration and Naturalization Service, 1891-1957, Record Group 85 New Orleans, Louisiana Crew Lists of Vessels Arriving at New Orleans, LA, 1910-1945
Records of the Immigration and Naturalization Service, 1891-1957, Record Group 85 New Orleans, Louisiana Crew Lists of Vessels Arriving at New Orleans, LA, 1910-1945. T939. 311 rolls. (~A complete list of rolls has been added.) Roll Volumes Dates 1 1-3 January-June, 1910 2 4-5 July-October, 1910 3 6-7 November, 1910-February, 1911 4 8-9 March-June, 1911 5 10-11 July-October, 1911 6 12-13 November, 1911-February, 1912 7 14-15 March-June, 1912 8 16-17 July-October, 1912 9 18-19 November, 1912-February, 1913 10 20-21 March-June, 1913 11 22-23 July-October, 1913 12 24-25 November, 1913-February, 1914 13 26 March-April, 1914 14 27 May-June, 1914 15 28-29 July-October, 1914 16 30-31 November, 1914-February, 1915 17 32 March-April, 1915 18 33 May-June, 1915 19 34-35 July-October, 1915 20 36-37 November, 1915-February, 1916 21 38-39 March-June, 1916 22 40-41 July-October, 1916 23 42-43 November, 1916-February, 1917 24 44 March-April, 1917 25 45 May-June, 1917 26 46 July-August, 1917 27 47 September-October, 1917 28 48 November-December, 1917 29 49-50 Jan. 1-Mar. 15, 1918 30 51-53 Mar. 16-Apr. 30, 1918 31 56-59 June 1-Aug. 15, 1918 32 60-64 Aug. 16-0ct. 31, 1918 33 65-69 Nov. 1', 1918-Jan. 15, 1919 34 70-73 Jan. 16-Mar. 31, 1919 35 74-77 April-May, 1919 36 78-79 June-July, 1919 37 80-81 August-September, 1919 38 82-83 October-November, 1919 39 84-85 December, 1919-January, 1920 40 86-87 February-March, 1920 41 88-89 April-May, 1920 42 90 June, 1920 43 91 July, 1920 44 92 August, 1920 45 93 September, 1920 46 94 October, 1920 47 95-96 November, 1920 48 97-98 December, 1920 49 99-100 Jan. -
Jazz and the Cultural Transformation of America in the 1920S
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive. -
100 Years: a Century of Song 1950S
100 Years: A Century of Song 1950s Page 86 | 100 Years: A Century of song 1950 A Dream Is a Wish Choo’n Gum I Said my Pajamas Your Heart Makes / Teresa Brewer (and Put On My Pray’rs) Vals fra “Zampa” Tony Martin & Fran Warren Count Every Star Victor Silvester Ray Anthony I Wanna Be Loved Ain’t It Grand to Be Billy Eckstine Daddy’s Little Girl Bloomin’ Well Dead The Mills Brothers I’ll Never Be Free Lesley Sarony Kay Starr & Tennessee Daisy Bell Ernie Ford All My Love Katie Lawrence Percy Faith I’m Henery the Eighth, I Am Dear Hearts & Gentle People Any Old Iron Harry Champion Dinah Shore Harry Champion I’m Movin’ On Dearie Hank Snow Autumn Leaves Guy Lombardo (Les Feuilles Mortes) I’m Thinking Tonight Yves Montand Doing the Lambeth Walk of My Blue Eyes / Noel Gay Baldhead Chattanoogie John Byrd & His Don’t Dilly Dally on Shoe-Shine Boy Blues Jumpers the Way (My Old Man) Joe Loss (Professor Longhair) Marie Lloyd If I Knew You Were Comin’ Beloved, Be Faithful Down at the Old I’d Have Baked a Cake Russ Morgan Bull and Bush Eileen Barton Florrie Ford Beside the Seaside, If You were the Only Beside the Sea Enjoy Yourself (It’s Girl in the World Mark Sheridan Later Than You Think) George Robey Guy Lombardo Bewitched (bothered If You’ve Got the Money & bewildered) Foggy Mountain Breakdown (I’ve Got the Time) Doris Day Lester Flatt & Earl Scruggs Lefty Frizzell Bibbidi-Bobbidi-Boo Frosty the Snowman It Isn’t Fair Jo Stafford & Gene Autry Sammy Kaye Gordon MacRae Goodnight, Irene It’s a Long Way Boiled Beef and Carrots Frank Sinatra to Tipperary -
Arturo Toscanini and Don Gillis in Rehearsal, Don Gillis Collection, University of North Texas
