The Sam Eskin Collection, 1939-1969, AFC 1999/004
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Oral History Interview with Edith Wyle, 1993 March 9-September 7
Oral history interview with Edith Wyle, 1993 March 9-September 7 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Interview EW: EDITH WYLE SE: SHARON EMANUELLI SE: This is an interview for the Archives of American Art, the Smithsonian Institution. The interview is with Edith R. Wyle, on March 9th, Tuesday, 1993, at Mrs. Wyle's home in the Brentwood area of Los Angeles. The interviewer is Sharon K. Emanuelli. This is Tape 1, Side A. Okay, Edith, we're going to start talking about your early family background. EW: Okay. SE: What's your birth date and place of birth? EW: Place of birth, San Francisco. Birth date, are you ready for this? April 21st, 1918-though next to Beatrice [Wood-Ed.] that doesn't seem so old. SE: No, she's having her 100th birthday, isn't she? EW: Right. SE: Tell me about your grandparents. I guess it's your maternal grandparents that are especially interesting? EW: No, they all were. I mean, if you'd call that interesting. They were all anarchists. They came from Russia. SE: Together? All together? EW: No, but they knew each other. There was a group of Russians-Lithuanians and Russians-who were all revolutionaries that came over here from Russia, and they considered themselves intellectuals and they really were self-educated, but they were very learned. -
Guide to Ella Fitzgerald Papers
Guide to Ella Fitzgerald Papers NMAH.AC.0584 Reuben Jackson and Wendy Shay 2015 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 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Music Manuscripts and Sheet Music, 1919 - 1973................................... 5 Series 2: Photographs, 1939-1990........................................................................ 21 Series 3: Scripts, 1957-1981.................................................................................. 64 Series 4: Correspondence, 1960-1996................................................................. -
Russell Wheeler Davenport Papers [Finding Aid]. Library of Congress
Russell Wheeler Davenport Papers A Finding Aid to the Collection in the Library of Congress Manuscript Division, Library of Congress Washington, D.C. 2002 Revised 2010 April Contact information: http://hdl.loc.gov/loc.mss/mss.contact Additional search options available at: http://hdl.loc.gov/loc.mss/eadmss.ms003047 LC Online Catalog record: http://lccn.loc.gov/mm83061549 Prepared by Donna Ellis with the assistance of Paul Colton, Lisa Madison, Susie Moody, and Catherine Wilkins-Susynski Revised by Donna Ellis Collection Summary Title: Russell Wheeler Davenport Papers Span Dates: 1899-1980 Bulk Dates: (bulk 1930-1954) ID No.: MSS61549 Creator: Davenport, Russell Wheeler, 1899-1954 Extent: 24,530 items ; 102 containers plus 1 oversize ; 40.8 linear feet Language: Collection material in English Location: Manuscript Division, Library of Congress, Washington, D.C. Summary: Author, editor, and political activist. Correspondence, memoranda, diaries, writings, speeches, research material, political files, biographical material, photographs, and other papers relating primarily to Davenport's career as a writer and editor with Fortune and Life magazines, his involvement with the Republican Party, his work with the Institute for Creative Research, New York, N.Y., his writings including The Dignity of Man (1955), his service in World War I and II, and his personal life. Selected Search Terms The following terms have been used to index the description of this collection in the Library's online catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically therein. People Bates, Robert Chapman, 1901-1942--Correspondence. Buell, Raymond Leslie, 1896-1946--Correspondence. -
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. -
TOSHIKO AKIYOSHI NEA Jazz Master (2007)
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. TOSHIKO AKIYOSHI NEA Jazz Master (2007) Interviewee: Toshiko Akiyoshi 穐吉敏子 (December 12, 1929 - ) Interviewer: Dr. Anthony Brown with recording engineer Ken Kimery Dates: June 29, 2008 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript 97 pp. Brown: Today is June 29th, 2008, and this is the oral history interview conducted with Toshiko Akiyoshi in her house on 38 W. 94th Street in Manhattan, New York. Good afternoon, Toshiko-san! Akiyoshi: Good afternoon! Brown: At long last, I‟m so honored to be able to conduct this oral history interview with you. It‟s been about ten years since we last saw each other—we had a chance to talk at the Monterey Jazz Festival—but this interview we want you to tell your life history, so we want to start at the very beginning, starting [with] as much information as you can tell us about your family. First, if you can give us your birth name, your complete birth name. Akiyoshi: To-shi-ko. Brown: Akiyoshi. Akiyoshi: Just the way you pronounced. Brown: Oh, okay [laughs]. So, Toshiko Akiyoshi. For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 Akiyoshi: Yes. Brown: And does “Toshiko” mean anything special in Japanese? Akiyoshi: Well, I think,…all names, as you know, Japanese names depends on the kanji [Chinese ideographs]. Different kanji means different [things], pronounce it the same way. And mine is “Toshiko,” [which means] something like “sensitive,” “susceptible,” something to do with a dark sort of nature. -
