Radio City Research Articles

Modernist Heritage versus Contested Legacy: The Case of “Radio City”

The industrial legacy of the Soviet period in Lithuania has become an object of social tension. Even though the industrial heritage of the Soviet period is not directly related to the crimes of the occupying authorities, the conversion of industrial objects in the historical parts of cities or of buildings with symbolic significance is contentious among members of the public. For this reason, the conversion of industrial areas in Lithuania has become not only an economic challenge, but also a problem of adaptating to society’s needs, changing society’s attitude toward this type of heritage, and organically integrating that heritage into the city structure. The “Radio City” conversion project is being developed in the context of this social tension but has become an example of adaptation in harmony with the architectural heritage that occupies a dominant position on the block, which is located in one of the historically formed residential districts of Kaunas city.

Dos soles atmosféricos. Experiencia y manipulación ambiental en el Radio City Music Hall y The Weather Project

Two relevant case studies are presented for the way in which they recreate environmental simulations in the form of a “sun” and their ability to intensify the experience of their viewers: the Radio City Music Hall in New York, in the early 1930s, and the The Weather Project installation in London, 70 years later. The objective of its authors was to recreate a sequence of effects to produce an over-stimulation of great intensity. Although both experiences belong to very different contexts and circumstances, both used the technology of each moment to, together with the characteristics of the building itself, put its spectators in “ecstasy” (thousands in the New York case, some tens simultaneously in the London case) gathered in front of the representation of a perfectly synthesized natural phenomenon, just as we do in front of a great sunset. However, these effects, wrapped in a subtle manipulation of those who are exposed to them, are today the subject of controversy, since the methods used will be described by some authors as “aggressive” insofar as they can lead to certain behaviors, desires and experiences are more likely to occur without their viewers necessarily being aware of it.

ADAPTIVE REUSE ON BIOSKOP DIAN AS A CULTURAL HERITAGE BUILDING GROUP A IN BANDUNG CITY

Abstract- Dian Cinema is an entertainment building in the form of a cinema that was built in 1930 under the name Radio City at that time. Located on Jalan Dalem Kaum no. 58, Bandung, Dian Cinema is the only cinema building left in the Alun - alun area and it is categorized as Group A Cultural Heritage Building in Bandung. In the beginning, Dian Cinema had experienced its heyday by showing a variety of foreign and local films, until it was eventually replaced with a new, more modern cinema concept that made Dian Cinema visitors diminished and eventually closed.
 The transition of functions in this building continues as a billiard sports venue, a place to sell clothes, rental offices, football sports venues, until now, Dian cinema is run into a vacuum of function. This makes the condition of the building become untreated and unmaintained well. In fact, the use of buildings in the right way can save these buildings and have a positive impact on the surrounding environment. Therefore, the proposed of a new function commonly referred to as adaptive reuse is carried out as one of the conservation act of cultural heritage buildings to maintain its history and existence.
 The study uses descriptive methods with qualitative analysis and evaluation, by describing the existing condition of the building. After that, it was conducted on the needs of the area in accordance with Bandung City regulations, conservation theory, analysis of the area and buildings, as well as examples of the successful application of adaptive reuse in Indonesia.
 The results of this study resulted in a new function, the Art Studio and the Performing Gallery which was considered applicable to the Dian Cinema building. The function is chosen based on a series of analysis results such as location, historical value, building characteristics, spatial requirements, to the potential and constraints of the building and area. The existence of new functions in the building is expected to be able to evoke social activities and old historical memories that are starting to fade, increase public knowledge, become an entertainment building and educational tourist destinations, and can participate in maintaining, protecting, and utilizing the existence of Group A Cultural Heritage Buildings in Bandung.
 