Arturo Toscanini and Don Gillis in rehearsal, Don Gillis Collection, University of North Texas. Reproduced with permission. MARK MCKNIGHT, SUSANNAH CLEVELAND Rediscovering “Toscanini: The Man Behind the Legend” The following article is based on the authors’ presentation at the ARSC Conference in Austin, TX, April 2005. The focus is on the Don Gillis Collection, which the University of North Texas (UNT) Music Library acquired after Gillis’s death in 1978. Gillis, a longtime associate of Arturo Toscanini, served as the conductor’s assistant and the producer for the NBC Symphony broadcast concerts from 1944 until they ended ten years later. The photographs that illustrate this article are from the collection and are reproduced with permission. __________________________________________________________________________________ he story of Arturo Toscanini’s rise to fame as one of history’s most celebrated con- ductors is well known. Having spent the first several years of his professional life in T the opera pit, Toscanini then gained a reputation for his symphonic conducting, serving as principal conductor of the New York Philharmonic from 1929 to 1936. When he left that post and retired to his native Italy, his American fans believed they would never again see the maestro conduct here. At the age of 70, however, when most individuals are happily settled into retirement, Toscanini returned to the podium, this time in a completely new and, in some ways controversial, forum, as head of the recently organized NBC Symphony. He would remain with the orchestra until his final departure in 1954. Toscanini died three years later in New York, just two months before his ninetieth birthday. -
Porgy and Bess Composer: George Gershwin Section of the Work to Be
Title: Porgy and Bess Composer: George Gershwin Section of the work to be studied: ‘Summertime’ Interpretation in performance 1: Leontyne Price, from 1:11 to 4:32, Porgy and Bess: High Performance, RCA Interpretation in performance 2: Billie Holiday, The Quintessential Billie Holiday, Vol. 2: 1936, Columbia, this recording is also available on a number of compilation CDs. Score: Summertime, single for voice and piano. Alfred Publishing. (AP.VS5985) The following notes are designed to inform discussion. They are not to be considered as representative of the VCAA or amuse. The notes are to be used as starting points. Paul Curtis 2009 Briefly: Gershwin completed the work in September 1935 following 20 months of work. The show opened on 30 September 1935 at Boston’s Colonial Theatre. The show opened in New York at the Alvin Theatre on 10 October. The show ran for only 124 shows at the Alvin. The critical reaction was mixed and the entire monetary investment was lost. Gershwin wrote the following defense of his work: It is true that I have written songs for Porgy and Bess. I am not ashamed at writing songs at any time so long as they are good songs. In Porgy and Bess I realized that I was writing an opera for the theatre and without songs it could be neither of the theatre nor entertaining from my viewpoint. But songs are entirely within the operatic tradition. Many of the most successful operas of the past have had songs….Of course, the songs in Porgy and Bess are only a part of the whole…I have used symphonic music to unify entire scenes. -
Adrian Rollini M M C – a Klasszikus
M������� M������ C������� a klasszikus jazz stílusjegyei Korb Attila Attila, a Bohémekhez egykor 13 évesen kerülõ harsonás, kornettes, zongorista, énekes a magyar jazzpaletta egyik legtehetségesebb figurája. Segítségével érthetõbbé válik a klasszikus jazz és más füllel hallgat majd zenét az olvasó. Kirkeby több néven is eladta a Ramblerst Nem tudom kikerülni, hogy megemlítsem, Adrian Rollini különbözõ lemezkiadóknak. Little illetve egyfajta párhuzamot vonjak Rollini Ramblers, Golden Gate Orchestra, Palace és a kiváló fekete tenor szaxofonos Cole- Garden Orchestra, Goofus Five az man Hawkins között. Hawkinst a swing- utóbbi Rollini egy különleges hangszerérõl szaxofonozás atyjaként tartják számon, s kapta a nevét. A goofus egy szaxofon- nevével bizonyára többen találkoztak, mint formájú melódika, ami harmónikaszerûen Rolliniéval. Mégis jogos a mostanában több hangot is meg tud szólaltatni. Érdemes többször felmerülõ vita, miszerint Rollini meghallgatni az 1927-es -t, játékmódja semmivel nem volt kisebb amiben Rollini elõször fütyül, majd goofus- volumenû, mint Hawkinsé. A korábbi Louis on is játszik. Természetesen basszusszaxo- Armstrong-cikkekben már említettem, hogy fonozást is hallhatunk, a szám