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Finding Aid for the Sheldon Harris Collection (MUM00682)
University of Mississippi eGrove Archives & Special Collections: Finding Aids Library November 2020 Finding Aid for the Sheldon Harris Collection (MUM00682) Follow this and additional works at: https://egrove.olemiss.edu/finding_aids Recommended Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi This Finding Aid is brought to you for free and open access by the Library at eGrove. It has been accepted for inclusion in Archives & Special Collections: Finding Aids by an authorized administrator of eGrove. For more information, please contact [email protected]. University of Mississippi Libraries Finding aid for the Sheldon Harris Collection MUM00682 TABLE OF CONTENTS SUMMARY INFORMATION Summary Information Repository University of Mississippi Libraries Biographical Note Creator Scope and Content Note Harris, Sheldon Arrangement Title Administrative Information Sheldon Harris Collection Related Materials Date [inclusive] Controlled Access Headings circa 1834-1998 Collection Inventory Extent Series I. 78s 49.21 Linear feet Series II. Sheet Music General Physical Description note Series III. Photographs 71 boxes (49.21 linear feet) Series IV. Research Files Location: Blues Mixed materials [Boxes] 1-71 Abstract: Collection of recordings, sheet music, photographs and research materials gathered through Sheldon Harris' person collecting and research. Prefered Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi Return to Table of Contents » BIOGRAPHICAL NOTE Born in Cleveland, Ohio, Sheldon Harris was raised and educated in New York City. His interest in jazz and blues began as a record collector in the 1930s. As an after-hours interest, he attended extended jazz and blues history and appreciation classes during the late 1940s at New York University and the New School for Social Research, New York, under the direction of the late Dr. -
History of Jazz Tenor Saxophone Black Artists
HISTORY OF JAZZ TENOR SAXOPHONE BLACK ARTISTS 1940 – 1944 SIMPLIFIED EDITION INTRODUCTION UPDATE SIMPLIFIED EDITION I have decided not to put on internet the ‘red’ Volume 3 in my Jazz Solography series on “The History of Jazz Tenor Saxophone – Black Artists 1940 – 1944”. Quite a lot of the main performers already have their own Jazz Archeology files. This volume will only have the remainders, and also auxiliary material like status reports, chronology, summing ups, statistics, etc. are removed, to appear later in another context. This will give better focus on the many good artists who nevertheless not belong to the most important ones. Jan Evensmo June 22, 2015 INTRODUCTION ORIGINAL EDITION What is there to say? That the period 1940 - 1944 is a most exciting one, presenting the tenorsax giants of the swing era in their prime, while at the same time introducing the young, talented modern innovators. That this is the last volume with no doubt about the contents, we know what is jazz and what is not. Later it will not be that easy! That the recording activities grow decade by decade, thus this volume is substantially thicker than the previous ones. Just wait until Vol. 4 appears ... That the existence of the numerous AFRS programs partly compensates for the unfortunate recording ban of 1943. That there must be a lot of material around not yet generally available and thus not listed in this book. Please help building up our jazz knowledge base, and share your treasures with the rest of us. That we should remember and be eternally grateful to the late Jerry Newman, whose recording activities at Minton's and Monroe's have given us valuable insight into the developments of modern jazz. -
'Vintage Black Cinema' Movie Poster Stamps