 Key Words: Adaptive Reuse, Cultural Heritage Building, Bioskop Dian

The Radio City Rockettes and the making of a sisterhood

Since their origins in 1925, the Radio City Rockettes have been a self-proclaimed sisterhood that has long been viewed as wholesome family entertainment. Although dancers for the Rockettes have had to submit to stringent guidelines of physicality, personality and uniformity, most alumnae are quick to wax poetic on their years in the line. This article investigates the meaning and the making of such sisterhood by looking at how a ‘community of practice’ is created through the structure of the company and the shared labour involved in precision dance. Their group dynamic and joint performance goals, along with the stable workplace and practices of Radio City Music Hall, shaped how the Rockettes’ identity was formed and propagated, in a way that differed from other more sexualized dance companies, which existed in the same era.

Colloquial features in the syntax of spoken media in Maribor

Abstract The article deals with the influence of colloquial syntax on the spontaneous non-prepared media discourse of professional presenters. It presents a syntactic analysis of radio program broadcasts on two Maribor radio stations, i.e. the commercial station Radio City and the Slovene public station Radio Maribor. Specifically, the paper focuses on typical syntactic colloquial features, i.e. incomplete syntactic patterns, interruptions, repetitions and corrections.

Richard E. Wainerdi and the Texas Medical Center by William Henry Kellar

Reviewed by: Richard E. Wainerdi and the Texas Medical Center by William Henry Kellar Heather Green Wooten Richard E. Wainerdi and the Texas Medical Center. By William Henry Kellar. ( College Station: Texas A&M University Press, 2017. Pp. 256. Photographs, notes, index.) The Texas Medical Center is home to a plethora of non-profit institutions, including the internationally acclaimed M. D. Anderson Cancer Center, three medical schools, and numerous hospitals and research institutes. With over 106,000 employees, the center is "a sprawling city of health" (2), dedicated to medical education, cutting-edge research, and patient care, all world-class. For more than seven decades, it has benefited from distinguished leaders; perhaps none left a more profound imprint than Richard E. Wainerdi, who, from 1984 to 2012, served the longest tenure as president and CEO. In comparison with other luminaries of Houston's past, however, his name attracts little recognition. William H. Kellar seeks to change that with this extensively researched and compelling biography. A prolific author, Kellar is the leading authority on the history of the Texas Medical Center. His Enduring Legacy: The M. D. Anderson Foundation and the Texas Medical Center (Texas A&M University Press, 2014) and Frederick Elliott's The Birth of the Texas Medical Center (Texas A&M University Press, 2004), which Kellar edited, chronicle the creation and development of the medical complex into a dynamic city of health and healing. Kellar adds another dimension in this latest work. Through a skillful recounting of Dr. Wainerdi's life, the author tells the unique story of how this nuclear engineer and research scientist effectively shepherded the Texas Medical Center through periods of historic growth and devastating crises. Grounded in primary sources, including numerous oral histories and personal papers, Kellar's narrative captures the spirit and intellectual dynamism of both an individual and an era. The book is organized into ten chapters, each rich in content yet concise in scope. Readers will appreciate Wainerdi's experiences as a teenage usher at Radio City Music Hall during the 1940s; his training at the Oak Ridge Institute of Nuclear Studies at Oak Ridge, Tennessee, after a stint in the U.S. Air Force; and his involvement with the Atoms for Peace program spearheaded by the Eisenhower administration. As an academic administrator, Wainerdi led the effort to establish the Nuclear Reactor Center at Texas A&M College [End Page 237] (now University), placing the institution in the vanguard of atomic-age science during the 1960s. The five chapters devoted to Wainerdi's twenty-eight years as Texas Medical Center president are full of characters and events that will resonate with historians and lay readers alike. These include President George H. W. Bush; Houston Chronicle publisher RichardJ. V. Johnson; Dr. Denton Cooley; the purchase and demolition of the legendary Shamrock Hilton Hotel; and the devastating effects wrought by tropical storm Allison, considered the "single worst event in history of the TMC" (148). Most importantly, Kellar demonstrates the essence of Wainerdi's unique brand of leadership at a pivotal juncture in the center's history. When he assumed office in 1984, Wainerdi confronted a tired campus, replete with crumbling infrastructure, and a non-collaborative culture grounded in vicious competition for resources among the many multifaceted institutions. With tireless dedication, a vigorous management style, and an engineer's vision of the possible, Wainerdi fostered a culture of inter-institutional collaboration that ensured the Texas Medical Center would remain "Houston's gift to the world" (184) for generations to come. This book is a valuable addition to Texas medical historiography. While the detailed institutional content can feel heavy in places, it is essential for the overall context and understanding of the story. Kellar has created an outstanding resource for researchers and anyone interested in the history of Houston or Texas medicine. Heather Green Wooten University of Texas Medical Branch Copyright © 2018 The Texas State Historical Association

