DOCSLIB.ORG

Bess Lomax Hawes Student Folklore Collection

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bess Lomax Hawes Student Folklore Collection http://oac.cdlib.org/findaid/ark:/13030/c85d8v11 No online items Guide to the Bess Lomax Hawes Student Folklore Collection Special Collections & Archives University Library California State University, Northridge 18111 Nordhoff Street Northridge, CA 91330-8326 URL: https://library.csun.edu/SCA Contact: https://library.csun.edu/SCA/Contact © Copyright 2020 Special Collections & Archives. All rights reserved. Guide to the Bess Lomax Hawes URB.BLH 1 Student Folklore Collection Contributing Institution: Special Collections & Archives Title: Bess Lomax Hawes Student Folklore Collection Creator: Hawes, Bess Lomax, 1921-2009 Identifier/Call Number: URB.BLH Extent: 10.50 linear feet Date (inclusive): 1959-1975 Abstract: Bess Lomax Hawes is the daughter of famed folklorist John A. Lomax. Ms. Hawes had an active musical career as a singer, instrumentalist and songwriter. Her career as an educator began in 1954 when she became an instructor in guitar, banjo and folk music in the extension division at the University of California, Los Angeles. In 1963, she joined the Anthropology Department at San Fernando Valley State College. The material contained in this collection consists of folkloric data collected between 1958 and 1977 by students enrolled in Anthropology 309: American Folk Music, Anthropology 311: Introduction to Folklore, and various senior seminars at San Fernando Valley State College (now California State University, Northridge). Language of Material: English Biographical Information: Bess Lomax Hawes was born in Austin, Texas in 1921 to Bess Bauman-Brown Lomax and John A. Lomax, famed folklorist and author of Cowboy Songs, American Ballads and Folksongs, Adventures of a Ballad Hunter, and director of the Archive of American Folksong at the Library of Congress. She is also the sister of folklorist Alan Lomax, author of Mr. Jelly Roll, Folksongs of North America, Folk Song Style and Culture, and editor of the Columbia World Library of Folk Music and the Global Jukebox. Ms. Lomax Hawes' education and training includes a B.A. in Sociology from Bryn Mawr College, Pennsylvania and an M.A. in folklore from the Department of Anthropology, University of California Berkeley. She held two honorary Ph.D.'s from Kenyon College, Ohio and University of North Carolina, Chapel Hill. From 1941 to 1952 Bess Lomax Hawes had an active musical career as a singer and instrumentalist with the Almanac Singers, a topical song group which included well-known folk musicians Woody Guthrie and Pete Seeger. She also performed on a number of sound recordings including Talking Union, Citizen CIO and Folkways recordings American Folk Songs, Songs of the Abraham Lincoln Brigade and Woody Guthrie Sings Folk Songs. As a parodist and songwriter, she co-authored the Kingston Trio hit "Charlie on the MTA." Her career as an educator began in 1954 when she became an instructor in guitar, banjo, and folk music in the extension division at the University of California, Los Angeles. In 1961, she became a part time instructor in folk music, folklore, and ethnomusicology at University of California, Los Angeles, San Fernando Valley State College (now California State University Northridge), and Los Angeles State College. In 1963, she joined the Anthropology Department at San Fernando Valley State College as an assistant professor. She received tenure in 1968, and became a full professor in 1974. Throughout her career, Bess Lomax Hawes' ongoing research interest as a folklorist and ethnomusicologist focused on child lore. She produced and directed the 1968 film titled Pizza Pizza Daddy-O, a film on traditional African American children's singing games. She authored a number of books and papers including; Step it Down: Games, Plays, Songs and Stories from the African American Heritage, co-authored with Georgia folk singer Bessie Smith Jones, "Law and Order on the Playground," and "Folksongs and Function: Some Thoughts on the American Lullaby." For a complete listing of Bess Lomax Hawes' published works, honors and positions please see her vitae included in the published works file at the end of the collection. Scope and Contents The Bess Lomax Hawes Student Folklore Collection consists of folkloric data collected between 1958 and 