I(Alamazoo Orchestra Wives

Total Page:16

File Type:pdf, Size:1020Kb

I(Alamazoo Orchestra Wives I'VE GOT A GAL IN I(ALAMAZOO GEORGE MONTGOMERY • ANN RUTHERfORD LYNN BARI CAROLE LANDIS • CESAR ROMERO ..J GLENN MILLER and his BAND ORCHESTRA WIVES Dlrecled by Archie Mayo Produced by William le6oron .. Music Library Association Midwest Chapter 1998 Annual Meeting October 22-24 Radisson Plaza Hotel and Western Michigan University Kalamazoo, Michigan (i)WESTERN MICHIGAN UNIVERSITY Music Library Association Midwest Chapter Annual Meeting, October 22-24, 1998 Kalamazoo, Michigan PJWGRAM Thursday, October 22 Radisson Plaza Hotel 12 noon - Registration (Plaza Level) 5:00 p.m. 1:00-5 :00 p.m. CIIJ\IYfER COMMilTEEMEETINGS (all open) (Plaza Level) 1:00- 3:00 p.m. Cataloging Committee (Glens 1) 1:00-3:00 p.m. Public Services Committee (Glens ll) 1:00 - 3:00 p.m. Publications Committee (Flats) 3:00-5 :00 p.m. WWW Site Subcommittee (Lakes) 3:00- 5:00 p.m. Membership Committee (Oaks) 3:00-5 :00 p.m. TAPS (Fields) Dinner at area restaurants 7:30 p.m. Meet at Radisson entrance to walk to Kalamazoo Public Library 7:45 p.m. TOUR m: KAlAMAZOO PUBLIC LIBRARY (3 I 5 S. Rose St.) Marti fritz, Community Relations Coordinator (Kalamazoo Public Library) A briifvideo will be shown, c!Jter which you may visit rhe areas ?[the new library that interest you bifore proceeclin[J to the reception on your own 8:00- RECEPTION AND TOUR (Ladies Libra')' Association, 10:00p.m. 333 S. Park St.) Friday, October 23 john E. Fetzer Center and Dwioht B. Waldo Library Western Michinan University 8: 00- Vans depart Ratlisson entrance for WMl.J Campus 8:30a.m. 8: 15-9:00 a.m. Registration (Fetzer Lobby) 8:1 5-9:00a.m. Continental breakfast bar (Frtzer Lobby) 9:00a.m. WELCOME (1040-1050 Fetzer) H. Stephen Wright, Program Chair (Northern Illinois University) Greg Htzgerald, Local Arrangements Chair (Western Micllioan University) Lance Query, Dean of Libraries (Western Michioan UniversiiJ) (Sessions I-III are in 1040-1050 Jo'et%er) 9:15- SESSION I: · 10:30a.m. Dilbert Comes to the Music Library Bonna Boettcher, Moderator (Rowlino Green State University) Lew Bowling (UniversiiJ ?[Kentucky) Marty Jenkins (Wrioht State University) Richard Le Sueur (Ann Arbor Public Libra')') 10:30- 10:45 a.m. Break (Lobby) 10:45- Sl\SSION II: 12 noon Over the Rainbow: Exploring the Wealth of Information on Music in General Reference Sources Beth Christensen, Moderator (St. OlcifColleoe) David Isaacson, I lumanities Librarian and Assistant Head, Central Reference Services (Westem MichioarJ University) 12: 15 p.m. LUNCHEON AND BUSINeSS MeETING l ( /035 Fetzer) 2:00- SESSION Ill: 3:00p.m. I've Got a Gal in Kalamazoo: Leta Snow and the Kalamazoo Symphony Dr. Zaidc Pixley (Kalamazoo Colleoe) 3:15 & Vans depart for Waldo Library 3: 3 0p.m. (walkin9 is also an option) 3:45- EXIIIBITION AND RECEPTION: 4: 45p.m. Musica Antiqua: Music in WMU's Special Collections (edwin and MaryMeader Rare Books Room, thirdf loor) Tom Amos, I lead, Special Collections (Wescem Mic!Jioan University) Those desirin[J to visit the Music and Dance Library may do so at this time and take the 5: 15 vcms to the hotel. 4:45& Vans depart for Radisson 5:15p.m. Dinner at area restaurants Optional musical event: 7: 30p.m. Vans depart Radisson for Miller Auditorium, WMU 8:00p.m. KAlAMAZOO SYMPHONY ORCHESTRA Dylana Jenson, Violin; Dorian Wilson, Conductor Adams: The Chairman Dances Barber: Violin Concerto, Op. I 4 Beethoven :�mplwn y no. 3, "Eroica" Vans will retum to the Radisson immediately ollowingf the concert. Saturday, October 24 Radisson Plaza Hotel (Arcadia Ballroom II, Lobby Level) 8:30-9:15 a.m. Continental breakfast bar 9:15 - SESSION IV: !0 :15a.m. Alf Clausen's Music for The Simpsons I I. Stephen Wright (Northem lllinois