Remembering David Shepard

Remembering David Shepard Kevin Brownlow (bio), N. Ciccone (bio), Patrick Loughney (bio), Mike Mashon (bio), David Pierce (bio), and Pamela Wintle (bio) KEVIN BROWNLOW David Shepard had an uncanny sense for where lost films were lurking. As archivist for the American Film Institute in the late 1960s, he had the enviable job of driving around America in search of lost films—and by that time a great many were lost. He was a colleague of mine at the American Film Institute (AFI), and he let me accompany him on several film hunts. I remember him pulling a two-thousand-foot can off a shelf, blowing dust and debris off it, and revealing a tinted original 35mm print of Chaplin's masterpiece The Rink (1916). It was surprising that he got the job, because he was a dedicated film collector. At his rural home in Pennsylvania, one saw no sign of film cans until he opened a trapdoor in the kitchen and led one down to a well-lit, air-conditioned vault containing [End Page 123] rows of glistening cans. Despite the secrecy, the whole collection was cleaned out by burglars; with his usual luck, pluck, and acuity, David got the whole lot back. He was as interested as I was in the people who made the pictures. He drove me to the house of [James] Jimmie Smith [1892–1975], editor for D. W. Griffith. The old man, suspicious, wouldn't open the door, so David called out, "Wouldn't you like to see Intolerance again?" "Nope." "Why not?" "I saw enough of it when I was cutting it." As compensation, he suggested an epic drive to Charlottesville, Virginia, to meet Miriam Cooper [1891–1976], who had played the Friendless One in Griffith's Intolerance (1916). We stayed up all night recording her memoirs. David had an amazing knowledge of world cinema, but he was fascinated by silent films. His favorite was Tol'able David (1921), and he knew its director, Henry King, who told him where the picture had been shot. This spurred another epic drive to Virginia, delayed only slightly by the fact that the village had changed its name from Crabbottom to Blue Grass. David's work at the AFIresulted in the rescue of hundreds of titles, most of which went to the Library of Congress. His most outstanding coup came from a call from a meter-reader in Missoula, Montana, who had spotted rusty cans in a basement. They proved to contain mostly prize-fight films, but there was one silent feature, Regeneration, a gangster picture of 1915 directed by Raoul Walsh (once married to Miriam Cooper!) and shot on location in the Bowery—a lost masterpiece. When the AFIbuilt its theater in Washington, D.C., David took care to ensure that it was fitted with three projectors in case Abel Gance's Napoléon (1927), with its famous triptych sequence, ever came his way. The expenditure was justified on the opening night. Costa-Gavras's State of Siege had been announced, but because it dealt with the CIA involvement with torture in South America, it was hastily withdrawn. Costa-Gavras persuaded fifteen other directors to withdraw their work as well. In charge of programming, Shepard put on Napoléon. Nine years before the Radio City Music Hall opening, this marked the beginning of the skyrocket revival of Napoléon, which is still on course forty-five years later. I owe David a tremendous debt for making it possible to acquire so many important and often forgotten silents. He was an adviser on the Hollywood series of 1980 and in recent years produced many restorations for DVD release through Flicker Alley, including Gance's J'accuse (1919) and La Roue (1922). At the time of his death, he was working on Cecil B. DeMille's King of Kings (1927). [End Page 124] N. CICCONE The film preservation community will never be the same without David Shepard. I'm sure of this just as much as I'm sure the world will never be the same either. He was, of course, a dedicated film lover whose one desire was to have culturally significant films shown in the best...

