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The Victor Black Label Discography
The Victor Black Label Discography Victor 25000, 26000, 27000 Series John R. Bolig ISBN 978-1-7351787-3-8 ii The Victor Black Label Discography Victor 25000, 26000, 27000 Series John R. Bolig American Discography Project UC Santa Barbara Library © 2017 John R. Bolig. All rights reserved. ii The Victor Discography Series By John R. Bolig The advent of this online discography is a continuation of record descriptions that were compiled by me and published in book form by Allan Sutton, the publisher and owner of Mainspring Press. When undertaking our work, Allan and I were aware of the work started by Ted Fa- gan and Bill Moran, in which they intended to account for every recording made by the Victor Talking Machine Company. We decided to take on what we believed was a more practical approach, one that best met the needs of record collectors. Simply stat- ed, Fagan and Moran were describing recordings that were not necessarily published; I believed record collectors were interested in records that were actually available. We decided to account for records found in Victor catalogs, ones that were purchased and found in homes after 1901 as 78rpm discs, many of which have become highly sought- after collector’s items. The following Victor discographies by John R. Bolig have been published by Main- spring Press: Caruso Records ‐ A History and Discography GEMS – The Victor Light Opera Company Discography The Victor Black Label Discography – 16000 and 17000 Series The Victor Black Label Discography – 18000 and 19000 Series The Victor Black -
North Castle History Volume 12
Armonk's Log Cabin gained greatest fame in Big Band Era. Vol 111 The North Castle Historical Society 1985 The Jazz World in Armonk North Castle's First Subdivision 1935 - 1942 North Castle's Early Transportation The xrth Castle Fstorical Society Bedford Road, Armonk, New York 10504 PRESIDENT'S MESSAGE Dear Members and Friends, The lifeblood of The North Castle Historical Society is the volunteer. Whatever success we have achieved in membership growth, fundmising, building restoration, educational programs, historical exhibitions, library services and a host of routine maintenance chores is primarily due to dedicated and available volunteers. The record of volunteer accomplishments is impressive and heartwarming. lmpressiue as the record is, thne are still uniimited horirons before us - horizons that can be yeached only with additional volunteer help. Whatever talents you have to offer, whatever time you want to contribute -somewhere in the Society's many endeavors and operations is a place where you can make a meaningful contribution. Come, join us! Make a commitment! If that is more than you are ready for now, how about a short-term trial? We would appreciate hearing from you. For more information, stop by the Tavern any Tuesday morning, or give me a call. Thank you. s7Y/9A Guy H. Papale THEJAZZ WORLD IN ARMONK - 1935-1942 By James D. Hopkins Photo: Collection of Sybil Hussar Big Band jazz flourished in the 19301s and early '40's all over the country. Jazz is of course the original contribution of America to the art of music. It was slow in coming, compounded as it was from the rhythm and blues of black sources, with additions of creole songs, Scotch-Irish folk ballads and country hoe-down. -
January Clearance Sale! Quantity on Hand Price Each ~ - -~· -··=~------,------Ostrich Troubles
" ,. ' ' ~ ' .• -~....:.r . ,; -~.. J • January 11951 JANUARY CLEARANCE SALE! QUANTITY ON HAND PRICE EACH ~ - -~· -··=~----------------,-------------------- OSTRICH TROUBLES. Brand new, 1-reel, 16mm. sound film in original cartons. ss.,s 16 Cr:st:e-Kiko the Ka .. garoo Cartoon. Original ptice, $17.50. WOLVES OF THE RANGE with Bob Living5ton s29 95 8 Good used 6-reel, 16mm. sound feature pici·ure, assembled on 2-1600' reels. e -~ ,..a:.;.;::::ii.:._.c __________________ ,________________ ,_,_ _ _,__ BORDER BUCKAROOS with Dave O'Brie11 and Jim Newill s29 95 7 Good used 6-reel, 16mm. sound feature picf·ure, assembled on 2-1600' reels. e AMERICAN LEGION CONVENTION, 1947. Rrcind new, 1-reel, 16mm. silent. SJ 98 32 Castle's film of the fun anc frivolity of 1h11 1947 convention in New York. Origi•al