About Sandy Rodriguez

Digital Special Collections Coordinator, LaBudde Special Collections, UMKC.

Slave state or free state?

This map from LaBudde Special Collections shows again just how exciting and historically interesting maps can be. Drawn in 1851 and published in 1854, the map shows the state of Missouri as well as the area to its east: the highly contentious Nebraska territory, with no sign of Kansas as yet. The westward drive for expansion and the building of railroads meant that there was a lot of pressure to develop the territories.

There was a fight about whether Nebraska would be a slave state or free state. Congress fought like cats in a bag over the issue. Finally in 1854, in defiance of the Missouri Compromise and not without much animosity, the Kansas-Nebraska Act was passed which created the two territories, and launched us well on our way to the Civil War. This map captures the region just on the brink of all of that. Add in the Missouri counties census figures from 1840-1850 of freedmen and slaves included on the map and you have a dynamic portrait of a regional crisis about to explode on the national scene.

Garth Tardy, Library Specialist, Special Formats

The more things change…

Harry S TrumanIn light of the recent debt ceiling showdown within the federal government, the continuing gridlock in Congress, and the increasing popularity of the Occupy Wall Street movement, it is important to remember that America has fought this same type of ideological battle many times before. Perhaps the most relevant historical examples for our own situation are the administrations of Franklin Roosevelt and Harry Truman. In the Arthur B. Church KMBC Collection, there are many speeches available for listening from this period. I’d like to focus on one in particular, a national address given by President Truman on 13 July 1949. It’s startling to hear the connections to our own time. Here is an excerpt from the speech. [audio:http://info.umkc.edu/specialcollections/wp-content/uploads/2011/10/2011-10-24_TrumanOnEconomy_Church_truman.mp3|titles=Truman on the Economy]

Consider the scene in July 1949: still fresh from World War II, less than one year from our foray into Korea, right in the middle of the Alger Hiss saga. Unemployment is high due to the influx of veterans and young people newly arrived to the American workforce, and the growth of the economy has slowed down significantly. In the midst of this, Truman is fighting a battle over the budget, a battle that extends back to the 80th Congress, called the “Do-Nothings” in a completely non-affectionate way by the President. At issue are government spending and the national debt. What to do about it is an answer that, clearly, we still haven’t figured out.

Truman, perhaps not the most gifted orator (especially when compared to his predecessor), is nonetheless appealing because a) he’s folksy and b) he sounds furious. He is the last president without a college education and that simple fact adds to his appeal, in this writer-with-crippling-student-loans’ opinion.

The speech itself is compelling because it may as well have been given last week. Confronting what he considers backwards logic from people with “selfish interests,” Truman argues that the worst things to try and cure a slow economy are cuts in spending or cuts in taxes. Instead, the government should increase revenues and spending in an effort to stimulate growth and reduce unemployment, and focus on deficits down the line. For a guy with no college education, he sounds suspiciously like numerous economists today.

It is interesting to note here, as with many historical documents, the ideological shift of the country’s two primary political parties over the years. Truman was a Democrat in many ways that are familiar to us today: expansion of the New Deal programs, increased regulation, etc. But it is fascinating to hear him argue with great vehemence for substantial military spending, a position that sounds much more like the Republican Party of the post-9/11 universe. Did he know that there would be an upcoming engagement across the world at that time? It’s hard not to assume so; there were certainly plenty of skirmishes at the 38th Parallel in Korea at the end of Chinese Civil War and through the remainder of 1949.

Most people are familiar with George Santayana’s quote “Those who cannot remember the past are condemned to fulfill it.”  Perhaps as many as are familiar with Carlos Santana’s quote “I don’t actually speak <insert guitar riff here>.” When it comes to matters economic, it is hard to tell if our current lawmakers remember Santayana’s exhortation about the past, or Santana’s smash hit “Smooth” featuring the dulcid tones of Matchbox 20’s Rob Thomas for that matter! It is somehow both comforting and disconcerting to know that we’ve struggled with these same issues, frankly, since the birth of our nation: comforting because America may have reached its zenith in the decades after this speech; disconcerting because we’ve come full circle–and then some–and still don’t know what to do.

Erik Klackner, guest contributor

To access the complete recording, you may request part 1 and part 2 from the Marr Sound Archives.

Norman Corwin, radio legend dies at age 101

Norman CorwinOn October 18, Norman Corwin, radio’s “poet laureate,” died at his home in Los Angeles at the age of 101. Corwin was inducted into the Radio Hall of Fame in 1993 for his work as a writer, director and producer of radio plays for CBS. The Los Angeles Times has a wonderful obituary which highlights his long career and there’s a nice video tribute worth watching on YouTube (below).