WE RODE ALONE, of COURSE a Collection of Short Stories RYAN T
WE RODE ALONE, OF COURSE A Collection of Short Stories RYAN T. MERRIMAN Bachelor of Arts in English Education Baldwin-Wallace University May 2009 submitted in partial of requirements for the degree MASTER OF FINE ARTS at the CLEVELAND STATE UNIVERSITY May 2020 We hereby approve this thesis for RYAN MERRIMAN Candidate for the Master of Fine Arts in Creative Writing degree for the Department of English, the Northeast Ohio MFA Program and the CLEVELAND STATE UNIVERSITY’S College of Graduate Studies by _________________________________________________________________ Thesis Chairperson, Eric Wasserman _____________________________________________ Department & Date _________________________________________________________________ Thesis Committee Member, Imad Rahman _____________________________________________ Department & Date _________________________________________________________________ Thesis Committee Member, Robert Pope _____________________________________________ Department & Date Student’s Date of Defense: March 20, 2020 ACKNOWLEDGEMENTS Warmest thanks to Imad Rahman, coordinator for the NEOMFA program at Cleveland State University. He took a chance on me and endured some of my roughest stories, especially during my first semester, where I realized that I had a lot of work to do. He was instrumental in my growth as a reader and writer. Warmest thanks to Robert Pope, professor emeritus from the University of Akron. He is, without question, one of happiest professors and individuals I have ever known. His contagious personality and encouragement went a long way in my first few semesters, as well as his honest feedback and suggestions. He once said I wrote a “beautiful essay” about a story we had read, and that comment meant so much. He has meant so much. Warmest thanks Eric Wasserman, professor at the University of Akron, as well as my thesis director. -
'Music and Remembrance: Britain and the First World War'
City Research Online City, University of London Institutional Repository Citation: Grant, P. and Hanna, E. (2014). Music and Remembrance. In: Lowe, D. and Joel, T. (Eds.), Remembering the First World War. (pp. 110-126). Routledge/Taylor and Francis. ISBN 9780415856287 This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/16364/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] ‘Music and Remembrance: Britain and the First World War’ Dr Peter Grant (City University, UK) & Dr Emma Hanna (U. of Greenwich, UK) Introduction In his research using a Mass Observation study, John Sloboda found that the most valued outcome people place on listening to music is the remembrance of past events.1 While music has been a relatively neglected area in our understanding of the cultural history and legacy of 1914-18, a number of historians are now examining the significance of the music produced both during and after the war.2 This chapter analyses the scope and variety of musical responses to the war, from the time of the war itself to the present, with reference to both ‘high’ and ‘popular’ music in Britain’s remembrance of the Great War. -
1937-11-26 [P C-4]
' ——RKOWflfmu/Q — “The at Palace It in “Met” Where and When ■ ■■ ® 8**0 Firefly” Say Song Depicts N Q | ^ Is Current Theater Attractions Stately Operetta Big Prison and Time of Showing. • Ton will mo HEPBtThr, Pace of National—“To Be Continued,“ a new Lavish Spectacle Is Slow, “Politics” comedy with Luella Gear: 8:30 p.m. an* ROGER8 togothor, But Its Music Is Sweet and Palace—“The Firefly,” Jeanette Mac- la tho Broadway atago Litel Performance Donald in the Friml operetta: 11 a.m., •aoeoas that haa bo* Settings Imposing. 1:35, 4:15, 6:55 and B:35 p.m. eomo tho highlight of _• Is “Alcatraz” Keith's—“Stage Door,” Hepburn, all tho ocTOOB’a bow big By JAY CARMODY. Rogers, a story of Broadway called bet- picture*, I don’t expect a story as tightly written as if Clifford Odets were its Feature. ter than that of the play: 11:15 a.m., author when you go to see Rudolph Friml’s “The Firefly," which 1:21, 3:27, 5:37, 7:39 and 9:45 p.m. opened yesterday at Loew’s Palace. Nor do you get it. What you do U'T'HE ROCK” is the subject of Capitol—"Double Honeymoon,” ro- YOUget is a big colorful musical of the turn-of-the-century type in which the current screen attrac- mance in two doses: 11:05 a.m., 1:45, Alan Jones and Jeanette MacDonald | sing charmingly and fall charmingly in § tlon at the Metropolitan. 4:30, 7:15 and 9:55 p.m. -