University) 10 :30- Break 10:45 a.m. 10:45 - SESSIONV: 11:45 a.m. Dos and Taboos of Speaking in Public Dr. Melissa Gibson, Assistant Professor of Communications (Westem Mid1inan University) 11:45 a.m. Adjournment Music library Association Midwest Chapter Officers Lynn Gullickson, Chair (Northwestern Universilj') I I. Stephen Wright, Past Chair (Northern lllinois Universilj') Robert C. Delvin, Secretary-Treasurer (Illinois Weslo/an Universilj') Steven Sundell, Newsletter Editor (Universilj' of Wisconsin-Madison) Committee Chairs Cataloging: Grace Fitzgerald (Universi9'oj Iowa) Membership: Lynne Weber (Mankato State Universilj') Public Services: Eunice Schroeder (Lawrence Universilj') Publications: Laura Gayle Green (University ojMissouri-Kansas Cilj') Web Site Subcommitee: Linda I Iartig (CArroll Ccllene) Technology, Archives, Preservation and Sound (fAPS): Phyllis Danner (University ojIllinois at Urbcma-Owmpaion) Bylaws: Beth Christensen (St. Oloj wlleoe) Chapter Handbook Task Force: Allie Wise Goudy (Western Illinois Universilj') Nominating: Richard E. Jones (Universilj' of Notre Dame) 1998 Annual Meetina Proaram Committee I I. Stephen Wright, Chair (Northern lllinois Universilj') Greg Fitzgerald, Local Arrangements (Western Micllioan Uuiversilj') Anna Sylvester (Universilj' ojMissouri-Kansas Cilj') Local Arranaements Committee Greg Fitzgerald, Chair (Western Michioan Universilj') Mary Black (Michiaan State Uuiversilj') Linda Mack (Andrews Universilj') Acknowledgements Our thanks to the Jollowinofor their contributions and assistance: WesternMichigan University Libraries Lance Query, Dean Regina Buckner, Director of Op erational Setviccs Mary Shane, Administrative Secretary Sharon Carlson, Director, Archives and Regional History Collections Kay Chase, Music and Dance Ubrary Assistant WesternMichigan University School of Music Carl Doubleday, Associate Director Kevin West, Concerts Assistant and the "Trolls" Audio-Visual Buff Co., Inc. and Marty Rubin for support cfthe Thursdo/ evening reception Kalamazoo Public Library Marti Fritz, Public Relations Coordinator Ladies Library Association Betty Wolbers MIA-Midwest Chapter Joe Hafner (Indianapolis-Marion Couu�Public Library) for assistance with local arrangements Notes .
Recommended publications
  • Jazz Lines Publications Fall Catalog 2009
    Jazz lines PubLications faLL CataLog 2009 Vocal and Instrumental Big Band and Small Group Arrangements from Original Manuscripts & Accurate Transcriptions Jazz Lines Publications PO Box 1236 Saratoga Springs NY 12866 USA www.ejazzlines.com [email protected] 518-587-1102 518-587-2325 (Fax) KEY: I=Instrumental; FV=Female Vocal; MV=Male Vocal; FVQ=Female Vocal Quartet; FVT= Femal Vocal Trio PERFORMER / TITLE CAT # DESCRIPTION STYLE PRICE FORMAT ARRANGER Here is the extended version of I've Got a Gal in Kalamazoo, made famous by the Glenn Miller Orchestra in the film Orchestra Wives. This chart differs significantly from the studio recorded version, and has a full chorus band intro, an interlude leading to the vocals, an extra band bridge into a vocal reprise, plus an added 24 bar band section to close. At five and a half minutes long, it's a (I'VE GOT A GAL IN) VOCAL / SWING - LL-2100 showstopper. The arrangement is scored for male vocalist plus a backing group of 5 - ideally girl, 3 tenors and baritone, and in the GLENN MILLER $ 65.00 MV/FVQ DIFF KALAMAZOO Saxes Alto 2 and Tenor 1 both double Clarinets. The Tenor solo is written on the 2nd Tenor part and also cross-cued on the male vocal part. The vocal whistling in the interlude is cued on the piano part, and we have written out the opening Trumpet solo in full. Trumpets 1-4: Eb6, Bb5, Bb5, Bb5; Trombones 1-4: Bb4, Ab4, Ab4, F4; Male Vocal: Db3 - Db4 (8 steps): Vocal key: Db to Gb.