In May of this year, I had the pleasure of attending a live performance (complete with sound effects) of his radio play, “The undecided molecule” in which Corwin himself was in attendance! It was truly an amazing experience. If you haven’t listened to the works of this gifted writer, you can request do so in the Marr Sound Archives. Click here for a list of Norman Corwin radio plays and other works held in Miller Nichols Library.

Sandy Rodriguez, Special Projects Catalog Librarian

Harry Jenks, as remembered by a friend

City Limits by Terry TeachoutIn the Arthur B. Church KMBC Radio Collection, there are a set of recordings plainly titled “Harry Jenks.” The sound of Harry Jenks usually falls between the realms of classical organ or jazzy piano, and there is little that can be inferred about the man based on his music outside of the fact that he was a talented musician. It wasn’t until an internet search revealed City Limits, a memoir written by Terry Teachout, that we meet the real Harry Jenks. Teachout reserves an entire chapter for the man that he describes as his friend, “a man of a singular sweetness of character [but] wholly lacking in personal ambition.”

Teachout met Jenks through a personal friend while Jenks played at Shakey’s Pizza Parlor in Independence, Missouri. He had been a part of the Kansas City Jazz scene for many years, but as his eyesight started to fail he entered a sort of semi-retirement, only playing a few shows among old friends. Before their acquaintance, Jenks had a productive career in music. He served as the entertainment director of a troop-transport ship in the merchant marine during World War II. After the war, he worked for KMBC as a staff pianist until the station no longer employed musicians. He later became the organ player at the Royals Stadium and continued to play there until he could no longer read the scoreboard.

The strongest character trait that Harry Jenks had, according to Teachout, was his humility. Teachout admits that he himself struggled to understand why such a talented jazz musician like Harry Jenks never produced a single record. Jenks considered himself a “commercial” musician, able to play whatever the audience requested, but never pursued fame. In fact, he rejected it in many ways. Teachout describes an episode where he set up a local gig, but Harry pulled out three weeks before the performance claiming that he was having company and was too busy to make it.

It wasn’t until Harry Jenks’ old age that he and Teachout finally discussed making a record. Unfortunately, Jenks passed away from a bleeding ulcer before his first record could be made. In his book, Teachout remembers his good friend as a man of an older and more humble generation of artists, and wonders how many other brilliant musicians in cities like Kansas city were unknown, yet content. We can gladly say that are helping to preserve the memory of Harry Jenks and his jazz music for posterity’s sake.

Click here for a complete list of Harry Jenks’ music from our Arthur B. Church KMBC Radio Collection.

Chistina Tomlinson, KMBC Project staff/History (MA) student

Miss Liberty goes to town

“My, the fresh air is wonderful,” says Ulysses S. Grant to the Statue of Liberty as they exit Grant’s Tomb. “Say now, the first thing we might do ma’am, is to step across the street into that bar.” “Well, perhaps just one little drink Ulysses, but later,” Miss Liberty replies.

This is not the beginning of a joke. It is part of the radio play Miss Liberty Goes to Town, written by Norman Rosten for the series “Treasury Star Parade.” This series, which ran from 1942-1944 on over 800 radio stations across the U.S., was produced by the Treasury Department in order to help stimulate the sale of war bonds.

Many of the plays in this series use harsh realism to press the need to buy war bonds. In one play, Paris Incident, Bette Davis plays a French woman defying the Nazis. She is whipped when found out, the strikes forming the percussive rhythm to the musical score. However, in Miss Liberty Goes to Town, fantasy is used to create an entertaining plea for generous giving.

In this radio fantasy, Miss Liberty gets tired of staring out to sea, and to the surprise of nearby airplane pilots and the passengers on the Staten Island ferry, she shrinks down to human size and hales a cab. She wants to go somewhere historical that she remembers when she first came to America. The taxi driver suggests Grant’s Tomb. Here she wakes the ghost of Grant. They make introductions. The general ghost tells the lady statue that she still looks good, “a little tarnished,” but still good. The lady statue explains why she left her post, “I want to see what is going on behind my back, Ulysses. I keep looking out to sea all the time, and sometimes I wonder if the people behind me are the same. If their still worthy of the torch I hold aloft for them.”

They stroll for a few minutes on Riverside Drive, and the Statue of Liberty is satisfied that people are still patriotic enough. The strange couple sees women working at a manufacturing plant proudly making shell casings. They pass a long line of men waiting to buy war bonds (this really convinces her). Before they part Grant proposes they continue to see each other.

“Miss Liberty,” he solemnly begins, “I’m a man of few words. I kind of took a fancy to you today. Neither of us is getting any younger.  Will you marry me?” She politely turns him down.

Miss Liberty Goes to Town is a good example of the imaginative thinking and persuasiveness that produced some of the best radio in American history. Hopefully, this will spark some more interest in the vast collection of historical radio recordings that make up the J. David Goldin collection at UMKC. And, it shows us two main ways that we can approach this collection.