FOR IMMEDIATE RELEASE Media Contacts: Darlene Reid-Demeo July 15, 2008 (O) 732-819-4370 (C) 732-319-9779 [email protected] Mark Saunders (O) 202-268-6524 (C) 202-320-0782 [email protected] usps.com/news Release No. 08-074 ‘Vintage Black Cinema’ Movie Poster Stamps Highlight African- American Cultural Experience Stamps Depict Posters From the 1920s Through 1950s WASHINGTON, DC — Vintage movie posters highlighting various facets of the African-American cultural experience as represented in early film return on postage when the U.S. Postal Service issues the Vintage Black Cinema stamps. The 42-cent commemorative First-Class stamps will be dedicated July 16 at the Newark, NJ, Museum during the Black Film Festival and will go on sale nationwide that day. Explained U.S. Postal Service Vice President and Consumer Advocate Delores Killette: “Whether spotlighting the talents of entertainment icons Josephine Baker, Duke Ellington, Paul Laurence Dunbar, Fredi Washington, Louis Jordan, Daniel L. Haynes, Victoria Spivey or King Vidor, or documenting changing social attitudes and expectations—these posters now serve a greater purpose than publicity and promotion. They are invaluable pieces of history, preserving memories of cultural phenomena that otherwise might have been forgotten.” Scheduled to join Killette at the 10 a.m. dedication ceremony Wednesday are Emmy-Award winning Actress Lynn Whitfield who played the leading role in The Josephine Baker Story; Josephine Baker’s son Jean-Claude Baker and his brother, Jarry; Louis Jordan’s widow, Martha Jordan; Paul Ellington, grandson of Duke Ellington; Newark Mayor Cory A. Booker, and Gloria Hopkins Buck, chairwoman of the film festival. -
Artist with Title Writer Label Cat Year Genre
Artist With Title Writer Label Cat Year Genre Notes Album Synopsis_c Anonymous Uncle Tom’s Cabin No Label 0 Comedy Anonymous - Uncle Tom’s Cabin, No Label , 78, ???? Anonymous The Secretary No Label 0 Comedy Anonymous - The Secretary, No Label , 78, ???? Anonymous Mr. Speaker No Label 0 Comedy Anonymous - Mr. Speaker, No Label , 78, ???? Anonymous The Deacon No Label 0 Comedy Anonymous - The Deacon, No Label , 78, ???? Anonymous First Swimming Lesson Good-Humor 10 0 Comedy Anonymous - First Swimming Lesson, Good-Humor 10, 78, ???? Anonymous Auto Ride Good-Humor 4 0 Comedy Anonymous - Auto Ride, Good-Humor 4, 78, ???? Anonymous Pioneer XXX, Part 1 No Label 0 Comedy Anonymous - Pioneer XXX, Part 1, No Label , 78, ???? Anonymous Pioneer XXX, Part 2 No Label 0 Comedy Anonymous - Pioneer XXX, Part 2, No Label , 78, ???? Anonymous Instrumental w/ lots of reverb No Label 0 R&B Anonymous - Instrumental w/ lots of reverb, No Label , 78, ???? Coy and Helen Tolbert There’s A Light Guiding Me Chapel Tone 775 0 Gospel with Guitar Coy and Helen Tolbert - There’s A Light Guiding Me, Chapel Tone 775, 78, ???? Coy and Helen Tolbert Old Camp Meeting Days R. E. Winsett Chapel Tone 775 0 Gospel with Guitar Coy and Helen Tolbert - Old Camp Meeting Days (R. E. Winsett), Chapel Tone 775, 78, ???? Donna Lane and Jack Milton Henry Brandon And His Orchestra Love On A Greyhound Bus Blane - Thompson - Stoll Imperial 1001 0 Vocal Donna Lane and Jack Milton - Love On A Greyhound Bus (Blane - Thompson - Stoll), Imperial 1001, 78, ???? G. M. Farley The Works Of The Lord Rural Rhythm 45-EP-551 0 Country G. -
Black Hollywood: the Stereotypes, Erasure, and Social Inclusivity of Black Entertainers in Hollywood, 1930-60S
Bard College Bard Digital Commons Senior Projects Fall 2015 Bard Undergraduate Senior Projects Fall 2015 Black Hollywood: The Stereotypes, Erasure, and Social Inclusivity of Black Entertainers in Hollywood, 1930-60s Jalen Thomas Robinson Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_f2015 Part of the American Film Studies Commons, and the Cultural History Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Robinson, Jalen Thomas, "Black Hollywood: The Stereotypes, Erasure, and Social Inclusivity of Black Entertainers in Hollywood, 1930-60s" (2015). Senior Projects Fall 2015. 27. https://digitalcommons.bard.edu/senproj_f2015/27 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Robinson 1 Black Hollywood: The Stereotypes, Erasure, and Social Inclusivity of Black Entertainers in Hollywood, 1930-60s Senior Project submitted to the Division of Arts of Bard College By Jalen Robinson Annandale-on-Hudson, New York November 2015 Robinson 2 The period between the First and Second World Wars spurred a unique perspective on Hollywood and its output of white-dominated films. -