    [Show full text]
  • Sun Valley Serenade Orchestra Wives
    Sun Valley Serenade Orchestra Wives t’s funny how music can define an entire come one of Miller’s biggest hits, “Chattanooga We also get some wonderful Harry Warren and era, and Glenn Miller’s unique sound did Choo Choo,” which, in the film, is a spectacu- Mack Gordon songs, including “At Last” (the Ijust that. It is not possible to think of World lar production number with Dandridge and The castoff from Sun Valley Serenade), “Serenade War II without thinking of the Miller sound. It Nicholas Brothers. Another great new song, “At in Blue,” “People Like You and Me,” and the was everywhere – pouring out of jukeboxes, Last,” was also recorded for the film, but wasn’t instant classic, “I’ve Got a Gal in Kalamazoo.” radios, record players. Miller had been strug- used, except as background music for several The latter was, like “Chattanooga Choo Choo,” gling in the mid-1930s and was dejected, but scenes. The song itself would end up in the nominated for an Oscar for Best Song. It knew he had to come up with a unique sound next Miller film. lost to a little Irving Berlin song called “White to separate him from all the others – and, of Christmas.” course, the sound he came up with was spec- “Chattanooga Choo Choo” hit number one on tacular and the people ate it up. His song the Billboard chart in December of 1941 and George Montgomery’s trumpet playing was “Tuxedo Junction” sold 115,000 copies in one stayed there for nine weeks. The song was dubbed by Miller band member, Johnny Best week when it was released.
    [Show full text]
  • What Is Jazz? Concert on April 15, 2020 Symphony of Southeast Texas
    Exploring American Music: What Is Jazz? Concert on April 15, 2020 Symphony of Southeast Texas Table of Contents Acknowledgement of the Symphony League 1 History of the SOST 2 What is an Orchestra? 3 Who is the Conductor? 4 Audience Etiquette 5 Exploring American Music—What Is Jazz?: An Overview 6 Exploring American Music—What Is Jazz?: Repertoire Duke Ellington (1899–1974): “It Don’t Mean Thing” 9 Scott Joplin (c. 1867–1917): “The Ragtime Dance” 11 Dr. Tim Dueppen: What Is Improvisation? 13 George Gershwin (1898-1937): “Summertime” from Porgy and Bess 15 Joseph Haydn (1732-1809): Concerto for Piano [Soloist: Seth Weeks] 17 Satchmo! A Tribute to Louis Armstrong: arr. Ted Ricketts 19 “A Salute to the Big Bands”: arr. Custer 21 My Concert Journal 23 Musical Terms 24 About the Teacher’s Guide 25 0 Exploring American Music: What Is Jazz? Concert on April 15, 2020 Symphony of Southeast Texas Acknowledgement of the Symphony League of Beaumont In 1955 a group of dedicated symphony supporters formed the Beaumont Symphony Women’s League Inc. Although the name changed in 1993 to the Symphony League of Beaumont, the purpose and commitment remain the same. The League’s mission is to support and promote the growth of the Symphony of Southeast Texas (SOST) and to foster and encourage musical education, participation, and appreciation of the membership and the general public. This organization provides generous financial support and essential services to the orchestra. Their annual String Competition, Youth Guild, Symphony Belles debutante program, and Junior Escorts encourage future generations of musicians, music lovers, and Symphony supporters.
    [Show full text]
  • Copper Issue 15
    Copper Issue 15 September 12, 2016 Table of Contents Opening Salvo: Future And Past ........................................................................................... 1 Incoming Letters: What’s New? ............................................................................................. 3 Quibbles and Bits: Sigma–Delta Modulators – Part I ........................................................ 12 The Audio Cynic: Wes Phillips: RIP ..................................................................................... 16 Music, Audio, and Other Illnesses: The Tuesday Night Music Club ............................... 18 Back to Basics: What is a CD player? ................................................................................. 21 Too Much Tchaikovsky: The Fine Print ............................................................................... 25 Make It Yourself: How to Make a $50 High-End XLR Interconnect ................................ 28 Behind the Glass: Wingin’ It ................................................................................................ 36 Vintage Whine: Where Are They Now? ............................................................................... 39 Music to My Ears: Swing, Swing, Swing ............................................................................. 43 Featured: Subwoofery: Trick or Treat? .............................................................................. 46 Featured: Who Are The Modern Audiophiles? ..................................................................
