Phenomenon: Traveling back in time to the 1930’s

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65 episodes of Ted Malone’s radio serial Phenomenon are available to researchers at the Marr Sound Archives via the Arthur B. Church KMBC Radio Collection. Malone’s personal collection of photos, manuscripts, and correspondences is held in LaBudde Special Collections.

“Wanted: a human life. Will pay $1,000.00.”

This is the ad that sends the hero of Phenomenon (story by Ted Malone and offered by Arthur B. Church’s company Midland Broadcasting Company) on the beginning of his many adventures through time.

Time travel is a concept that has been in the public since H. G. Wells first wrote The Time Machine in 1895 and it has been a staple of science-fiction ever since. While today we are constantly hit with the idea (Dr. Who, Back to the Future, Groundhog Day, Interstellar), it was still a fresh concept in the early half of the 20th century. Phenomenon ends up being something between a science-fiction series and a 1930’s time capsule. Buck Rodgers had just made his appearance a few years before, so science-fiction was on the minds of the young and inspired their imaginations

The modern setting for most of the story takes place in the office of Dr. Light, the inventor of the anachrophone. This is the device that allows the hero of the story, Jerry Powers, to travel back in time by harnessing radio waves. Throughout the show Jerry travels to several locations and historical time periods almost always finding himself in the middle of some major event of that time.

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Queen Cleopatra (pictured) appears in episodes 5-7 of Phenomenon, an original KMBC Radio production. Photo Courtesy the Arthur B. Church KMBC Radio Collection at LaBudde Special Collections.

Some examples include Cleopatra’s Egypt, the Salem Witch Trials, the Boston Tea Party, and the building of Solomon’s Temple. Jerry has all the makings of the typical hero. He’s bold, witty, overly confident, and always manages to find his way out of a tight spot. It’s where some of the other characters are involved that you begin to remember you’re listening to a 1930’s radio program.

Dr. Light’s daughter Katherine and their Chinese servant Charlie Wong very much get the stereotypical treatments of the time. Katherine is highly naïve and often treated as a second-class citizen. She is barely in the show for five minutes before you realize her duties are to do chores, flirt with Jerry, and be corrected. She is also very often told by Jerry when she is interrupting his and another male character’s conversation.

[audio: http://info.umkc.edu/specialcollections/wp-content/uploads/2015/02/katherine.mp3|titles=Katherine’s Entrance|artists=Phenomenon Program No. 2]

Charlie Wong’s character is nothing short of a racial slur with his fast, hard to understand, and often childish sounding speech. Both remind you of the time in which the show was produced and unfortunately this continues into the introductions when sometimes the announcer will refer to electricity as a maid (or even a slave) who washes, cleans, and cooks for you.

[audio: http://info.umkc.edu/specialcollections/wp-content/uploads/2015/02/Phen_Lincoln_03.mp3|titles=Phenomenon Introduction|artists=Phenomenon Program No. 49]

It is important to point out that the main drive behind Phenomenon was to sell electricity to the public, a fact that the Midland Broadcasting Company made no attempt to diminish stating, “It entertains, it educates, it sells every member of the American family” right on the second page of their booklet about the program. This sentiment continues within the program itself almost every time the announcer begins each show often stating how much electricity can and is doing for the home. A more focused look on this aspect is found in Christina Tomlinson’s entry, “Phenomenon: Electrifying history, but not advertisers” on the Labudde Special Collections Blog.

The unfortunate result is that it’s hard to look past these and see the show for what it is at its core. They need to be taken with a grain of salt, however, and seen for what they are: a product of their time. It’s important to step back and try to look past them and listen with the ears of a 1930’s listener. Most of those things were common place and, though unfortunate, wouldn’t have distracted from the show and the program does offer some magical moments; my personal favorites were the pair of episodes that had Jerry Powers walking and talking with Abraham Lincoln through camps during the civil war (episodes 49-50). Phenomenon is not the Doctor and his companions traveling through time and space and righting wrongs but to people of the first half of the 20th century it was most likely an exciting experience and possibly sparked the imaginations of many as science-fiction has continually done.