price, $8.75. • ------------~---~----~-·----·-----------~--- tOG ISLAND with Lionel Atwill, Jerome Cowan, George Zucco s39 95 5 Good used 7-reel, 16mm. sound faaf·ure pic~ure, assembled on 2-1600' reels. e SONGS OF LOVE. Brand new, 1-reel, 16mm. sound fiim in original cartons. S6 95 Castle Music Album with Gene G,-ounds, Syl-,ia Froos, Dove Schooler and his Swinghearts. • 47 Original price, $17.50. THE DRIFTER with Buster Crabbe and Al S·t. John s29 95 4 Good used 6-reel, 16mm. sound featura {'i :ture, assembled on 2-1600' reels. e FISH IS FOOD. Brand new, 1-reel, 16mm. s:u.,nd film in original cartons. S6 95 There's nothing fishy about the bargain quolit ) of this lilm on the Fulton Fish Market in New York. -
ANNOUNCEMENT from the Copyright Office, Library of Congress, Washington, D.C
ANNOUNCEMENT from the Copyright Office, Library of Congress, Washington, D.C. 20559-6000 PUBLICATION OF FIFTH LIST OF NOTICES OF INTENT TO ENFORCE COPYRIGHTS RESTORED UNDER THE URUGUAY ROUND AGREEMENTS ACT. COPYRIGHT RESTORATION OF WORKS IN ACCORDANCE WITH THE URUGUAY ROUND AGREEMENTS ACT; LIST IDENTIFYING COPYRIGHTS RESTORED UNDER THE URUGUAY ROUND AGREEMENTS ACT FOR WHICH NOTICES OF INTENT TO ENFORCE RESTORED COPYRIGHTS WERE FILED IN THE COPYRIGHT OFFICE. The following excerpt is taken from Volume 62, Number 163 of the Federal Register for Friday, August 22,1997 (p. 443424854) SUPPLEMENTARY INFORMATION: the work is from a country with which LIBRARY OF CONGRESS the United States did not have copyright I. Background relations at the time of the work's Copyright Off ice publication); and The Uruguay Round General (3) Has at least one author (or in the 37 CFR Chapter II Agreement on Tariffs and Trade and the case of sound recordings, rightholder) Uruguay Round Agreements Act who was, at the time the work was [Docket No. RM 97-3A] (URAA) (Pub. L. 103-465; 108 Stat. 4809 created, a national or domiciliary of an Copyright Restoration of Works in (1994)) provide for the restoration of eligible country. If the work was Accordance With the Uruguay Round copyright in certain works that were in published, it must have been first Agreements Act; List Identifying the public domain in the United States. published in an eligible country and not Copyrights Restored Under the Under section 104.4 of title 17 of the published in the United States within 30 Uruguay Round Agreements Act for United States Code as provided by the days of first publication. -
Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room. -
Oscar Levant: Pianist, Gershwinite, Middlebrow Media Star
Washington University in St. Louis Washington University Open Scholarship Arts & Sciences Electronic Theses and Dissertations Arts & Sciences Spring 5-15-2020 Oscar Levant: Pianist, Gershwinite, Middlebrow Media Star Caleb Taylor Boyd Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/art_sci_etds Part of the Film and Media Studies Commons, Music Commons, and the Sociology Commons Recommended Citation Boyd, Caleb Taylor, "Oscar Levant: Pianist, Gershwinite, Middlebrow Media Star" (2020). Arts & Sciences Electronic Theses and Dissertations. 2169. https://openscholarship.wustl.edu/art_sci_etds/2169 This Dissertation is brought to you for free and open access by the Arts & Sciences at Washington University Open Scholarship. It has been accepted for inclusion in Arts & Sciences Electronic Theses and Dissertations by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Todd Decker, Chair Ben Duane Howard Pollack Alexander Stefaniak Gaylyn Studlar Oscar Levant: Pianist, Gershwinite, Middlebrow Media Star by Caleb T. Boyd A dissertation presented to The Graduate School of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2020 St. Louis, Missouri © 2020, Caleb T. Boyd Table of Contents List of Figures ................................................................................................................................ -
The Roseland Ballroom