    [Show full text]
  • “Can't Help Singing”: the “Modern” Opera Diva In
    “CAN’T HELP SINGING”: THE “MODERN” OPERA DIVA IN HOLLYWOOD FILM, 1930–1950 Gina Bombola A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the College of Arts and Sciences. Chapel Hill 2017 Approved by: Annegret Fauser Tim Carter Mark Katz Chérie Rivers Ndaliko Jocelyn Neal ©2017 Gina Bombola ALL RIGHTS RESERVED ii ABSTRACT Gina Bombola: “Can’t Help Singing”: The “Modern” Opera Diva in Hollywood Film, 1930–1950 (Under the direction of Annegret Fauser) Following the release of Columbia Pictures’ surprise smash hit, One Night of Love (1934), major Hollywood studios sought to cash in on the public’s burgeoning interest in films featuring opera singers. For a brief period thereafter, renowned Metropolitan Opera artists such as Grace Moore and Lily Pons fared well at the box office, bringing “elite” musical culture to general audiences for a relatively inexpensive price. By the 1940s, however, the studios began grooming their own operatic actresses instead of transplanting celebrities from the stage. Stars such as Deanna Durbin, Kathryn Grayson, and Jane Powell thereby became ambassadors of opera from the highly commercial studio lot. My dissertation traces the shifts in film production and marketing of operatic singers in association with the rise of such cultural phenomena as the music-appreciation movement, all contextualized within the changing social and political landscapes of the United States spanning the Great Depression to the Cold War. Drawing on a variety of methodologies—including, among others, archival research, film analysis, feminist criticisms, and social theory—I argue that Hollywood framed opera as less of a European theatrical art performed in elite venues and more of a democratic, albeit still white, musical tradition that could be sung by talented individuals in any location.
    [Show full text]
  • At Last”—Etta James (1961) Added to the National Registry: 2008 Essay by Cary O’Dell
    “At Last”—Etta James (1961) Added to the National Registry: 2008 Essay by Cary O’Dell Etta James Original label Original LP Etta James’s legendary 1961 recording of “At Last” was one of her first releases for the Chess/Argo recording label after beginning her career with the Modern label. The change in companies also marked a change in James’s career. She recounted in her 1995 autobiography, “Rage to Survive”: I was no longer a teenager. I was twenty-two and sophisticated. Or at least I wanted to be sophisticated. So when Harvey [Fuqua, formerly of the Moonglows, and then James’s boyfriend] got out his “Book of One Hundred Standards” and began playing through old songs, I got excited. I saw in that music the mysterious life that my mother had led when I was a little girl, the life I secretly dreamed of living myself. I wanted to escape into a world of glamour and grace and easy sin. “At Last” was the first one to hit big…. Because of the way I phrased it, some people started calling me a jazz singer. And it was a change. Before her switch to Chess, James (born Jamesetta Hawkins in 1938) had primarily scored as a recording artist with what she would later call “quickie teenage rockin’, humping and bumping ditties.” Indeed, her oeuvre up to that time had been marked with such titles as “Dance With Me, Henry” (her breakthrough), “All I Could Do Was Cry,” and “My Dearest Darling.” And though “At Last” (from James’s album of the same name) was also about an endearing love, James’s soulful approach certainly bespoke of a more mature singer fully coming into her own.