[audio: http://info.umkc.edu/specialcollections/wp-content/uploads/2015/02/Phen_Lincoln_01.mp3|titles=A story from Abraham Lincoln|artists=Phenomenon Program No. 50]

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Tales from the Archives: Happy Hollow is a Real Place

In October 2012, the Marr Sound Archives completed an 18-month National Endowment for the Humanities grant to catalog and preserve the nearly 3,000 broadcast recordings in the Arthur B. Church KMBC Radio Collection. Please enjoy this series of anecdotes recounting the unusual discoveries and amusing happenings in the course of working with this collection.

This is the third in a series of Tales from the Archives.

Happy Hollow is a Real Place

Happy Hollow cast

Happy Hollow cast and others, including Brookings Montgomery, outside entrance to Pickwick Hotel at the start of troupe’s European and African tour. Credit: Missouri Valley Special Collections, Kansas City Public Library, Kansas City, Missouri.

Rural programming was pretty common in the 1930s and ‘40s, and KMBC had its own in the town of Happy Hollow which gave listeners a peek into the daily lives of Aunt Lucindy, Uncle Ezra, Harry Checkervest, George Washington White (their own blackface character), and other town folk, along with musical interludes by the Humdinger Quartet.The program’s creator, Ted Malone, would have a long and successful career in radio broadcasting, mostly known for his storytelling and poetry reading, and as we later discovered by going through his fan mail,  he was very popular with the housewives…in an uncomfortable way.

Listeners engrossed in the goings-on of Happy Hollow could find out more by subscribing to the newsletter Happy Hollow Bugle. We came upon the newsletter when I sent my most enthusiastic student upstairs to Special Collections to see if he could find out more about the program, specifically, what radio actors were cast in the various roles. My instructions were simple: Look over the finding aid and pull whatever seems like it might contain some information about the show. I figured this wouldn’t take long since there didn’t appear to be much in the Church-KMBC Collection finding aid. About ten minutes in, I received a phone call from my very excited student telling me that one of the Special Collections staff pulled a newsletter called Happy Hollow Bugle from the Ted Malone Collection, and that there was all kinds of helpful information in it. Relieved that he had found something useful, I instructed him to gather up the relevant data for identifying the characters in the show.

Over an hour passed by, and just as I was beginning to wonder what was going on, he walked in. I saw him from a distance, all wide-eyed, headed straight toward me clutching a pencil and papers in his left hand, and I thought, “This is it. He’s going to tell me how he hit the jackpot of details on this show, and I might even be able to establish some names in the authority file.” He had spent an hour and a half in the archives, after all. But instead, he approached and exclaimed, “Happy Hollow is a real place!” As I was laughing (hard), he proceeded to tell me about the legal troubles that Uncle Ezra had found himself in, how some of the townsfolk had traveled to Africa, and other documented occurrences that had convinced him of its realness.

Tried and tried as I might to crush his new-found beliefs so suddenly (e.g., “So there’s just a guy in town who likes to walk around in blackface?”), he remained convinced and I remained amused. The good news: we were able to identify some of the actors. In fairness to my student, the cast of Happy Hollow and other KMBC stars did tour Europe and Africa. Kudos to KMBC for blending fiction and reality in their marketing so effortlessly. They had at least one person convinced 80 years later!

Find out more about the Church-KMBC collection.

The Storyville Jazz Portraits by Johannes Vennekamp

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Billie Holiday, Voice, Johannes Vennekamp

The Marr Sound Archives handed me an uncatalogued box set containing 12 CD’s from the Norman Saks Collection. Each disc contains a compilation of works featuring a single jazz musician in an ensemble. I opened the linen-covered box to find not only the 12 CD’s inside but also a linen folder with 12 mind-blowing art prints by artist Johannes Vennekamp.