1977 by students enrolled in Anthropology 309: American Folk Music, Anthropology 311: Introduction to Folklore, and various senior seminars at San Fernando Valley State College (now California State University, Northridge). The collection was developed primarily as a teaching tool and secondarily as an archive. No standard formula for data presentation was required; students were urged to organize their material according to the problem which concerned them. In addition to the data itself, students were required to provide the names and biographical information of the informants, data and collecting contexts, a description of the collecting method, explanatory information provided by informants, and an analysis of the information gained. In the culture-specific file, so-called "ethnic lore" is generally combined (e.g. Swedish and Swedish-American). In a major exception, African American folklore is located in the North American section, while lore from African nations is filed under the geographical name. Jewish cultural material has been treated as its own subseries. However, material that originates from a specific geographic location (Israel, Ethiopia, etc.) will be found filed under the geographic region. The collection is Guide to the Bess Lomax Hawes URB.BLH 2 Student Folklore Collection arranged in three series: Adult Folklore (1960-1974), Children's Folklore (1959-1974), and National Origin/Culture Group (1960-1975). Series I, Adult Folklore, consists predominantly of folklore reported from adult informants and is divided into two subseries: Adult Song (1960-1973) and Adult Verbal Folklore (1961-1974). The subseries are then arranged by genre into groups such as Blues, Love Songs, Cowboy Songs, etc. The files are arranged alphabetically. Series II, Children's Folklore, primarily consists of folklore reported from child informants, or adult observation of children's games and stories. All data in the series are grouped by age of informant. The series is divided into the three subseries: Children's Song (1965-1972), Children's Play (1968-1972), and Children's Verbal Folklore (1959-1973). The subseries are arranged by genre into groups such as Lullabies, Song Parodies, TV Jingles, etc. The files are arranged alphabetically. Series III, National Origin/Culture Group, is comprised of folkloric data which originates from a specific national origin or cultural group. The series is divided into ten subseries, each reflecting a different geographical region. The regions are arranged as follows: Africa (1965-1973), Latin America (1963-1975), North America (1962-1973), Asia (1967-1974), Eastern Europe (1964-1974), Northern Europe (1960-1972), Western Europe (1964-1973), Jewish Tradition [Old and New World] (1960-1975), Middle East (1961-1974), and Oceania (1968-1972). The files are arranged alphabetically. In cases where the subseries is large and contains a sizable amount of raw data, the information has been arranged into smaller groupings which reflect genre. Conditions Governing Access: The collection is open to research use. Conditions Governing Use: Copyright for unpublished materials authored or otherwise produced by the creator(s) of this collection has been transferred to California State University, Northridge. Copyright status for other materials is unknown. Transmission or reproduction of materials protected by U.S. Copyright Law (Title 17, U.S.C.) beyond that allowed by fair use requires the written permission of the copyright owners. Works not in the public domain cannot be commercially exploited without permission of the copyright owners. Responsibility for any use rests exclusively with the user. Immediate Source of Acquisition Bess Lomax Hawes, 1996. Arrangement of Materials: Series I: Adult Folklore 1960-1974 Subseries A: Adult Song, 1960-1973 Subseries B: Adult Verbal Folklore, 1961-1974 Series II: Children's Folklore, 1959-1974 Subseries A: Children's Song, 1965-1972 Subseries B: Children's Play, 1963-1974 Subseries C: Children's Verbal Folklore, 1959-1973 Series III: National Origin/Culture Group, 1960-1975 Subseries A: Africa, 1965-1973 Subseries B: Latin America, 1963-1975 Subseries C: North America, 1962-1973 Subseries D: Asia, 1967-1974 Subseries E: Eastern Europe, 1964-1974 Subseries F: Northern Europe, 1960-1972 Subseries G: Western Europe, 1964-1973 Subseries H: Jewish Tradition [Old and New World], 1960-1975 Subseries