elsõ felében Hawkins ebben az idõben (1923-tól) virtuózan egészít bele a szólóhangszerek Fletcher Henderson zenekarának tagja volt. játékába, teljesen kilépve a basszusfunk- Arról talán nem volt szó, hogy Hawkins cióból. Az utolsó tutti közepén egy 4 üte- nem csak tenorszaxofonozott, de klariné- mes breakben fültanúi lehetünk Rollini tozott és basszusszaxofonozott is a Hender- Adrian Rollini (1903-1956) Bix könnyed, de mégis folyamatosan zakatoló, son-zenekarban. Az 1925-bõl való Beiderbecke-hez hasonlóan zongo- swingelõ játékmódjának. De menjünk még ban képet kaphatunk Hawkins rista csodagyerekként kezdte karrierjét (sõt visszább az idõben, hiszen 1927 már bõven basszusszaxofonozásáról. -
The History of NBC New York Television Studios, 1935-1956"
`1 | P a g e "The History of NBC New York Television Studios, 1935-1956" Volume 1 of 2 By Bobby Ellerbee And Eyes Of A Generation.com Preface and Acknowledgement This is the first known chronological listing that details the conversions of NBC’s Radio City studios at 30 Rockefeller Plaza in New York City. Also included in this exclusive presentation by and for Eyes Of A Generation, are the outside performance theaters and their conversion dates to NBC Television theaters. This compilation gives us the clearest and most concise guide yet to the production and technical operations of television’s early days and the network that pioneered so much of the new medium. As you will see, many shows were done as “remotes” in NBC radio studios with in-house mobile camera units, and predate the official conversion date which signifies the studio now has its own control room and stage lighting. Eyes Of A Generation, would like to offer a huge thanks to the many past and present NBC people that helped, but most especially to Frank Merklein (NBC 1947-1961) Joel Spector (NBC 1965-2001), Dennis Degan (NBC 2003 to present), historian David Schwartz (GSN) and Gady Reinhold (CBS 1966 to present), for their first hand knowledge, photos and help. This presentation is presented as a public service by the world’s ultimate destination for television history…The Eyes Of A Generation. –Bobby Ellerbee http://www.eyesofageneration.com/ https://www.facebook.com/pages/Eyes-Of-A-Generationcom/189359747768249 `2 | P a g e "The History of NBC New York Television Studios, 1935-1956" Volume 1 of 2 Contents Please Note: Converted should be understood as the debut date of the facility as an exclusive TV studio, now equipped with its own control room. -
Tommy Dorsey 1 9
Glenn Miller Archives TOMMY DORSEY 1 9 3 7 Prepared by: DENNIS M. SPRAGG CHRONOLOGY Part 1 - Chapter 3 Updated February 10, 2021 TABLE OF CONTENTS January 1937 ................................................................................................................. 3 February 1937 .............................................................................................................. 22 March 1937 .................................................................................................................. 34 April 1937 ..................................................................................................................... 53 May 1937 ...................................................................................................................... 68 June 1937 ..................................................................................................................... 85 July 1937 ...................................................................................................................... 95 August 1937 ............................................................................................................... 111 September 1937 ......................................................................................................... 122 October 1937 ............................................................................................................. 138 November 1937 .........................................................................................................