    [Show full text]
  • Glenn Miller 1941 “Keep ‘Em Flying” America’S Number One Band
    GLENN MILLER 1941 “KEEP ‘EM FLYING” AMERICA’S NUMBER ONE BAND Dedicated to the Glenn Miller Birthplace Society June 2021 Prepared by: Dennis M. Spragg Glenn Miller Archives Glenn Miller and his Orchestra, Cafe Rouge, January 1941 A Pivotal Year 1941 was a pivotal year in the history of the United States and for America’s number one bandleader, Glenn Miller. As of January 1, all ASCAP-licensed music (most popular music) was off the air. Glenn broadcast with a replacement BMI-licensed theme, “Slumber Song.” On January 17, the band recorded the classic “Song of the Volga Boatmen,” Bill Finegan’s traditional music response to Jerry Gray’s treatment of “Anvil Chorus.” If not for the broadcasting industry vs. ASCAP dispute, these two all-time Miller hits might never have been written or performed. Further changes arrived to shake up the successful Miller musical organization. A gossip columnist ran a story about Marion Hutton’s pregnancy, which pushed her to stop performing sooner than anticipated. By January 1941, Marion was only appearing on Glenn’s “Chesterfield Moonlight Serenade” broadcasts and not at the Café Rouge. Miller had to replace her. A young “dimpled darling” named Dorothy Claire from LaPorte, Indiana was singing for bandleader Bobby Byrne. Dorothy was under contract for three years with Byrne. So when Bobby learned that Glenn Miller intended to hire Ms. Claire, he promptly sued Miller for $25,000. However, Claire joined the Miller band on January 8. Glenn offered her a salary of $250 per week, a significant raise from the $75 per week she earned with Byrne.
    [Show full text]
  • Teaching Jazz As American Culture Lesson Plans
    TEACHING JAZZ AS AMERICAN CULTURE LESSON PLANS NEH SUMMER INSTITUTE The Center for the Humanities Washington University in St. Louis July 2-27, 2007 contents Foreword ……………………………………………………………………………… iv Gerald Early, Merle Kling Professor of Modern Letters, Department of English iv Director, The Center for the Humanities Jazz and Biography ………………………………………………………………… 1 Robert Edwards, Annie Joly, Frank Kovarik, Alice Lee, and Gerry Liebmann Jazz and Fiction ……………………………………………………………………… 21 Ken Froehlich, T. J. Gillespie, Judith Nador, Melissa Papianou, and Elizabeth Patterson Jazz and Gender …………………………………………………………………… 45 Amy Dilts, Aimee Hendrix, Hope Rias, and Franklin Webster Jazz and Race ………………………………………………………………………… 59 Robert Evans, Allen Stith, Herbert West, and Keith Westbrook Jazz and the Urban Landscape …………………………………………………… 72 Monica Freese, John Gornell, Patrick Harris, Mark Halperin, and Jerome Love Jazz and the Visual Imagination …………………………………………………… 85 Judy Gregorc, Rob Matlock, Martha Jewell Meeker, Ellen Rennard, Laura Rochette, and Larissa Young iii foreword Teaching Jazz as American Culture and as an attractive form of identity for young people. But jazz also represents a markedly different story Now, a word or two before you go. I must make from, say, country and western, rock and roll, rhythm clear to you once again why we were all here and what and blues, hip hop and rap. None of these forms of we all tried to accomplish in these last four weeks. It music has so dramatically lost its popularity and none was never my intention to encourage you to make your has become a conservatory music. It is the ways in students fans of jazz. It was never even my intention which jazz serves as a paradigm for the formation of to make any of you jazz fans who were not inclined to mass taste and the ways in which it is not a paradigm, be so.
    [Show full text]
  • ¦¦R * Vrett*Y*^.Clt
    Tips for Successful Wife Knows Every Man s Just a Boy at Heart By HELEN ROWLAND Everything is a game to him that makes him tell fish stories that makes him long for a night supper out of the Icb—- business, and lie about his golf score and woman's soothing touch on his box, never tries to control his 117HFN a girl marines she —love, war, politics, work. take his small son to the circus, forehead when he is defeated diet, gives him three cups of "takes a boy to raise.” as the his profession or his and enjoy the Mickey Mouse and feeling sorry for himself. coffee and two helpings of pie Ho me That is what 'makes and keeps The films. And the wife who makes him “because he likes it” and help*, saying goes. him the eternal juvenile. boy in every man. man I know an old gentleman of happiest is the one who under- him to find his shoes and tne» There is a It is the boy in every boy in and sym- flings around and the wife is makes him struggle into 70 who never misses a Mickey stands the him other things he rrtost'successful that pathizes with his boyishness; the house. Manicurist the one who knows best how the bleachers at the baseball Mouse picture. But his wife pre- the wife who lets him out "to appeal to the eternal, irre- parks, in fer# Tyrone Power or Clark Sbe is the wife who, figura- to and sit all afternoon play” and does not try to crab \ sponsible, headstrong juvenile broiling sun, yelling like a Gable.