I: Middle East, 1961-1974 Subseries J: Oceania, 1968-1972 General Other Information: Funding for this project was provided in part by a grant from the College of Social and Behavioral Sciences, California State University Northridge. Guide to the Bess Lomax Hawes URB.BLH 3 Student Folklore Collection The descriptive finding aid was revised in October 2004, in part under a generous gift from the J. Paul Getty Trust. Preferred Citation: For information about citing items in this collection consult the appropriate style manual, or see the Citing Archival Materials guide. Processing Information: Robert G. Marshall, Deborah L. Atwell; 1998 Subjects and Indexing Terms Audiovisual materials Documents Photographs Series I: Adult Folklore, 1960-1974 Subseries A: Adult Song, 1960-1973 Box 1, Folder 1 Accident or Disaster Songs: Various Box 1, Folder 2 Ballads: Various Box 1, Folder 3 Business and Sales Songs:
Load more

Recommended publications
  • Weaponized Humor: the Cultural Politics Of
    WEAPONIZED HUMOR: THE CULTURAL POLITICS OF TURKISH-GERMAN ETHNO-COMEDY by TIM HÖLLERING B.A. Georg-August Universität Göttingen, 2008 M.Ed., Georg-August Universität Göttingen, 2010 A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Germanic Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) June 2016 © Tim Höllering, 2016 Abstract My thesis aims to show how the humor of Turkish-German ethno-comedians fulfills a double purpose of entertaining its audience while advancing a cultural political agenda that Kathrin Bower called “transnational humanism.” It includes notions of human rights consensus, critical self-reflection, respect, tolerance, and openness to cultural diversity. Promoting these values through comedy, the artists hope to contribute to abating prejudice and discrimination in Germany’s multi-ethnic society. Fusing the traditional theatrical principle of “prodesse et delectare” with contemporary cultural politics, these comedians produce something of political relevance: making their audience aware of its conceptions of “self” and “other” and fostering a sense of community across diverse cultural identifications. My thesis builds mainly on the works of Kathrin Bower, Maha El Hissy, Erol Boran, Deniz Göktürk, and Christie Davies. Whereas Davies denies humor’s potential for cultural impact, Göktürk elucidates its destabilizing power in immigrant films. Boran elaborates this function for Turkish-German Kabarett. El Hissy connects Kabarett, film, and theater of polycultural artists and ties them to Bakhtin’s concept of the carnivalesque and the medieval jester. Bower published several essays on the works of ethno-comedians as humorous catalysts for advancing a multiethnic Germany.
    [Show full text]
  • Ukrainian Folk Singing in NYC
    Fall–Winter 2010 Volume 36: 3–4 The Journal of New York Folklore Ukrainian Folk Singing in NYC Hindu Home Altars Mexican Immigrant Creative Writers National Heritage Award Winner Remembering Bess Lomax Hawes From the Director Since the found- a student-only conference. There are prec- Mano,” readers will enjoy fresh prose pieces ing of the New York edents for this format, also. In commenting and poetry in English and Spanish from a Folklore Society, the on the 1950 meeting, then-president Moritz recently published anthology, produced by organization has pro- Jagendorf wrote, “Another ‘new’ at the Mexican cultural nonprofit Mano a Mano, vided two consistent Rochester meeting was the suggestion to the New York Writers Coalition, and a group benefits of member- have an annual contest among students of of New York’s newest Spanish-language ship: receipt of a New York State colleges and universities for writers. Musician, discophile, and Irish- published journal— the best paper on New York State folklore. American music researcher Ted McGraw since 2000, Voices— The winner will receive fifty dollars, and his presents a preliminary report and asks Voices and at least one annual meeting. or her paper will be read before the mem- readers for assistance in documenting the In the early years, the annual meeting bers.” (It is unclear whether this suggestion fascinating history of twentieth-century took place jointly with the annual gathering was implemented!) button accordions made by Italian craftsmen of the New York Historical Association, The 2010 meeting was held at New York and sold to the Irish market in New York.
