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A General History of the Burr Family, 1902
historyAoftheBurrfamily general Todd BurrCharles A GENERAL HISTORY OF THE BURR FAMILY WITH A GENEALOGICAL RECORD FROM 1193 TO 1902 BY CHARLES BURR TODD AUTHOB OF "LIFE AND LETTERS OF JOBL BARLOW," " STORY OF THB CITY OF NEW YORK," "STORY OF WASHINGTON,'' ETC. "tyc mis deserves to be remembered by posterity, vebo treasures up and preserves tbe bistort of bis ancestors."— Edmund Burkb. FOURTH EDITION PRINTED FOR THE AUTHOR BY <f(jt Jtnuhtrboclur $«88 NEW YORK 1902 COPYRIGHT, 1878 BY CHARLES BURR TODD COPYRIGHT, 190a »Y CHARLES BURR TODD JUN 19 1941 89. / - CONTENTS Preface . ...... Preface to the Fourth Edition The Name . ...... Introduction ...... The Burres of England ..... The Author's Researches in England . PART I HISTORICAL AND BIOGRAPHICAL Jehue Burr ....... Jehue Burr, Jr. ...... Major John Burr ...... Judge Peter Burr ...... Col. John Burr ...... Col. Andrew Burr ...... Rev. Aaron Burr ...... Thaddeus Burr ...... Col. Aaron Burr ...... Theodosia Burr Alston ..... PART II GENEALOGY Fairfield Branch . ..... The Gould Family ...... Hartford Branch ...... Dorchester Branch ..... New Jersey Branch ..... Appendices ....... Index ........ iii PART I. HISTORICAL AND BIOGRAPHICAL PREFACE. HERE are people in our time who treat the inquiries of the genealogist with indifference, and even with contempt. His researches seem to them a waste of time and energy. Interest in ancestors, love of family and kindred, those subtle questions of race, origin, even of life itself, which they involve, are quite beyond their com prehension. They live only in the present, care nothing for the past and little for the future; for " he who cares not whence he cometh, cares not whither he goeth." When such persons are approached with questions of ancestry, they retire to their stronghold of apathy; and the querist learns, without diffi culty, that whether their ancestors were vile or illustrious, virtuous or vicious, or whether, indeed, they ever had any, is to them a matter of supreme indifference. -
Items Highlighted in Yellow Need to Be Updated Or Edited. DRAFT RAY
Items highlighted in yellow need to be updated or edited. DRAFT RAY AVERY COLLECTION 86-009 1860-1888. ca. 1920-1986. [Bulk: ca. 1920-1975] 10.5 linear feet including 3 volumes and 17 audio discs The Center for Popular Music, Middle Tennessee State University, Murfreesboro, TN May 1989 Ellen Garrison Updated 2007 and 2011 Lucinda Cockrell Ray Avery Collection 86-009 2 Table of Contents Ray Avery Collection 86-009 [Check page numbers after editing – these are incorrect.] Creator, Type of Material, Physical Description, Dates, Abstract (Descriptive Summary)……………………………………………………............................................. 3 Provenance and Acquisition Information, Subject/Index Terms, Agency History/Biographical Sketch………………………………................................... 3 Scope and Content……………………………………………………................................. 4 Series Description I. Black History Subject Files .................................................................................... 5 II. "Jazz Scrapbook" ................................................................................................... 5 III. New Orleans ......................................................................................................... 5 IV. Subject Files ......................................................................................................... 6 V. Record Covers ....................................................................................................... 6 VI. Record Company Announcements ...................................................................... -
History of Barbershop
HISTORY OF BARBERSHOP By David Krause and David Wright Definition of barbershop harmony. Read: Definition of Barbershop Harmony, from the Forward of the Contest and Judging Handbook. The Purpose Of This Course. We will attempt to trace the roots and the evolution of barbershop harmony from well before its actual beginnings up to the present. We will try to answer these questions: What were the tides of history which spawned the birth of the barbershop quartet, and what environment allowed this style of music to flourish? What were its musical forerunners? What are its defining characteristics? What other types of music were fostered contemporaneously, and how did they influence the growth of quartet singing? Which styles are similar, and how are they similar? How did the term "barbershop" arise? How long did the historical era of the barbershop quartet last? What other kinds of music sprang forth from it? Why did the style eventually need preservation? How was SPEBSQSA formed, and how did it become a national movement? What other organizations have joined the cause? How have they coped with the task of preservation? Are current day efforts still on course in preserving the style? How has the style changed since the Society was formed? We will spend the next few hours contemplating and attempting to answer these questions. Overtones. As barbershoppers, we are very conscious of the "ringing" effect which complements our singing. We consider it our reward for singing well- defined pitches in tune. The fact that a tone produced by a voice or an instrument is accompanied by a whole series of pitches in addition to the fundamental one which our ear most easily detects has been known for centuries. -