Richard Wilson “Dick”
1 The TENORSAX of RICHARD WILSON “DICK” Solographer: Jan Evensmo Last update: Jan. 16, 2016 2 Born: Mount Vernon, Illinois, Nov. 11, 1911 Died: New York, Nov. 24, 1941 Introduction: Dick Wilson was one of the best tenorsaxophone artists of the swing era but was confined to the Andy Kirk orchestra, and we just don’t know his real capabilities. He also died so early, just after his 30th birthday, what a loss! His music was treated in Vol. 7 (1976) of my Jazz Solography Series, reprinted below. There has been no new discoveries since then. History: Both parents were musicians, his father played guitar and violin, his mother piano and guitar. The family moved to Seattle, Washington (ca. 1916). Dick started on piano and vocals, then after leaving high school in Los Angeles, returned to Seattle and began taking alto sax lessons from Joe Darensbourg. Switched to tenor and joined Don Anderson's Band in Portland, Oregon (c. 1929), returned home the following year and played briefly in Joe Darensbourg's Band. Then joined Gene Coy's Band on the West Coast, took sax lessons from Franz Roth in Denver, Colorado. Played in Zack Whyte's Band, then joined Andy Kirk in Kansas City (early 1936). Except for a spell in hospital (summer 1939) he remained with Kirk until shortly before his death. He died of tuberculosis. (ref. John Chilton). 3 DICK WILSON SOLOGRAPHY ANDY KIRK AND HIS TWELVE CLOUDS OF JOY NYC. March 2, 1936 Harry Lawson, Paul King (tp), Earl Thomson (tp, arr), Ted Donnelly, Henry Wells (tb), John Harrington (cl, as, bar), John Williams (as, bar), Dick Wilson (ts), Andy Kirk (bsx, dir), Claude Williams (vln), Mary Lou Williams (p, arr), Ted Robinson (g), Booker Collins (b), Ben Thigpen (dm, vo), Pha Terrell (vo). -
Finding Aid to the Historymakers ® Video Oral History with Isabel Powell
Finding Aid to The HistoryMakers ® Video Oral History with Isabel Powell Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Powell, Isabel Washington, 1908- Title: The HistoryMakers® Video Oral History Interview with Isabel Powell, Dates: August 9, 2005 Bulk Dates: 2005 Physical 3 Betacame SP videocasettes (1:02:55). Description: Abstract: Dancer and teacher's aide Isabel Powell (1908 - 2007 ) was a dancer in Harlem night clubs during the Harlem Renaissance, in addition to acting, singing, and dancing in several Broadway productions. Later in her career, Powell was active in community life on the Island of Martha’s Vineyard, Massachusetts, serving as a social mover and shaker. Powell was interviewed by The HistoryMakers® on August 9, 2005, in Oak Bluffs, Massachusetts. This collection is comprised of the original video footage of the interview. Identification: A2005_192 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Isabel Washington Powell was born in Savannah, Georgia, May 23, 1908, one of five children born to Hattie Washington, a dancer, and Robert T. Washington, a postal worker. At a young age, Powell was sent to a Catholic boarding school run by the Sisters of the Blessed Sacrament in Cornwell Heights, Pennsylvania. After finishing her formal education, Powell moved to New York City and followed in the footsteps of an older sister, Fredi Washington, to become a dancer and actress. the footsteps of an older sister, Fredi Washington, to become a dancer and actress. Powell performed as a showgirl in the nightclubs of Harlem during the Harlem Renaissance before dancing, singing, and acting in three Broadway shows in the late 1920s and early 1930s. -
Journal of Media and Movie Studies