    [Show full text]
  • A Conversation with Jeff Todd Titon
    A Conversation with Jeff Todd Titon Interviewed by John Fenn via e-mail January 2003 JF: What's been your involvement with applied ethnomusicology so far? You can speak generally on this, as well as specifically on things like the "public interest" issue of Ethnomusicology, the Society for Ethnomusicology (SEM) Applied Ethnomusicology Section, your teaching, or projects you've done. JTT: I've done different kinds of applied ethnomusicology, much of it in connection with my academic work as a professor and research scholar in folklore and ethnomusicology. As a festival presenter for Old Regular Baptists at the Smithsonian Folklife Festival I've been a musicculture broker. As a member of the Folk Arts Panel of the National Endowment for the Arts I've helped make and implement cultural policy on traditional musics in the USA. As an album producer for blues musicians Lazy Bill Lucas and his friends, for old-time fiddler Clyde Davenport, and for the singing of Old Regular Baptists, among others, I've made field recordings and helped publish well-documented LPs, cassettes, and CDs that benefited those people and their music-cultures. As a grant writer I've gotten communities money and training so that they could record, preserve, and transmit their musical heritage. I've produced concerts and given lectures to the general public designed to promote and celebrate various kinds of community music. One of the courses I teach each semester at Brown is free and aimed at the local community: an old-time string band ensemble that is a gift to anyone who wants to learn and play.
    [Show full text]
  • The Sam Eskin Collection, 1939-1969, AFC 1999/004
    The Sam Eskin Collection, 1939 – 1969 AFC 1999/004 Prepared by Sondra Smolek, Patricia K. Baughman, T. Chris Aplin, Judy Ng, and Mari Isaacs August 2004 Library of Congress American Folklife Center Washington, D. C. Table of Contents Collection Summary Collection Concordance by Format Administrative Information Provenance Processing History Location of Materials Access Restrictions Related Collections Preferred Citation The Collector Key Subjects Subjects Corporate Subjects Music Genres Media Formats Recording Locations Field Recording Performers Correspondents Collectors Scope and Content Note Collection Inventory and Description SERIES I: MANUSCRIPT MATERIAL SERIES II: SOUND RECORDINGS SERIES III: GRAPHIC IMAGES SERIES IV: ELECTRONIC MEDIA Appendices Appendix A: Complete listing of recording locations Appendix B: Complete listing of performers Appendix C: Concordance listing original field recordings, corresponding AFS reference copies, and identification numbers Appendix D: Complete listing of commercial recordings transferred to the Motion Picture, Broadcast, and Recorded Sound Division, Library of Congress 1 Collection Summary Call Number: AFC 1999/004 Creator: Eskin, Sam, 1898-1974 Title: The Sam Eskin Collection, 1938-1969 Contents: 469 containers; 56.5 linear feet; 16,568 items (15,795 manuscripts, 715 sound recordings, and 57 graphic materials) Repository: Archive of Folk Culture, American Folklife Center, Library of Congress, Washington, D.C. Summary: This collection consists of materials gathered and arranged by Sam Eskin, an ethnomusicologist who recorded and transcribed folk music he encountered on his travels across the United States and abroad. From 1938 to 1952, the majority of Eskin’s manuscripts and field recordings document his growing interest in the American folk music revival. From 1953 to 1969, the scope of his audio collection expands to include musical and cultural traditions from Latin America, the British Isles, the Middle East, the Caribbean, and East Asia.