Art Makosinski's HB Collection
Art Makosinski Henry Burr Collection as of April 18, 1998 LABEL ISSUE ARTIST TITLE COMPOSER COND. ACT 20751 HB Little Town in the Ould County Down Pascoe-Carlo-Sanders A ACT 20751 HB When You and I Were Young, Maggie G.Johnson-J.Butterfield A APX 4447 HB Down the Trail to Home Sweet Home Ernest R.Ball B APX 4447 AC-HB Let the Rest of the World Go By Ernest R.Ball B ARC 31268 HB Sing Me to Sleep - B ART 3001 PQ Silver Threads Among the Gold Eben B ART 3001 PQ When You and I Were Young, Maggie G.Johnson-J.Butterfield B BEL P44B ST Shades of Night Gilbert-Friedland-Frankl C BEL S-06-A PQ Carry Me Back to Old Virginny James Bland B BRU 4045 HB Memories of France Dubin-Robinson B BRU 4045 HB Out of the Dawn (theme song from film "Warming Walter Donaldson B CAM S240 HB Beautifull Isle of Somewhere J.B.Pounds-J.S.Fearis B CAM S240 HB Mother Machree J.Kiern Brennan-Ernest B COL 60 HB(T) The Holy City (Jerusalem) - C COL 3483 HB-CQ I'm Praying for You Ira D. Sankey D COL 3499 HB Love Me and the World is Mine Ernest R.Ball B COL 3603 HB Won't You Come Over to My House Harry Williams-Egbert C COL 3750 CQ Black Jim Wade B COL 3752 CQ When the Roll is Called Up Yonder James M. Black B COL A235 HB Ninety and Nine E.C.Clephane-Ira C COL A236 HB Where is My Wondering Boy Tonight Rev.Robert Lowery C COL A239 HB Saviour, Lead Me Lest I Stray Frank W. -
Dissertation Introduction
Copyright by Kyle Stewart Barnett 2006 The Dissertation Committee for Kyle Stewart Barnett certifies that this is the approved version of the following dissertation: Cultural Production and Genre Formation in the U.S. Recording Industry, 1920-1935 Committee: Thomas Schatz, Supervisor James Buhler John D.H. Downing James Hay Mary Celeste Kearney S. Craig Watkins ii Cultural Production and Genre Formation in the U.S. Recording Industry, 1920-1935 by Kyle Stewart Barnett, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August, 2006 iii To Lisa Most of the recordings issued throughout the twentieth century were never simply marketed to or purchased by a huge undifferentiated ‘mass’ audience. Instead, the industry has, since its formation, sold music to the fans of particular styles, through a variety of changing labels…. In addition the recording industry has employed various legal and illegal, small-scale and team-based, marketing and promotional activities as a way of approaching consumers – practices which might well be labeled as ‘flexible.’ – Keith Negus, “Music Divisions: The Recording Industry and the Social Mediation of Cultural Production,” When the music business gets involved in promoting a style of music, it typically adopts colloquial terms that are verbs or adjectives and turns them into nouns – that is, into things, marketable objects that can be promoted, sold, and bought by a mass audience. – Larry Starr and Christopher Waterman, American Popular Music from Minstrelsy to MTV iv Acknowledgements I have relied on the help of many friends and colleagues in completing this project. -
HISTORY of BARBERSHOP Compiled by David Wright
HISTORY OF BARBERSHOP compiled by David Wright Lesson 3: DECLINE Glenn Howard. Glenn was born May 29, 1902, in Decatur, and became avidly interested in harmony early at age seventeen when a group of harmonizers called on him to fill in the bass to "Bright Was the Night". A quartet man all his life, Glenn lived his later years in Cisco, Illinois, near Decatur. He consented to be interviewed by the author at his home in February of 1986, and on that day, he opened the doors of his memory. As we conversed, his smiling wife Kate was sitting in the next room writing, in view, and from time to time she would offer her recollections as well. The 85 year old Glenn Howard vividly recalled a lifetime devoted to quartet harmony. For many years Glenn was the only man alive who had attended every convention of our Society. But those events represented only the later memories for Glenn. He had been a quartet man for nearly twenty years before the Society was formed. An example of a non-professional quartet of the era was the one he formed in 1919 at age seventeen. It was called the Oriole Quartette; Glenn initially sang bass, later lead. This quartet continued through the decade of the 1920's — a long life for a nonprofessional quartet. These avid songsters, especially Glenn and baritone Floyd Meier, attended every event in the vicinity at which a professional quartet appeared. Glenn gave assurance that minstrel shows were still in existence into the 1930's, and that they nearly always had a quartet. -