Vennekamp depicts the face of each of the twelve artists in pen and ink sketches with some additional coloration. Upon closer observation, the staffs, notes, clef signs, geometrical lines, and instruments depicted around and across these faces all indicate the mental processes associated with a musician’s performance style. Performers must adjust their pitch, dynamic level, and rhythm to blend and balance with the rest of the ensemble while simultaneously playing or singing the correct notes in the correct key and time signatures.

Then add to this process what the mind of a jazz performer must use in order to accomplish the additional tasks required of improvisation. These additional tasks require the musician to not only be in the current performance moment, but to also be thinking ahead to how he or she is going to serve up their variation of the melody in solo form. Their mind is now split between the current moment and a future moment in which notes should be bent, melodic phrases should be played louder or softer, a jazz scale of that key should allow an attractive solo within the melodic line, and rhythmic changes should be accomplished without losing the rest of the accompanying ensemble members.

How does one depict this mental process in artistic form?

Take the Sidney Bechet print as an example: The music staffs and notes are above, across, and below his face. The music rising from his saxophone ascends, bends and twists together like smoke rising from a familiar cigar. Or maybe the music descends from the white light of music above his head in a waterfall of splashing tones and rhythm. The music is so imbedded in his soul that it even comes out as wrinkles in his forehead.

Sidney Bechet, Sax, by Johannes Vennekamp.

Sidney Bechet, Sax, by Johannes Vennekamp.

The next example is the pianist Art Tatum’s print: Art’s mind is divided precisely by geometrical arrows of rhythm and yet the lines of music around his head are bent. The collar of his suit jacket is a treble clef staff. The picture ends with a whimsical man whose body is yet another staff. The words in German across the bottom state, “So it is.” So it is that the music will be bent and whimsical while following the rules of time and key signature.

Art Tatum, piano, by Johannes Vennekamp

Art Tatum, piano, by Johannes Vennekamp

Coleman Hawkins’ portrait depicts him taking a break from playing, with a sideways glance back to the ensemble. The bent lines around his cheeks and ears not only demonstrate that he’s listening, but that he’s pleased with what he hears. To me, the word “Zeit” (“time” in English) and the “f-hole” of the bass with the bent arrow beside it denotes that he’s listening to the drummer and bass player set him for his solo.

    Coleman Hawkins, sax, by Johannes Vennekamp

Coleman Hawkins, sax, by Johannes Vennekamp

 

We’ll end with Ben Webster’s portrait. With each bent staff around him there are the words “fire, air, water, earth.” It’s as if Ben is calling forth all of the elements of the universe to accomplish his statement made through his improvised solo.

Ben Webster, sax, by Johannes Vennekamp

Ben Webster, sax, by Johannes Vennekamp

I don’t know if all of the details of these portraits can ever be absorbed, but isn’t that just like trying to improvise a melodic line? It’s always new, never predictable, in the moment yet beyond the moment. These portraits depict jazz precisely.

To see all of the portraits, feel free to come by The Marr Sound Archives and ask for “Masters of Jazz, vol. 1-12” on Storyville Records. Listen to the music as you study the portraits. You won’t regret it.

Vicki Kirby catalogs special formats metadata for UMKC Libraries.

Martin Luther King, Jr. on the Concept of Black Power

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Martin Luther King, Jr. appeared on Insight, a WDAF news program hosted by Walt Bodine (left) and Bill Griffith (right), shortly after he penned his “Letter from Birmingham Jail” in 1963. Photo Courtesy: The Walt Bodine Collection at LaBudde Special Collections. Photographer unknown.

 

Walt Bodine paid tribute to Martin Luther King, Jr. on WHB Radio’s Night Beat, shortly after the civil rights leader’s tragic death in 1968. The following clip illustrates King’s interpretation of the concept of Black Power.
[audio: http://info.umkc.edu/specialcollections/wp-content/uploads/2015/01/MLKWB.mp3|titles=Audio appears courtesy of the Walt Bodine Collection at Marr Sound Archives.|artists=Martin Luther King Jr. on the concept of Black Power]

Tales from the Archives: The Stampers Under the Stairs

In October 2012, the Marr Sound Archives completed an 18-month National Endowment for the Humanities grant to catalog and preserve the nearly 3,000 broadcast recordings in the Arthur B. Church KMBC Radio Collection. Please enjoy this series of anecdotes recounting the unusual discoveries and amusing happenings in the course of working with this collection.