The Roseland Ballroom Roseland was founded initially in Philadelphia in 1917 by Louis Brecker. In 1919, it was moved to 1658 Broadway at 51st Street in New York. It was a "whites only" dance club called the "home of refined dancing", famed for the "society orchestra" groups that played there. The all-white, ballroom-dancing atmosphere gradually changed with the popularity of hot jazz, as played by African American bands on the New York nightclub scene. Louis Armstrong, Count Basie, Chick Webb, Vincent Lopez, Harry James, Tommy Dorsey, and Glenn Miller were just some of the bands that played at the Roseland. As the club grew older, Brecker attempted to formalize the dancing more by having hostesses dance for 11¢ a dance or $1.50 a half-hour, with tuxedoed bouncers keeping order. It was to work its way into stories by Ring Lardner, Sherwood Anderson, F. Scott Fitzgerald, and John O'Hara. The original New York Roseland was torn down in 1956 and it moved to its new venue on West 52nd, a building that Brecker earlier had converted from an ice-skating rink to a roller-skating rink. A thousand skaters showed up on opening night at the 80-by-200-foot rink on November 29, 1922. Iceland went bankrupt in 1932 and the rink opened as the Gay Blades Ice Rink. Brecker took it over in the 1950s and converted it to roller-skating. In 1974, Brecker told The New York Times, "Cheek-to- cheek dancing, that's what this place is all about." Brecker sold the building in 1981 to Albert Ginsberg. -
A Portrait of Glenn Miller
A PORTRAIT OF GLENN MILLER Alton Glenn Miller (1904-1944) Produced by: DENNIS M. SPRAGG Updated April 2018 1 Alton Glenn Miller, 1904-1944 Produced by Dennis M. Spragg, with commentary from the GMA George T. Simon (1912-2001) Collection and Papers, Edward F. Polic Papers and Christopher Way Collection. Foreword By Harry Lillis “Bing” Crosby (1904-1977) “As the years go by, I am increasingly grateful that I was a tiny part of the era of the great swing bands. This was the golden age of popular music for me. They were all great, but I have to think that the Glenn Miller band was the greatest. Unlike so many of the others, Glenn was not a virtuoso instrumental soloist. And so instead of his horn he did it with great personnel and innovative harmonic experiments producing a sound that was his and his alone. Glenn employed a harmonization that was new and vastly different. If I even attempted a description of what he did, I would be immediately adrift. I think it was the way he voiced his instruments. It was just beautiful. And when you heard the sound, it was recognizable and memorable. It was just Glenn Miller. Glenn as a person was just as memorable. He was a very good personal friend, from the early days on, ever since he performed on some of the records I made with the Dorsey Brothers Orchestra during the early stages of my career. During World War II we were united for the last time, when I sang in London with his great AAF Orchestra. -
Guide to the Duncan P. Schiedt Photograph Collection
Guide to the Duncan P. Schiedt Photograph Collection NMAH.AC.1323 Vanessa Broussard Simmons, Franklin A. Robinson Jr., and Craig A. Orr. Processing and encoding funded by a grant from the Council on Library and Information Resources. 2016 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical / Historical.................................................................................................... 2 Arrangement..................................................................................................................... 3 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Background Information and Research Materials, 1915-2012, undated..................................................................................................................... 4 Series 2: Photographic Materials, 1900-2012, -
Who Was Einar Swan? a Study in Jazz Age Fame and Oblivion
WHO WAS EINAR SWAN? A STUDY IN JAZZ AGE FAME AND OBLIVION By Sven Bjerstedt Einar Swan. Portrait from the Worcester Telegram, April 24, 1927. 