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by National Documentation Centre - EKT journals Entertainment - Journal of Media and Movie Studies Vol. 1, 2016 ‘I want to be white, like I look’: The case of the Imitation of Life and the Motion Picture Production Code during the mid-1930s Stankiewicz Kathleen https://doi.org/ Copyright © 2018 Kathleen Stankiewicz To cite this article: Stankiewicz, K. (2016). ‘I want to be white, like I look’: The case of the Imitation of Life and the Motion Picture Production Code during the mid-1930s. Entertainment - Journal of Media and Movie Studies, 1, 5-23. Retrieved from http://epublishing.ekt.gr | e-Publisher: EKT | Downloaded at 21/02/2020 10:12:55 | 1. “‘I want to be white, like I look’: The case of the Imitation of Life and the Motion Picture Production Code during the mid-1930s” Kathleen STANKIEWICZ Introduction The 1934 film, Imitation of Life, examined the contentious relationship between two African American women, Delilah and her daughter Peola, played by Louise Beavers (1902-1962) and Fredi Washington (1903-1994) respectively. The drama between mother and daughter revolved around Peola’s light skin color and her attempts to pass as a white woman much to her mother’s dismay. This racial conflict culminated in a scene where Delilah and Peola directly addressed Peola’s desire and rationale to pass as a white woman. In this particular scene, a jazz band played jovially for the white guests upstairs, while Delilah, the quintessential aunt jemima-figure of old Hollywood, followed her troubled daughter, Peola, to their basement quarters. -
FREDI WASHINGTON BLACK ENTERTAINERS and the “DOUBLE V” CAMPAIGN THESIS Presented to the Graduate Council of Texas State Univ
FREDI WASHINGTON BLACK ENTERTAINERS AND THE “DOUBLE V” CAMPAIGN THESIS Presented to the Graduate Council of Texas State University-San Marcos in Partial Fulfillment of the Requirements for the Degree Master of ARTS by Kimberly N. Davis, B.A. San Marcos, Texas May 2006 COPYRIGHT by Kimberly Nicole Davis 2006 DEDICATION For Fredi. May we never forget why she chose to fight. ACKNOWLEDGEMENTS Above all else, I thank God for giving me the strength to finish what turned out to be the most challenging scholarly project I have ever undertaken. I want to thank my mother, Vanessa Davis, for never doubting me. I must also thank my father, Michael Davis, for instilling in me the values of persistence, diligence, and perseverance. I thank my granny, Mary Alice Davis, for doubting me just enough to motivate me to prove her wrong. I owe a special thanks to Yoma Esiso, my husband and friend. He always understood that finishing this project was more important to me than anything else in life. I owe a great debt of gratitude to my thesis committee. I thank Dr. Andrews for his willingness to exchange ideas with me which helped me widen the focus of my research. I thank Dr. Watson for loaning me countless books. Finally, I thank my advisor, Dr. Bynum, who introduced me to Fredi Washington. Dr. Bynum believed in me, encouraged me, and helped me stay focused over the past three years. I went through a period of doubt about whether I could finish this thesis. During that time, she told me, “I believe in you.” Dr. -
Albatros VPA 8473 "Big City Blues"
USA Folk & Blues / USA Folk & Blues / USA Folk & Blues / USA Folk & Blues BIG CITY BLUES a cura di / edited by ALESSANDRO ROFFENI Lato/Side A Lato/Side B 1. BURNED DOWN MILL 3. 11 1. ST O LE M Y M A N Bumble Bea Slim (Amos Easton), B L U E S 3. 26 voce/voice; piano; prob. Big Bill Martha Copeland, voca/voice; Phil Broonzy a Willie Bee Jamas o Worde, piano Charlie Jackson, chitarre/guitars Camden, N. J., 3. 11. 1927 Chicago, 20. X. 1934 2. B A D L U C K B L U E S 2. 57 2. GOOD MORNING, SCHOOL Cousin Joe, voce/voice; Sam Price, G IR L 3. 01 piano; Danny Barker, chitarra/ Sonny Boy Williamson, voca/voice guitar; Pops Foster, contrabbasso/ a armonica; Joe Williams, chitarra/ bass; Kenny Clarke, batteria/drums guitar; Robert Lee M cCoy (“Night- New York, 16. VII. 1947 hawk"), chitarra/guitar Aurora, III,, 5. V. 1937 3. I D ID E V E R Y T H IN G I C O U L D 3. 14 3. LET YOUR LINEN HANG Walter Davis, voce/voice e piano; LOW 3. 17 Yank Rachel, mandolino Rosetta Howard, voce/voice; the Aurora, III., 13. 111. 1938 Harlem Hamfats: Herb Morand, tromba/trumpet; Odell Rand, 4. M R. JO H N SO N SW ING 2. 42 clarinetto; Horace Malcolm, Lonnie Johnson, voce/voica a piano; Joe McCoy, chitarra/guitar; chitarra/guitar; Roosevelt Sykes, Charlie McCoy, voce/voice, chitar piano; contrabbasso/basa; batteria/ ra/guitar e/o mandolino; contrab- drums basso/bass; Fred Flynn, batteria/ New York, 31. -