ARMSTRONG, Louis, & His Orchestra
DEBUT PEAK WKS ARTIST (no B-side) = single-faced disc DATE POS CHR Song Title or cylinder record B-side Label & Number ARMSTRONG, Louis, & His Orchestra All-Time: 38 Born Daniel Louis Armstrong on 8/4/1901 in New Orleans, Louisiana. Died of heart failure on 7/6/1971 (age 69). Legendary jazz singer/trumpet player. Nicknamed “Satchmo.” Moved to Chicago in 1922 to join King Oliver‘s band. Formed own band in 1926. Known for his uniquely raspy, scat-tinged vocals. Numerous appearances on radio, TV and in movies. Also see Fletcher Henderson, King Oliver, Bessie Smith, Clara Smith and Clarence Williams. AWARDS: Grammy: Lifetime Achievement 1972 R&R Hall of Fame: 1990 (Early Influence) 1)All Of Me 2)I’m In The Mood For Love 3)You Can Depend On Me 4)Love, You Funny Thing! 5)Chinatown, My Chinatown 7/17/26 8 2 1 Muskrat Ramble....................................................................................................................Heebie Jeebies [I] Okeh 8300 4/9/27 13 3 2 Big Butter And Egg Man From The West...........................................................................Sunset Cafe Stomp Okeh 8423 10/29/27 16 2 3 Keyhole Blues .........................................................................................................................Melancholy Blues Okeh 8496 also see #42 below 12/10/27 12 3 4 Potato Head Blues.........................................................................................................Put ‘Em Down Blues [I] Okeh 8503 LOUIS ARMSTRONG & HIS HOT SEVEN (above 2) 5/12/28 10 3 5 Hotter Than -
Stand by 360822.Pdf
IN PRAlSE OF HENRY BURR For Henry Burr Reports Help A Plea for Arkie We wish to express our deep appre We take this opportunity of ex . I think they treat Arkie mean ciation of your excellent service. We pressing our many thanks for your when they make him laugh and not have learned to consider the Smile radio broadcast daily and Sundays let him finish his song. Please make A-While staff, the Barn Dance, and giving weather reports and can as them let him finish singing, as we the Sunday morning programs as our sure you it has been considerable aid enjoy hearing him. We also like to own and we wait for them with the to our best operations. Sincerely trust hear his brother, Pete, sing with him. keenest anticipation. you will continue with this broadcast. -Steady Listener, Muncie, Ill. I believe we would crown these fine - Roy R. Love, president, Love Con programs with the Little Brown struction & Engineering Co., Muske Church of the Air as supreme. gon, Mich. While we enjoy Dr. Holland very much, we get a real sermon from the peerless songs of Henry Burr. Imagine Ten-Year Record our happy surprise when we discov I've not missed hearing the old ered him one night on the Barn Memorial to Jane Addams Barn Dance for almost 10 years and Dance. We thought it too good to be Dear Mr. Page: You will be pleased mere words can never express how true. No doubt this was his voice to hear that over eight thousand peo much I have enjoyed it. -
Preservation July 2010
The Official Publication of the Barbershop Harmony Society’s Historical Archives Volume 1, No. 2 Living in the Past Saturday July 17, 2010 Storm Front Wins Gold “Who says a comedy quartet can’t win it all?” In This Issue Pages • New Champs All Smiles 2 - 7 • The Evans Quartet and The New Tradition Celebrated 8 - 10 • What Are We Trying To Preserve? Pre Society Quartets 11 - 14 • Henry Burr - First “Rock Star” 15 • Edison Invents Phonograph 16 All photographs herein - unless otherwise credited - were taken by the editor 2 Volume 1, No. 2 Saturday July 17, 2010 New Champs All Smiles Published by the Society Archives Committee of the Barbershop Harmony Society for all those interested in preserving, promoting and educating others as to the rich history of the Barbershop music genre and the organization of men that love it. Society Archives Committee Grady Kerr - Texas (Chairman) Bob Sutton, Sr. - Virginia Steve D'Ambrosio - Tennessee Bob Davenport - Tennessee Bob Coant - New York Ed Dierdorff - Washington Taking the official Miller Photography photos after the Ed Watson - Tennessee (Staff Liaison) win - didn’t even have to say, SMILE”! Society Historian and Editor Grady Kerr Congratulations to our new quartet champ, 9498 East Valley Ranch Pkwy #1107 Storm Front of Denver, Colorado. They Irving, Texas 75063 won the gold medals during the Society’s 214 57 GKERR (214.574.5377) [email protected] 72nd Annual International Convention held in Philadelphia, PA July 3rd, 2010. The quartet consists of Jeff Selano, tenor; Jim Clark, lead; Darin Drown, baritone and Syd Libsack, bass. They won judges by All articles herein, unless otherwise credited, are written by the editor winning the audience with their creative and do not necessarily reflect the opinions of the Society, any District, any historian, The Archives Committee or the editor presentation, perfectly timed comedy and their marvelous singing. -
Carousel of American Music”--George M