Prevzeto besedje v jeziku komercialne radijske postaje (Radio City v Mariboru)

V prispevku je analiziran jezik na komercialni radijski postaji Radio City z vidika uporabe prevzetih besed s poudarkom na germanizmih. Slednji so predstavljeni glede na besednovrstno zastopanost, vpetost v slovenski jezikovni sistem ter z vidika socialnozvrstnih oznak v slovenskih normativnih priročnikih.

Elliot D. Weitzman MD and early sleep research and sleep medicine in New York

Elliot Weitzman, past Professor of Neurology and Chairman of the Department of Neurology at Albert Einstein College of Medicine and Montefiore Medical Center in the Bronx, NY, USA, had an illustrious career and was a true pioneer of sleep research and sleep medicine in New York in the 1960s, 1970s, and early 1980s. He created the clinical sleep center at MontefioreMedical Center in New York on 27 April 1977, which was the first sleep center in the United States to be accredited by the American Academy of Sleep Medicine (AASM) (formerly the Association of Sleep Disorders Centers (ASDC)). The center was modeled in part on the first sleep clinic in the country, a clinic dedicated to the diagnosis, research, and treatment of narcolepsy that was developed by William Dement at Stanford University in California in 1964. Weitzman, who was born in Newark, NJ, USA, in 1929, was originally interested in journalism and joined Iowa State University, but soon transferred to, and graduated from, the University of Iowa with a BA in zoology in 1950. He then went to medical school at the University of Chicago and was in the same class as William Dement. At that time, Weitzman already had an interest in neurology and in 1951 he became an instructor in neuroanatomy (Fig. 1). Weitzman and Dement stayed in contact after their graduation with an MD degree from the University of Chicago in 1955. Dement studied sleep and dreams in Chicago under the mentorship of Nathaniel Kleitman and moved to New York in 1957 as an intern at the Mount Sinai Hospital, which, at that time, was not yet a medical school, and he worked on sleep with Charles Fisher in the Department of Psychiatry who was performing research on dreams. “I had a sleep laboratory (in my apartment on the West Side!), rent paid for by the NIH. Many of my sleep subjects were recruited from the Radio City Hall dancing Rockettes,” said Bill Dement. Sleep deprivation received a lot of publicity in New York in the 1950s, because of Peter Tripp. He was a Top 40 countdown radio personality from Port Chester, New York. His career peaked with his 1959 record-breaking 201-h wakeathon (working on the radio nonstop without sleep to benefit the March of Dimes). For much of the stunt, he sat in a glass booth in Times Square. After a few days, he began to hallucinate and, for the last 66 h, Louis Jolyon “Jolly” West, a NY psychiatrist who had received a National Institutes of Health (NIH) grant to study sleep deprivation, gave him medication to help him stay awake [1]. Weitzman initially did his internship at Kings County Hospital in Brooklyn, and then his neurology residency from 1956 to 1959 at Columbia University College of Physicians and Surgeons. He was in the U.S. Army Medical Corps, Department of Neurophysiology, at Walter Reed Army Institute of Research in Washington DC from 1959 to 1961, where he performed pain research on rhesus monkeys that was published in the journal Science in 1961 [2]. After that, he joined Albert Einstein College of Medicine in 1961 and continued his pain research on monkeys. Peter MacGregor, BSc, went with With contributions from Roger Broughton Charles CzeislerWilliam Dement Christian Guilleminault Daniel Kripke Wallace Mendelson Merrill Mitler Mark Pressman Howard Roffwarg Thomas Roth and Jon Sassin. However any factual errors are solely the responsibility of the author. * Sleep-Wake Disorders Center, Montefiore Medical Center, 111 East 210th Street, The Bronx, NY 10467, USA. Tel.: +1 718 920 4841; fax: 718 798 4352. E-mail address: thorpy@aecom.yu.edu.