Jackie 'Moms' Mabley and Redefining Political Activism in the Modern
“The Funniest Woman in the World”: Jackie ‘Moms’ Mabley and Redefining Political Activism in the Modern Black Freedom Struggle Grace Leeson Advisor: Brenna Greer Submitted in Partial Fulfillment of the Prerequisite for Honors in History 2014 Acknowledgements First and foremost, this project never would have come to fruition without the constant support and advice of my advisor, Dr. Brenna Greer. I would like to thank her for her intelligence, dedication, and sense of humor that rivals that of ‘Moms’ herself. It has been the best year and I have learned so much thanks to her invaluable mentorship. I must thank my honors seminar group, Laura Yan, Daisy Dowdall, Jiaqi Fan, and Dr. Lidwein Kapteijns for their suggestions during the formulation and editing of this thesis. Makenna Murray and Olivia Luz kindly took the time out of their lives to listen to my ideas and draw my attention to points where the thoughts got lost on the page. Finally, Grace Owens-Stively and Mikey Jackson-Smith helped immeasurably by organizing my thesis carol when I mixed up all of my sources. Thanks to the generosity of the Jerome A. Schiff Fellowship and the F.A.O. Schwarz Fellowship, I had the opportunity to visit the archives at the Amistad Research Center at Tulane University, the MARBL archives at Emory University, The Bancroft Library at University of California, Berkeley; and the Special Collections at University of California, Los Angeles. Additionally, I conducted research in the comfort of my home University thanks to the brilliant research skills of Laura Reiner and her team of Interlibrary Loan wizards. -
116 SONGS of 1HE VIPERS Notes on the "Grass" Roots of Jazz. Erik
116 SONGS OF 1HE VIPERS Notes on the "grass" roots of jazz. Erik Wiedemann You gotta get high to have that swing. (Stuff Smith) In 1931 Don Redrnan, one of the leadingjazz composers and arrangers of that time, wrote a piece for the orchestra which he was then starting and tided it Chant ofthe Weed. Recorded by the Redrnan band in September, 1931, it was soon recognized as a highly original work and over the years has retained its reputation as one of the more adventurous orchestral pieces from the pre swing era l). Chant ofthe Weed is also an early example of what might nowa· 2 days be termed psychedelic ) music. For one thing, the "weed" of its tide is none other than that very oId herb Indian Hemp, mentioned in the Chinese pharmacopoeia of Emperor Shen Nung as early as ab out 2737 B.C., christened 3 cannabis sativa by Linnaeus in 1753 ), and much discussed in the Western world today because of the consciousness-altering properties of preparations 4 derived from it called hashish and marijuana ), among many other names. Because of their capacities for enhancing sensory awareness and inducing altered states of consdousness, hashish and marijuana, as well as other psyche delic substances, have been of particular interest to artists, who have found the visionary and synaesthetic experiences valuable for their work. Thus, nu merous references to cannabis and related compounds are found in literature from the Vedas of andent India (before 800 B.C.) and onS). Particularly well known are the writings of members of the Club des Hachischins, founded in Paris in the 1840's by Theophile Gautier and including as well such authors 6 as Charles Baudelaire, Gerard de Nerval, and Alexandre Dumas ).