First, the men and women involved in producing these historic recordings were artists–artists in imagination and persuasion–artists in sound. Listening this way encourages aesthetic and analytical approaches to the works as pieces of art. Secondly, these recordings are history. History captured on discs, straight from the mouths, hands, and minds of the people of the time. When we drop the needle, a little of that history comes alive in the air around us and gives us an invitation to understand the culture and times that produced it. Good listening!

Troy Cummings, guest contributor

Woo me with your golly poop

The KMBC Texas Rangers with their golly poopsEv’rybody come on down! Our very own Fran Mahaney, affectionately known as Irish, will serenade you with his romantic melodies. Herbie Kratoska, Arizona as we call him, will grab your attention with his fast-playing banjo skills. Good luck keepin’ up with him! How can anyone resist the “hottest guitar player this side of Half Day, Illinois”? That’s right folks, the boys are in town.

What? No, they’re not Country Music Television’s latest stars! They’re members of a popular novelty musical group from the good ol’ 1930s and 1940s. They are the “Gentlemen in White Hats,” the Texas Rangers of KMBC and CBS.

Browse KMBC’s promotional portfolio for the Gentlemen in White Hats for an entertaining introduction to the eight-man group, not to mention “one of the sweetest quartets on air.” Their musical performances offer a variety of tunes for listeners, including western ballads, contemporary songs, Latin tunes, novelty numbers of a hillbilly nature, as well as hymns, solos, and instrumental interludes. Regardless of one’s personal tastes, the Texas Rangers offer something entertaining for everyone.

Marketed nationally by Arthur B. Church Productions as having the “largest established audience for any musical group of its type [and time period] in America,” Texas Rangers’ music carried melodies and sponsors’ messages from coast to coast. The boys were nationally celebrated. Irish and Arizona, along with their bandmates Tucson, Rod, Tenderfoot, Pappy, Joe, and Captain Bob, collectively played a total of 20 different instruments. Such talent easily attracted lucrative sponsorships, and over the years the Texas Rangers advertised for several national brands including Wrigley’s, Kellogg, and Camel.

Among the more unique instruments in their saddles was the ocarina, a “musical sweet potato.” Of course, to the Texas Rangers, it was the “golly poop.” It came in various colors, sizes and sounds, but always guaranteed a laugh. If the name has piqued your interest, listen to the boys put on a golly poop performance for a fan on the Musterole and Zemo audition. [audio:http://info.umkc.edu/specialcollections/wp-content/uploads/2011/10/2011-10-04_TexasRangers_Church_kmbc-850.mp3|titles=Hand me down my walking cane]

The boys sure are a fun time to be had. Luckily, the Arthur B. Church KMBC Collection is home to an extensive range of Texas Rangers entertainment, including radio programs like Life on the Red Horse Ranch and the Texas Rangers Transcribed Library, a massive collection including over 300 individual selections.

Click here to see our collection of Texas Rangers favorites.

Chadi El-Khoury and Christina Tomlinson, KMBC Project staff

Heavenly compositions

Earlier this spring UMKC Sound Design student Daniel Warneke worked on a project that resulted in a music box disc for the Marr Sound Archives’ Stella machine, based on the constellations as they appeared above the Library on Jan 1, 2011. Here’s the amazing video:

2011-09-30_Stella_Event_Posterimage cropped

The Reverend Dwight Frizzell, Daniel’s professor, has subsequently created a musical composition based on the disc’s contents, and it is slated to be performed as part of the UMKC Conservatory/Art Institute partnership “Art/Sounds.” Tuesday, October 11 is the day, 7:30 p.m. the time, Epperson Auditorium on the Art Institute Campus is the place. Click on the image below for further details. Should be a truly cosmic evening for all in attendance!

Stuart Hinds, Director of Special Collections, UMKC Libraries

 

 

Border War map tells a story

At first glance a map can seem a rather dull thing. Surely a map holds only the driest of data? Not so the map from the Miller Nichol’s Special Collections titled “Johnson’s Missouri and Kansas.” At first glance it’s a rather typical map showing squares and boxes, squiggly lines for rivers and railroads and all the usual map things. There are even a few black and white drawings of wagon trains and Native Americans to spruce the map up a bit. Then when you realize the map is from 1860 the drawings take on a new significance. These are drawings of what was current life for people on the frontiers of Missouri and Kansas. Add to that the building struggle between the free and slave states and Missouri and Kansas’ imminent Border War the map takes on a whole new life, steeped in frontier living, the movement Westward and the politics leading up to the Civil War.