    [Show full text]
  • Discriminatory Language Research Presented to the BBFC on 15Th November 2010
    Discriminatory Language Research Presented to the BBFC on 15th November 2010 Slesenger Research Research objectives To understand the role of context and how it changes attitudes to discriminatory language / issues To establish the degree to which the public expect to be warned about potentially offensive language/behaviour/stereotyping in CA, ECI/ECA To understand spontaneous reactions to a number of discriminatory terms To explore what mitigates the impact of these words and how To understand the public’s response to the Video Recordings Act and their appreciation of the ‘E’ classification 2 Slesenger Research Recruitment Criteria Group Discussions 2 hours 7/8 respondents All had personally watched a film either at the cinema or at home (DVD rental/purchase) at least once in the last two to three months Spread of occasional and more regular film viewers Even spread of parents of different ages of children and boys/girls All respondents were pre - placed with three relevant film/TV works All respondents completed a short questionnaire/diary about the material they had viewed Paired Depths 1-1 1/2 hours As for group discussions 3 Slesenger Research Sample and Methodology 9 x Group discussions 18-25 Single, working/students, BC1 Race Female Edgware 18-25 Single, working/students, C2D Sexuality Male Leeds 25-40 Children under 8 years Female Leeds Working, part-time and non, C2D Sexuality 25-40 Children under 8 years Male Scotland Working, BC1 Sexuality 25-40 Children 8-12 years Female Birmingham Working, part-time and non,
    [Show full text]
  • American Music Review the H
    American Music Review The H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XLII, Number 1 Fall 2012 Woody Guthrie and Bob Dylan Hit Manhattan By Sean Wilentz, Princeton University Editors Note: This paper was delivered as the keynote address for the Woody Guthrie Centennial Conference held at Brooklyn College on 22 September, 2012. On February 16, 1940, a freezing blizzardy day, Woody Guthrie—short, intense, and aged twenty-seven—ended a long hitchhiking journey East and debarked in Manhattan, where he would quickly make a name for himself as a per- former and recording artist. Nearly twenty-one years later, on or about January 24, 1961, a cold and post-blizzardy day, Bob Dylan—short, intense, and aged nineteen—ended a briefer auto journey East and debarked in Manhattan, where he would quickly make a name for himself as a performer and recording artist—not as quickly as Guthrie had, but quickly. Dylan had turned himself into what he later described as “a Woody Guthrie jukebox,” and had come to New York in search of his idol. Guthrie had come to look up his friends the actors Will Geer and Herta Ware, who had introduced him to influential left-wing political and artistic circles out in Los Angeles and would do the same in Manhattan. Two different stories, obviously, of two very different young men a generation apart—yet, more than he might have realized, Dylan partly replayed his hero’s entrance to the city where both men would become legends.
    [Show full text]
  • American Folk Music and Folklore Recordings 1985: a Selected List
    DOCUMENT RESUME ED 277 618 SO 017 762 TITLE American Folk Music and Folklore Recordings 1985: A Selected List. INSTITUTION Library of Congress, Washington, D.C. American Folklife Center. PUB DATE 86 NOTE 17p.; For the recordings lists for 1984 and 1983, see ED 271 353-354. Photographs may not reproduce clearly. AVAILABLE FROM Selected List, American Folklife Center, Library of Congress, Washington, DC 20540. PUB TYPE Reference Materials - Bibliographies (131) EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS Annotated Bibliographies; *Black Culture; *Folk Culture; *Jazz; *Modernism; *Music; Popular Culture ABSTRACT Thirty outstanding records and tapes of traditional music and folklore which were released in 1985 are described in this illustrated booklet. All of these recordings are annotated with liner notes or accompanying booklets relating the recordings to the performers, their communities, genres, styles, or other pertinent information. The items are conveniently available in the United States and emphasize "root traditions" over popular adaptations of traditional materials. Also included is information about sources for folk records and tapes, publications which list and review traditional music recordings, and relevant Library of Congress Catalog card numbers. (BZ) U.111. DEPARTMENT OF EDUCATION Office or Educao onal Research and Improvement EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) This document hes been reproduced u received from the person or o•panizahon originating it Minor changes nave been made to improve reproduction ought) Points of view or opinions stated in this docu mint do not necessarily represent Olhcrai OERI posrtio.r or policy AMERICAN FOLK MUSIC AND FOLKLORE RECORDINGS 1985 A SELECTED LIST Selection Panel Thomas A. Adler University of Kentucky; Record Review Editor, Western Folklore Ethel Raim Director, Ethnic Folk Arts Center Don L.