    [Show full text]
  • GLENN MILLER Biography
    GLENN MILLER Biography February 5, 1940 Glenn Miller and his orchestra recorded the big-band classic "Tuxedo Junction." April 2, 1942 Glenn Miller and his orchestra recorded "American Patrol" at the RCA Victor studios in Hollywood. "A band ought to have a sound all of its own. It ought to have a personality." - Glenn Miller Alton Glenn Miller was born in Clarinda, Iowa on March 1, 1904. But it was in North Platte, Nebraska, several years later that Glenn actually got his musical start when, one day, his father brought home a mandolin. Glenn promptly traded it for an old battered horn, which he practiced every chance he got. In fact his mother worried, "It got to where Pop and I used to wonder if he'd ever amount to anything." In 1923, Miller entered the University of Colorado, although he spent more time traveling to auditions and playing where and whenever he could. After flunking three of his five courses one semester, Glenn dropped out to concentrate on his career as a professional musician. He toured with several orchestras and ended up in Los Angeles where he landed a spot in Ben Pollack's group, a band that included a guy named Benny Goodman. Here, Miller also got the chance to write some arrangements. Arriving in New York City, he soon sent for, and married his college sweetheart, Helen Burger in 1928, and for the next three years, earned his living as a free-lance trombonist and arranger. Miller played and recorded with the likes of Tommy and Jimmy Dorsey (who on several of their records, featured an up-and-coming singer by the name of Bing Crosby), Gene Krupa, Eddie Condon and Coleman Hawkins.
    [Show full text]
  • Film's Musical Moments
    MUSIC & THE MOVING IMAGE SERIES This new series aims to explore the area of ‘screen Series Editor: Kevin Donnelly music’. Volume topics include: multimedia music, music and television, Hollywood fi lm music, and the music of FILM’S MUSICAL MOMENTS Bollywood cinema. EDITED BY IAN CONRICH & ESTELLA TINCKNELL FILM’S ‘Conrich and Tincknell’s book The scope of this collection is indicative of the examines a diverse range of breadth and diversity of music’s role in cinema, MUSICAL MOMENTS musical phenomena in fi lms as is its emphasis on musical contributions to and opens up provocative new ‘non-musical’ fi lms. By bringing together chapters avenues of research. This book that are concerned both with the relationship will surely be of interest to between performance, music and fi lm and the scholars of fi lm genre theory, fi lm specifi city of national, historical, social, and music studies, and popular music cultural contexts, Film’s Musical Moments will be culture.’ of equal importance to students of fi lm studies, cultural studies and music. The book is organised Jeff Smith, Washington University into four sections: Music, Film, Culture focuses in St Louis on cinema representations of music forms; Stars, Performance and Reception explores stars, fan Tincknell Conrich and Estella Ian cultures and intertextuality; The Post-Classical Hollywood Musical considers the importance of popular music to contemporary cinema; and Beyond Hollywood looks to specifi c national contexts. Chapters include jazz and animation, the Country and Western biopic, cult musicals and fandom, the importance of the soundtrack movie, and musicals from the former East Germany.
    [Show full text]
  • Page 1 Moving Image Film Collections University of Boulder Archives
    Page 1 Moving image film collections University of Colorado Boulder Archives The following collections have been identified as containing moving image film items. Click on the name of the collection to see a list of individual film titles. Full finding aids for these collections can be accessed at https://archives.colorado.edu/ or by emailing [email protected]. Research access to original moving image films is restricted, due to preservation concerns. Contact [email protected] with a list of desired items and a statement of intended use, which will be evaluated by the Moving Image Archivist based on preservation condition of the desired items and staff availability; please note that access may not be guaranteed for all items. All analog sound recordings, video formats, and badly deteriorated film held by the Archives must be digitized for research access, due to preservation concerns. If these materials have not previously been digitized, the researcher is responsible for the cost of digitization. Researchers may request access to previously-digitized audiovisual materials that are not online on the CU Digital Library by contacting [email protected] COU # - collection identification number verified - films fully inspected to verify film title and content COU # Collection Film items Format Description Years Verified Digitized 664 Robert Godfrey papers 1710 16mm silent color film and This series contains moving image film and magnetic audio material which was recovered from the estate of Robert 1970s-1980s 40 of 1610 16mm magnetic audio Godfrey after his death in 1988. Robert Godfrey was a staff member at the Outward Bound school at the University of Colorado and documentary filmmaker who focused on mountaineering, environmentalism, and anti-nuclear activism.
    [Show full text]