This map has yet more value to researchers than just the images. When the map is turned over it shows that it had been detached at some point from a larger publication titled “Historical and Statistical View of the United States 1860”. Sounds dull right? Not so! Statistics for populations of White, “Freed Coloreds” and Slaves are given, county by county for 1860 as well as for each census year available for the following states: Indiana (partial), Iowa, Kansas, Kentucky, Louisiana, Maine, Maryland, Massachusetts, Michigan, Minnesota and Mississippi (partial). Slavery statistics are hard to come by and this map unexpectedly provides a treasure trove of information. Being from Maine originally, I was intrigued to see that while there were no slaves in my home county of Aroostook (slavery having been outlawed in 1783) there were 26 freed slaves living there. As well as the fact that census data shows that between 1830 and 1840 two slaves were counted. One begins to wonder who owned them, what business the slave holder had in Maine and why he left. The numbers start to become real people. The fact that such data is given at all on such map probably indicates a strong Abolitionist view on the part of the publishers. Research material can come from many unexpected places and this map is certainly one of those rare gems.

2011-09-27_Missouri-Kansas_MapBack1(000-back01)2011-09-27_Missouri-Kansas_MapBack2(000-back02)

 

 

 

 

 

 

 

Garth Tardy, Library Specialist, Special Formats

Eat, drink, and remember

2011-09-21_KCmenus_Exhibit_washington-street-stationcroppedFeeling peckish? Too early for lunch? You can now at least feed your imagination by taking a gander at the newest exhibit on the Ground floor of MNL, “Bookbinder Soup, Steak Diane, and the Daily Madness: Menus from Bygone Kansas City Restaurants”!

Featuring a variety of menus from an array of eateries that were around in the mid-70s through early 80s, the exhibit serves an additional purpose than merely whetting viewers’ culinary recollections – it also helps promote the Libraries-sponsored Book Discussion Group that is reading Fast Food Nation in conjunction with the Office of Diversity, Access, and Equity’s annual Social Justice Lecture. Eric Schlosser, author of FFN, will be on campus Tuesday, Nov 1, and our Book Discussion Group, led by the inimitable Scott Curtis, will be held in advance of that lecture – Wed, Oct 26, from 3-4:30 in Room 303, to be precise!  The perfect opportunity to highlight some gastronomic blasts from the past from LaBudde Special Collections. Bon appétit!

Stuart Hinds, Director of Special Collections, UMKC Libraries

“Tune Chasing” the past

KMBC Tune ChasersEvery fall and spring since 1989, Johnson County Community College holds the Ruel Joyce Recital series. Offered as a free event for the public, the series brings together local classical musicians from the KC Metro area for a low-key performance. The series was created to honor Ruel Joyce, remembered by many as a talented classical musician and head of the local musician’s federation from 1977 until his death in 1989.

What the public seems to have forgotten is that Ruel Joyce was also a member of the Tune Chasers, a musical group featured often on KMBC radio. Any sampling of the Tune Chasers would demonstrate their versatility as performing artists. The majority of their sound is of a classical or jazz-like nature, but include uncommon instruments like the xylophone and washboard. They covered a number of popular folk songs and silly novelty numbers like “Grandpappy (He’s a champeen a-spittin’ down a crack).”

Additionally, the Tune Chasers contributed to the war effort in the 1940s by singing upbeats songs like “Shut my mouth (for Uncle Sam),” “There’s a helmet on my saddle,” and “Little Bo Peep has lost her jeep.” During the height of their popularity at KMBC, they not only had their own time slot every week, but they also guest starred on other KMBC programs like “Night time on the trail.”

The members of the Tune Chasers also played what I consider to be an abnormally large number of instruments. Ted Painter played double bass, guitar, and banjo. Vaughn Busey played the clarinet in virtually every song, but also played the sax and drums. Our friend Ruel Joyce played double bass, guitar, and sang vocals. The leader of the Tune Chasers, Charley Pryor, played drums, vibraphone, xylophone as well as a customized musical washboard. Playing nine instruments between its members, it is clear that the Tune Chasers had talent.

So why doesn’t anyone remember them? Perhaps their largely instrumental repertoire was a factor. The Tune Chasers played a number of local gigs in the KC Metro area, but don’t seem to have headlined any of them. Very little evidence of the Tune Chasers exists outside of their musical collection. Among the little bit of evidence we have found is a concert review from the February 18, 1948 issue of Variety Magazine. In the review, the Tune Chasers played at an outdoor concert that flopped. At $1 a head, the concert barely made $2000. Further, it seems that the members didn’t go on to bigger things after the Tune Chasers. The only name that actually makes a hit on the internet these days is Ruel Joyce, and that is only because of the local recital series. It’s rather
depressing: a truly talented musical group fades away over the years until all that’s left is a music festival, and the event description doesn’t even mention the group name.

Click here for a listing of Tune Chasers music in the Marr Sound Archives.

Christina Tomlinson, KMBC Project staff/History (MA) student