This is the second in a series of Tales from the Archives.

The Stampers Under the Stairs (Not Surprisingly, Full of Spiders)

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Stampers in original crates. Spiders, too. Credit: Arthur B. Church KMBC Radio Collection, Marr Sound Archives, University of Missouri-Kansas City

Shortly after I had hired the project students, I received that news that we all dread hearing. It goes something like, “Oh, by the way, we found a bunch more stuff that belongs to that collection you’re cataloging for that grant.” Ours was more like: “Oh, by the way, we found a bunch of metal stampers at the bottom of a stairwell. I think there’s about 1,000 of them, and they all belong to the KMBC collection.” Actually, it was exactly like that (and there were 1,400 of them). But since I’m always up for a challenge, I came up with a workflow, drew up some guidelines, and unleashed one of my deadliest students. She was a quick-witted graduate Public History major armed with a vast knowledge of home health remedies, construction cleanup experience, and a nice Southern accent with a “no bull” attitude who drank her French press coffee black. She was perfect for the job.

I often walked into the dusty space she was working in to check on her. I felt bad for subjecting her to all the dust and forcing her to handle the heavy stampers, but she didn’t complain much about it. She had accepted the job and planned on doing it right. As it turns out though, some complaint was warranted. About two weeks in, I received a call from the head of the sound archive informing me that they had sent the student back upstairs and she was forbidden to re-enter the space until it had been bug bombed. I was confused. What had happened? Apparently, when asked how things were going, the student casually mentioned the brown recluses crawling out of the crates. That generated an appropriate response of alarm and concern for the safety and health of the student and the archives staff. Her response: “I was just killin’ ‘em with two by fours. I had planned to keep killin’ ‘em.” Like I said. Deadly.

Find out more about the Church-KMBC collection.

Warmest Wishes for 2015

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Unidentified band wearing novelty fur costumes with hoods, c. 1920s (Pla-Mor Ballroom Photograph Collection)

In the midst of frigid temperatures here in Kansas City, the staff of LaBudde Special Collections and Marr Sound Archives offer our warmest wishes for the new year…no matter what your style may be.

The Association for Recorded Sound Collections Seeks New Members

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Why should you join The Association for Recorded Sound Collections? Subscribe to the ARSC recorded sound discussion list and get your questions answered or check out the ARSC YouTube page for more insights into the organization’s benefits.

While brushing up on editing skills and best practice for video preservation, I had the opportunity to complete a video project for The Association for Recorded Sound Collections (ARSC) in conjunction with their 2015 membership recruitment drive.

The videos, now on the ARSC Youtube page, feature ARSC members delivering personal testimonials, encouraging interested parties to join up with the organization. Being an ARSC member myself, I was able to utilize my connections to gain professional experience and enhance my resume.

Joining a professional organization, such as ARSC, can be critical for graduate students and professionals alike. Here is a glimpse into their mission:

The Association for Recorded Sound Collections, Inc. is a nonprofit organization dedicated to the preservation and study of sound recordings – in all genres of music and speech, in all formats, and from all periods.

Founded in 1966, ARSC is unique in bringing together private individuals and institutional professionals. Archivists, librarians, and curators representing many of the world’s leading audiovisual repositories participate in ARSC alongside collectors, dealers, researchers, historians, discographers, musicians, engineers, producers, reviewers, and broadcasters.

Supplementary education for audio-visual specialists and students is key to professional development as well as networking with individuals in one’s field of choice. For instance, The Association of Moving Image Archivists (AMIA) may be a good fit for film and video specialists whereas The Society of American Archivists (SAA) would benefit archivists of all kinds.

ARSC, however, is geared toward audiophiles, record collectors, and individuals who work with audio materials. ARSC members receive the ARSC Journal and Newsletter, discounted registration fees for the annual conference, as well as access to past conference recordings via the homepage.Topics from the 2014 conference ranged from southern folk music, to new open source preservation tools, to metadata, metadata, metadata.