“Carousel of American Music”--George M. Cohan, Irving Berlin, Johnny Mercer, Arthur Freed, Shelton Brooks, Hoagy Carmichael, others (September 24, 1940) Added to the National Registry: 2015 Essay by David A. Banks (guest post)* Ann Ronell Gene Buck William William Grant Still I In September 1939, New York's Mayor Fiorello La Guardia ran into Gene Buck, President of the American Society of Composers, Authors and Publishers (ASCAP). Buck and La Guardia talked about the war in Europe, which was adversely affecting the New York World's Fair (1939-1940), with many nations dismantling their pavilions. The Mayor wondered if something could be done to take New Yorkers' minds off the war news. Buck mentioned that ASCAP was observing its 25th anniversary. ASCAP was founded to collect royalties for its membership by licensing their works for public performances. ASCAP's membership includes the greatest names in popular and classical music. La Guardia suggested a series of concerts to celebrate the anniversary. Buck agreed saying, “We will put on a show for you the likes of which has never been seen anywhere.” The “New York Times” ran a frontpage story, “Gala Week of Free Music in City to Be Held to Allay Gloom of War.” “We'll having everything from ballads to opera,” said the mayor, “from symphony to swing, and the program will be a monument dedicated to art and to peace.” The Gala Week was a hit, with ASCAP members continuing to give concerts until the end of the Fair. Concurrently, the Golden Gate International Exposition was being held in San Francisco on Treasure Island. -
HISTORY of BARBERSHOP Compiled by David Wright
HISTORY OF BARBERSHOP compiled by David Wright Lesson 2: THE GOLDEN AGE The quartet enters its heyday. We have seen that interest in quartet singing had blossomed in the late 1800's, encouraged by trends in popular music that produced songs that were easy to harmonize. Amateur quartet singing was further encouraged by the professional quartets which sang in the minstrel and vaudeville shows, and which recorded on the new recording companies like Edison, Victor, and Columbia. Further development of amateur quartet activity. The early 1900's was indeed the age of the male quartet. There were thousands of amateur quartets. Lodges, churches, granges, fraternities, service clubs, companies, corporations, police and fire departments, and even baseball teams all had foursomes singing under their sponsorship. It should be noted that this was still the practice in the early days of our Society, when many of the quartets had names like Topeka's State Journal Quartet, Shell Quartet, Phillips 66 Barflies (formerly the Bartlesville Barflies), New York Police Quartet, Westinghouse Quartet, Lions Club Serenaders, Gipps-Amberline Four (Gipps-Amberline was a beer brewed in Peoria, Illinois.) Family quartets were common, and the better ones became professional, making recordings and doing concerts. There were also neighborhood and family quartets organized less formally. Young boys formed quartets on the street corner. We know for a fact that this actually happened, because one such quartet was George Burns' Peewee Quartet, in which he sang tenor when he was eight years old. In his book Living It Up he talks about singing in saloons and passing the hat on New York's Lower East Side. -
U-S Everlasting Cylinders
U-S Everlasting Cylinders Revised Edition Allan Sutton Data Compiled by William R. Bryant and The Record Research Associates Mainspring Press Denver, Colorado For Personal, Non-Commercial Use Only Sale or Other Commercial Use Prohibited Sutton, Bryant & The Record Research Associates • U-S Everlasting Cylinders © 2020 by Mainspring Press LLC. All rights are reserved. For personal use only. Unauthorized distribution, sale, or other commercial use is prohibited. © 2020 by Mainspring Press LLC. All rights are reserved. This publication is protected under U.S. copyright law as a work of original scholarship. It may downloaded free of charge for personal, non-commercial use only. No portion may be duplicated or distributed in any form, or any means, including (but not limited to) print and digital media, transmission via the Internet, or conversion to and dissemination via digital databases or e-books. Sale or other commercial use of this work, or any portion thereof, is prohibited. Unauthorized use will be addressed under applicable laws. For information on licensing this work, or for reproduction exceeding customary fair-use standards, please contact the publisher. Mainspring Press LLC PO Box 631277 Littleton CO 80130 www.mainspringpress.com / [email protected] Sutton, Bryant & The Record Research Associates • U-S Everlasting Cylinders © 2020 by Mainspring Press LLC. All rights are reserved. For personal use only. Unauthorized distribution, sale, or other commercial use is prohibited. User’s Guide By Allan Sutton This is a revised edition of a work that I originally compiled in association with Kurt Nauck in 2011, which has been out-of-print for several years.