1 PREFACE ”Our bloom is hasty and we fade for ages,” sighs the poet.1 This melancholy reflection on human life conditions is well exemplified by the case of Einar Swan. Ask a person in the street to tell you what he knows about Duke Ellington. There will probably be an answer, more or less informative. Enquire about the 1920s ‘King of Jazz,’ Paul Whiteman, and the quality of the answers will vary significantly (perhaps depending on which street you choose to employ for your query). Now ask about Whiteman’s competitor Vincent Lopez. The outcome of your enquiry will be even fewer and less significant answers. We are now rapidly approaching the level of obscurity. Ask for information concerning Lopez’s head arranger and lead saxophonist, the multi-instrumentalist and hit composer Einar Swan. The results will be meagre in the extreme. In fact, not even a handful of the world’s most knowledgeable jazz historians will have anything at all to tell you. I have always loved the song “When Your Lover Has Gone” by E. A. Swan and was very surprised to suddenly one day find out that Swan’s first name was Einar. It most definitely seemed to have a Scandinavian ring to it. I asked everyone I could think of for information on Einar Swan. Nobody seemed to know anything at all about him. That made me really curious. This was the beginning of a search that turned out to be quite difficult. -
Invisible Man by Ralph Ellison
Invisible Man By Ralph Ellison Back Cover: Winner of the National Book Award for fiction. Acclaimed by a 1965 Book Week poll of 200 prominent authors, critics, and editors as "the most distinguished single work published in the last twenty years." Unlike any novel you've ever read, this is a richly comic, deeply tragic, and profoundly soul-searching story of one young Negro's baffling experiences on the road to self-discovery. From the bizarre encounter with the white trustee that results in his expulsion from a Southern college to its powerful culmination in New York's Harlem, his story moves with a relentless drive: -- the nightmarish job in a paint factory -- the bitter disillusionment with the "Brotherhood" and its policy of betrayal -- the violent climax when screaming tensions are released in a terrifying race riot. This brilliant, monumental novel is a triumph of storytelling. It reveals profound insight into every man's struggle to find his true self. "Tough, brutal, sensational. it blazes with authentic talent." -- New York Times "A work of extraordinary intensity -- powerfully imagined and written with a savage, wryly humorous gusto." -- The Atlantic Monthly "A stunning blockbuster of a book that will floor and flabbergast some people, bedevil and intrigue others, and keep everybody reading right through to its explosive end." -- Langston Hughes "Ellison writes at a white heat, but a heat which he manipulates like a veteran." -- Chicago Sun-Times TO IDA COPYRIGHT, 1947, 1948, 1952, BY RALPH ELLISON All rights reserved under International and Pan-American Copyright Conventions. For information address Random House, Inc., 457 Madison Avenue, New York, New York 10022. -
Gundy-Bettoney ’ Ganéis Attendance Records Everywhere, Is the Ralph Flanagan Orchestra, Paced by Sid Bulkin and His Leedy & J Fó/Fes Ludwig Outfit
DOWN BEAT NEWS-FEATURES Chicago, December 15, 1950 Hassel Looms Can't Make Money As Between AFM A Jazz Singer: Starr Chicago — “It hurts me when people say my voice has And Networks changed. Why, one man called me up and said he’d beard New York—Anticipating plenty rd had an operation on my throat. He wondered how I was of fight from the networks when getting along! I told him I was just fine, and I’d never had the current AFM contracts expire an operation like that in my life!” at the end of January, the execu Singer Kay Starr, who happened tive board of Local 802 has set to be striding around her dressing down a strong series of demands room at the Oriental theater here Sidemen and proposals to be considered for at the time, was not indignant, but the coming negotiations. amused. Switches A 10-man board, appointed by “It's my style of singing that the local, will meet with the AFM has changed,” Kay continued. Benny Goodman: Charlie Smith, president, James C. Petrillo, to “You can’t make money as a jazz drum*, for Terry Snyder . - Joe discuss the local’s unanimously- singer, and with a little daughter Marsala t Charlie Traeger, bass, in, agreed-upon demands. to support and bring up I’ve had and Ed Aulino, trombone, for Bill Mostly concerned with TV con to get commercial. Am I happy? Granzow . Gene Krupa: Earle New York—Kndiating the nece»*ary geniality, thi* atypically afflu ditions, the union is planning to Now, what do you think? Holt, trombone, for Erby Green ent group of leader* touched baton* recently in the lobby of the Rooae- ask for.: the elimination of all (to Woody Herman).