Here’s a pitch from LaBudde Special Collections’ Metadata Librarian and Chair of the ARSC Membership Recruitment Task Force, Sandy Rodriguez:

arscjoin_now_redlabel

Sound Archives Expand Services to Video Preservation

alaadeenSeveral months ago, the Marr Sound Archives purchased a shiny new Mac Pro with intentions of preserving the numerous video tapes held in some of our most noteworthy collections. With the assistance of Adobe Production Suite, a Black Magic Studio Pro, and a Panasonic AG-DS850p Video Cassette Recorder, we plan to digitize our degrading VHS and S-VHS collections. Upcoming video preservation and digitization projects include video footage from the Ahmad Alaadeen, Jay McShann, and Ruth Rhoden collections, among others.

Before we proceed, however, there are a number of factors to consider in the realm of video digitization standards as we document our procedures. Some colorfully hypothetical questions arise as a result.

“Frame rates, aspect ratios, bit depth, metadata… Video capture is so much more complicated than audio. Where do I start?”
“What’s the difference between a multimedia container and a codec? I thought they were the same thing!”
“How much digital storage should I procure for my digital video collection? Will it fit on this flash drive?”
“What makes my files lossless? Of course they are! I can see them right here on my desktop!”
“What makes something born-digital? If I was born in the 1960s, does that make me pre-digital?

Of course, the majority of these ridiculous questions may be answered with some simple independent research or even a shallow Google search. Doing so would reveal that best practice for video preservation depends on the quality of the source and the digital needs of the archive.

Marr Sound Archives has begin preserving VHS and SVHS cassettes from the Ahmad Alaadeen Collection.

Marr Sound Archives has begun preserving VHS and SVHS cassettes from the Ahmad Alaadeen Collection.

For example, the uncompressed, non-proprietary audio file format, Broadcast Wave Format (BWF) has become the standard for audio preservation. Video formats, on the other hand, provide evidence of standardizations that are constantly in flux. For instance, while many digital repositories may stick with a Quicktime file format (MOV) for its consumer accessibility in video, others may utilize the Material eXchange Format (MXF) for high definition film preservation. Depending on cost, storage availability, and the quality of analog source tapes, repositories must decide what best fits their needs.
 

Our video collection, for example, consists mostly of NTSC source tapes recorded from television or personal camcorder. Standard definition, interlaced Quicktime files with 24 bit, 48 kHz WAV audio will suffice as perfectly acceptable digital preservation copies.

Last week, The Federal Agencies Digitization Guidelines Initiative (FADGI) released a study comparing target formats for reformatting videotapes to digital files. In the study, FADGI’s Audio Visual Working Group considered what formats would produce an authentic and complete copy of the source, which formats maximized picture and sound reproduction, and which formats best supported research and access. They consider it a living document as new preservation technologies will continue to emerge.

Two scraps of paper. One historic recording session.

Sign-in sheet for KFBI recording date

The Higginson Collection consists of two handwritten documents of great value and historic significance. These one-of-a-kind documents survived from the first recording dates for Kansas City jazz pianist Jay McShann and his band, which included alto saxophonist Charlie Parker, then only 20 years old. The recording session happened between November 30 and December 2, 1940, and was supervised by Fred Higginson of radio station KFBI in Wichita, Kansas.

The first document is a sign-in sheet containing the signatures and instrument played of each band member, and represents one of the earliest known signatures of Charlie Parker.

The second document contains the song list and corresponding band personnel for the two days of recording, November 30 and December 2, providing primary source information about the discographical details of the session.