    [Show full text]
  • Still on the Road Session Pages: 1961
    STILL ON THE ROAD 1961 FEBRUARY OR MARCH East Orange, New Jersey The Home of Bob and Sid Gleason, “The East Orange Tape” MAY 6 Branford, Connecticut Montewese Hotel, Indian Neck Folk Festival Minneapolis, Minnesota Unidentified coffeehouse, “Minnesota Party Tape 1961” JULY 29 New York City, New York Riverside Church, Hootenanny Special SEPTEMBER 6 New York City, New York Gaslight Café, “The First Gaslight Tape” Late New York City, New York Gerde's Folk City 30 New York City, New York Columbia Recording Studios, Carolyn Hester studio session OCTOBER 29 New York City, New York WNYC Radio Studio Late New York City, New York Folklore Center NOVEMBER 4 New York City, New York Carnegie Chapter Hall 20, 22 New York City, New York Studio A, Columbia Recordings, Bob Dylan recording sessions Late New York City, New York Unidentified Location, Interview conducted by Billy James 23 New York City, New York The Home Of Eve and Mac McKenzie DECEMBER 4 New York City, New York The Home Of Eve and Mac McKenzie 22 Minneapolis, Minnesota The Home Of Bonnie Beecher, Minnesota Hotel Tape Bob Dylan sessions 1961 20 The Home of Bob and Sid Gleason East Orange, New Jersey February or March 1961 1. San Francisco Bay Blues (Jesse Fuller) 2. Jesus Met The Woman At The Well (trad.) 3. Gypsy Davey (trad., arr Woody Guthrie) 4. Pastures Of Plenty (Woody Guthrie) 5. Trail Of The Buffalo (trad., arr Woody Guthrie) 6. Jesse James (trad.) 7. Car, Car (Woody Guthrie) 8. Southern Cannonball (R. Hall/Jimmie Rodgers) 9. Bring Me Back, My Blue-Eyed Boy (trad.) 10.
    [Show full text]
  • On the Power of Slurring Words and Derogatory Gestures
    Charged Expressions: On the Power of Slurring Words and Derogatory Gestures Ralph DiFranco, Ph.D. University of Connecticut, 2016 Slurs have the striking power to promulgate prejudice. Standard semantic and pragmatic theories fail to explain how this works. Drawing on embodied cognition research, I show that metaphorical slurs, descriptive slurs, and slurs that imitate their targets are effective means of transmitting prejudice because they are vehicles for prompting hearers to form mental images that depict targets in unflattering ways or to simulate experiential states such as negative feelings for targets. However, slurs are a heterogeneous group, and there may be no one mechanism by which slurs harm their targets. Some perpetrate a visceral kind of harm – they shock and offend hearers – while others sully hearers with objectionable imagery. Thus, a pluralistic account is needed. Although recent philosophical work on pejoratives has focused exclusively on words, derogation is a broader phenomenon that often constitutively involves various forms of non- verbal communication. This dissertation leads the way into uncharted territory by offering an account of the rhetorical power of iconic derogatory gestures and other non-verbal pejoratives that derogate by virtue of some iconic resemblance to their targets. Like many slurs, iconic derogatory gestures are designed to sully recipients with objectionable imagery. I also address ethical issues concerning the use of pejoratives. For instance, I show that the use of slurs for a powerful majority
    [Show full text]
  • Producers Handbook
    PRODUCERS HANDBOOK November 2020 ITV PRODUCER’S HANDBOOK ITV’s Editorial and ComplianCe PoliCies and ProCedures Page 4 Introduction 4 Viewer Trust in ITV 5 Taking Part in Programmes 11 Protecting Programme Participants 15 Children in Programmes 25 Live Programmes 32 Interactivity 36 Covert Filming/Recording 38 Commercial ReFerences, Sponsorship and Product Placement 39 OFFensive Language 45 Internet Material 48 Charity Related Content 49 Compliance, Commissioning & Referral Up 50 OfCom BroadCast Code and GuidanCe 51 Section 1 - Protecting the Under-Eighteens Section 2 - Harm and OFFence Section 3 – Crime, Disorder, Hatred and Abuse Section 4 - Religion Section 5 - Due Impartiality and Due Accuracy, and Undue Prominence oF Views and Opinions Section 6 - Elections and ReFerendums Section 7 - Fairness Section 8 - Privacy Section 9 - Commercial ReFerences in Programmes OfCom On Demand ServiCe Rules 66 Media Law 69 Introduction 69 DeFamation 70 Privacy 73 Contempt 75 Copyright and Fair Dealing 77 Data Protection 83 ConFidentiality 90 2 Industry Codes and GuidanCe OFcom Broadcasting Code (including the Cross-Promotion Code): https://www.oFcom.org.uk/tv-radio-and-on-demand/broadcast- codes/broadcast-code OFcom Broadcasting Code Guidance: https://www.oFcom.org.uk/tv-radio-and-on-demand/inFormation-for- industry/guidance/programme-guidance Phone-paid Services Authority: https://psauthority.org.uk/For-business/code-guidance-and-compliance 3 ITV’S EDITORIAL AND COMPLIANCE POLICIES AND PROCEDURES IntroduCtion Welcome to the ITV Producer’s Handbook.