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. -
Arthur Pryor
Arthur Pryor One of the best and most complete sources for information about Pryor is contained in the Historical Notes included in the ARTHUR PRYOR Trombone Soloist of the Sousa Band, produced by Crystal Records CD451. 1 "His execution set the prairies afire; His vibrating pedal tones rattled the windows of the Theatre and killed the gold fishes and stunned the canaries all the way out to the packing plant where even the iron gates trembled." So said an exuberant newspaper reporter in Omaha. Nebraska, following a performance by the young trombone virtuoso Arthur Pryor. A later performance in Kansas City almost caused a riot when many in the crowd misunderstood Cries of "Pryor Pryor for "fire, fire." And so it went through the years when the Boy Wonder from Missouri was the featured star of John Philip Sousa's famous band. Though Pryor gave up active public performance while in his forties. his activities as bandmaster and composer kept him in the public eye for most of the rest of his life. A household word for some three decades, Pryor's Band was second in fame only to that of Sousa's. Virtuoso performer. conductor, composer, arranger, teacher, and author, Arthur Pryor was, and continued to be, a major influence in American musical life. Arthur Willard Pryor was born on September 22, 1870, on the second floor of the Lyceum Theatre, St. Joseph, Missouri. His father was the bandmaster of the town, and the family was living at the Theatre. Arthur was the second son born to Samuel D. -
Summer 2013 and Music Club Snape and Potiphar’S Apprentices
NNootteess The Newsletter of Readifolk Issue 18 Reading's folk song Summer 2013 and music club Snape and Potiphar’s Apprentices. You can read all about these me two acts, as well as all the other artists who are appearing at Welco the club during the coming quarter, in the preview section on pages 4 and 5. to another Readifolk Do make a special note of our Grand Charity Concert on 14 newsletter July which features our very own band Rye Wolf. Rye Wolf play a mix of traditional and selfpenned songs in true folk style and Rumblings from the Roots are rapidly making a name for themselves in the local area and further afield. The concert is in support of the local community Welcome to the Summer edition of Notes. radio station, Reading4U, which is of course where many of the band performers and others from Readifolk broadcast the Once again our editor has managed to put together a weekly Readifolk Radio Show (Friday evenings 6 8 pm on newsletter packed with interesting articles and information www.reading4u.co.uk). Reading Community Radio is run which we hope you will enjoy reading. We thank all of the entirely by volunteers there are no paid employees, and it contributors to this issue of Notes for their considerable efforts. relies on donations, sponsorship etc. for its funding. We hope that with your help this concert will be able to make a sizeable As usual you will find on the back page the full programme of contribution to those funds. events at Readifolk during the next three months. -
Highlights in This Issue
HIGHLIGHTS IN THIS ISSUE: Jim Cullum talks about Bobby Hackett Woody Herman part of 1945 in review Obscure Kitty Kallen lyrics revealed FIRST-CLASS MAIL U.S. POSTAGE PAID Atlanta, GA Permit No. 2022 BIG BAND JUMP NEWSLETTER VOLUME 104______________________ BIG BAND JUMP NEWSLETTER MAY-JUNE, 2006 JIM CULLUM TALKS professional musician. ABOUT BOBBY HACKETT His early career involved playing guitar and violin in hotel ballroom bands in Providence, Boston and Syra The Background cuse, but by 1933 he was play ing cornet with a trio at Jim Cullum, of RIVER- WALK Boston’s Crescent Club. By JAZZ public television fame 1936 he was specializing on was a friend of Bobby comet, and by the next year Hackett’s and as such was had moved to New York City. able to give us some valuable He was almost immediately insights into Hackett’s per in demand in the new York sonality and background. We Studios, but his bread-and- intersperse his comments with butter jobs were with society additional biographical in bands such as Lester Lanin formation about Hackett's and Meyer Davis. He worked varied career and remarkable briefly with Horace Heidt and achievements. led his own group at Nick’s and the Famous Door on 52nd The Story street. BBJ: Cornetist Bobby Even though Bobby Hackett Hackett was one of appeared often in studio ses those performers loved by sions arranged by jazz critic everyone, not only for his cor Leonard Feather and fre net virtuosity but for his gentle quently with Eddie Condon, demeanor. Over the years he played nearly every kind what was to become his most visible performance in of music including small group dixieland, Big Band those years was a salute to Bix Beiderbecke at Benny swing and romantic easy-listening music.