Discography sheet for KFBI recording date

Chuck Haddix explains the significance of the session, especially as a conduit of Parker’s musical development, in his book Kansas City Jazz: From Ragtime to Bebop – A History:

As Decca [Records] released the Kansas City Jazz album in the spring of 1941, the last great big band to come out of Kansas City, the Jay McShann band, rose nationally, boosted by good fortune and a hit recording. After closing at Fairyland [Park in Kansas City] in September 1940, McShann returned to the Century Room and further refined the band’s personnel, replacing alto saxophonist Earl Jackson with John Jackson. Slim and pensive, Jackson rivaled [Charlie “Bird”] Parker as a soloist. While based at the Century Room, the McShann band toured regionally, ranging north to Des Moines, Iowa, east to Paducah, Kentucky, and west to Wichita, Kansas. During a Thanksgiving weekend engagement in Wichita, a brash young college student and jazz fan, Fred Higginson, invited McShann and other band members for a couple of after-hours sessions at radio station KFBI, named after Kansas Farmer and Business. KFBI traced its lineage back to Dr. Brinkley, the goat gland doctor. McShann, figuring the band could use a little experience in the studio before the pending Decca sessions, took Higginson up on the offer.

Orville Minor, Bob Mabane, Gus Johnson, Bernard Anderson, Charlie Parker, Gene Ramey, Jay McShann; recording date for radio station KFBI; Witchita, Kansas; c. November 30 – December 2, 1940 (Jay McShann Collection)

The station’s engineer recorded the sessions to acetate discs, capturing the unit jamming on the standards “I Found a New Baby,” “Body and Soul,” “Moten’s Swing,” “Coquette,” “Lady Be Good,” “Honeysuckle Rose,” and on their theme song, listed as an untitled blues. While the band struggled to find its niche in the Kansas City jazz tradition, Charlie Parker had already transcended previous jazz conventions. [McShann bassist] Gene Ramey felt band members could not fully appreciate Parker’s techniques and ideas. “When I look back, it seems to me that Bird was at the time so advanced in jazz that I do not think we realized to what degree his ideas had become perfected,” Ramey observed. “For instance, we used to jam ‘Cherokee.’ Bird had his own way of starting from a chord in B natural and B flat; then he would run a cycle against that; and, probably, it would only be two or three bars before we got to the channel [middle part] that he would come back to the basic changes. In those days, we used to call it ‘running out of key.’ Bird used to sit and try to tell us what he was doing. I am sure that at that time nobody else in the band could play, for example, even the channel to ‘Cherokee.’ So Bird used to play a series of ‘Tea for Two’ phrases against the channel, and, since this was a melody that could easily be remembered, it gave the guys something to play during those bars.”

Parker’s innovative technique and wealth of ideas are evident in his solos on “Body and Soul” and “Moten’s Swing.” Parker maintains the ballad tempo of “Body and Soul” while running in and out of key. Taking a cue from Parker, the band and Buddy Anderson switch to double time, before returning to the ballad tempo in the last eight bars of the out chorus. After the piano introduction to “Moten’s Swing,” the band launches into the familiar riff pattern. Parker follows with a confident, articulate solo, highlighted by triplets in the second eight-bar section, and triplet flourishes toward the end of the bridge, first stating, on record, his musical signature. Parker had matured into a fully realized improviser, already pioneering a new musical style critics later labeled bebop. He soon had company.

For Halloween 2014: The Exorcist – 1700s Style

Dissertations upon the Apparitions of Angels, Demons, and Ghosts, and concerning the Vampires of Hungary, Bohemia, Moravia, and Silesia.

By the Reverend Father Dom Augustin Calmet. 1759
(orig. published in 1746)

Antoine Augustin Calmet, born in 1672, was a French Benedictine monk, eventually becoming abbot at two different monasteries.  He was a learned scholar, writing several volumes of Biblical exegesis as well as histories of different regions of France.  This volume, however, focuses on paranormal spirits and other beings, exploring the different characteristics of vampires and other demons, ultimately dispelling commonly-held superstitions and beliefs.

Selected chapters include:

“Story of the mark of a hand made upon a
handkerchief by a soul from purgatory.”

“Causes of the fluidity of blood, and growing of
the hair and nails in vampires.”

“Instances of the bodies of excommunicated
persons not putrefying.”

“Whence comes it that vampires give no account
of what they have seen in the other world, if
they are really dead.”

– Text by Stuart Hinds