    [Show full text]
  • NEA Chronology Final
    THE NATIONAL ENDOWMENT FOR THE ARTS 1965 2000 A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS President Johnson signs the National Foundation on the Arts and the Humanities Act, establishing the National Endowment for the Arts and the National Endowment for the Humanities, on September 29, 1965. Foreword he National Foundation on the Arts and the Humanities Act The thirty-five year public investment in the arts has paid tremen­ Twas passed by Congress and signed into law by President dous dividends. Since 1965, the Endowment has awarded more Johnson in 1965. It states, “While no government can call a great than 111,000 grants to arts organizations and artists in all 50 states artist or scholar into existence, it is necessary and appropriate for and the six U.S. jurisdictions. The number of state and jurisdic­ the Federal Government to help create and sustain not only a tional arts agencies has grown from 5 to 56. Local arts agencies climate encouraging freedom of thought, imagination, and now number over 4,000 – up from 400. Nonprofit theaters have inquiry, but also the material conditions facilitating the release of grown from 56 to 340, symphony orchestras have nearly doubled this creative talent.” On September 29 of that year, the National in number from 980 to 1,800, opera companies have multiplied Endowment for the Arts – a new public agency dedicated to from 27 to 113, and now there are 18 times as many dance com­ strengthening the artistic life of this country – was created. panies as there were in 1965.
    [Show full text]
  • Master Roll List
    Master Roll List QRS O-6 1925 1 Cavalleria Rusticana 1890 Operatic Selecti Mascagni, Pietro 2 Sextette from "Lucia di Lammermoor" 1835 Aria Donizetti, Gaetano 3 Little Grey Home in the West 1903 Song Lohr, Hermann 4 Alma 0 Vals unknown 5 Qui Vive! 1862 Grand Galop de Ganz, Wilhelm 6 Grande Polka de Concert 1867 Polka Bartlett, Homer N. 7 Are You Sorry? 1925 Fox Trot Ager, Milton 8 What Do You Say, Boys? (Whadaya Say?) 1925 Fox Trot Voll, Cal de 9 Somewhere with You 1924 Fox Trot Magine, Frank 10 Save Your Sorrow (for Tomorrow) 1925 Fox Trot Sherman, Al QRS O-21 1925 Roen 1 Barney Google 1923 Fox Trot Conrad, Con 2 Swingin' down the Lane 1923 Fox Trot Jones, Isham 3 Just Lonesome 1925 Waltz Magine, Frank 4 O Solo Mio 1898 Canzonetta Capua, Eduardo di 5 That Red Head Gal 1923 Fox Trot Van, Gus 6 Paddlin' Madeline Home 1925 One-Step Woods, Harry QRS O-78 1915 Lbl 1 When It's Moonlight on the Mississippi 1915 One-Step Lange, Arthur 2 Circus Day in Dixie 1915 One-Step Gumble, Albert 3 What Would You Do for Fifty Thousand Dollars? 0 One-Step Paley, Herman 4 I Love to Tango with My Tea 1915 One-Step Alstyne, Egbert van 5 Go Right Along, Mister Wilson 1915 One-Step Brown, A. Seymour 6 Classic Rag 1909 Rag Moret, Neil 7 Norway (The Land of the Midnight Sun) 1915 One-Step, Trot Fisher, Fred 8 At the Old Plantation Ball 1915 Fox Trot Donaldson, Walter 9 Come back Dixie 1915 March Song Wenrich, Percy 10 At the Garbage Gentlemen's Ball 1914 One-Step Daly, Joseph M.
    [Show full text]