A new kind of radio: FM broadcasting in India

In 2001, India’s first private FM station – Radio City, Bangalore – came on air, ending an era of state broadcasting that began in 1930. In the past decade, FM radio has enjoyed spectacular success: over 200 stations are now in operation, and the FM industry has seen spectacular growth in listenership and revenues. FM’s impact goes beyond economics; it is now a cultural signifier synonymous with modernity – as the ‘tagline’ for a popular FM network puts it ‘Radio Mirchi – it’s hot!’ FM, I argue in this article, represents a new kind of radio. The shift from state-controlled, nationwide AM transmission to corporate-owned local FM broadcasting signals a profound change in the very philosophy of radio in India. This article offers a brief account of the history of Indian radio and analyzes the social and economic factors that necessitated a change in modes of broadcasting. It also brings its claims into focus through using a case study that looks at the business structure, programming policies, and audience management strategies of one very popular FM station – Radio Mirchi, Kolkata – in order to demonstrate how these newly shaped practices are reinventing the role of radio in contemporary India.

Flagello et al. - FLAGELLO: Odyssey; ‘Valse Noire’ (tr. Walter Simmons); Symphony No. 2; Concerto Sinfonico (tr. Merlin Patterson). ROSNER: Symphony No. 8 ‘Trinity’. University of Houston Saxophone Quartet and Wind Ensemble c. David Bertman. Naxos Wind Band Classics 8.573060. - DAUGHERTY: Mount Rushmore; Radio City; The Gospel According to Sister Aimee1. 1Paul Jacobs (organ), Pacific Symphony and Chorale c.

Flagello et al. - FLAGELLO: Odyssey; ‘Valse Noire’ (tr. Walter Simmons); Symphony No. 2; Concerto Sinfonico (tr. Merlin Patterson). ROSNER: Symphony No. 8 ‘Trinity’. University of Houston Saxophone Quartet and Wind Ensemble c. David Bertman. Naxos Wind Band Classics 8.573060. - DAUGHERTY: Mount Rushmore; Radio City; The Gospel According to Sister Aimee1. 1Paul Jacobs (organ), Pacific Symphony and Chorale c. Carl St Clair. Naxos American Classics 8.559749. - Volume 67 Issue 266

Expressing local identity through radio discourse

Abstract This article presents the linguistic analysis of a humorous program broadcast on the Maribor commercial radio station Radio City. The program is deliberately recorded in the Maribor colloquial language variety and as such reflects the diversification of media language. The aim of our present research is to confirm the stratification of media speech as a manifestation of the need for identification with the speech of the environment, i.e. the intended public, and at the same time point out the need of public speech as a national language for the achievement and reflection of a collective identity. We believe that in the realization of the multilingual strategy in the integrational and globalizational processes in Europe, the preservation of such linguistic and cultural diversity should present a source of strength rather than a weakness.

The Other Side of the Curtain

Marta Becket was born in New York in 1924 into a life immersed in the arts. As an infant, she listened to her mother's music at home and attended the theatre with her father, theatre critic Henry Beckett. The crib in which she slept, flooded with flickering neon lights, became her first performance space as she tried within its confines to replicate what she had seen in the theatre. Throughout her childhood and in the days of her youth, she trained in ballet and in art. In her early career, she worked on Broadway, dancing in A Tree Grows in Brooklyn and Wonderful Town and working as a Radio City Music Hall Rockette. She developed a one-woman show with which she toured the country until the life-changing day in 1967 when she happened upon an abandoned theatre in Death Valley Junction. She soon made it her own and re-fashioned it as the Amargosa Opera House. In this most unlikely place, she has performed works of her own creation for more than 40 years. In its appearance, format and content, Becket's autobiography, To Dance on Sands, which appeared in 2007, reflects a life only truly lived in art and on stage. The dissenting voice of the author is heard on every page, as she considers and refuses anything that might compromise her life as an artist or the art itself. This paper will consider Becket's early inter-related wishes to enter ever ‘other’ worlds and to create an exoticised self as expressions of a personal and artistic dissent that, while seeming to find fulfilment in her self-positioning in Death Valley Junction, produces a self that is both theatricalised and elusive.

‘Intolerable Flippancy’: The Arnot Robertson V. Mgm Libel Case (1946–1950) and The Evolution of BBC Policy on Broadcast Film Criticism

This article examines the ultimately unsuccessful libel case brought by the novelist and BBC film critic E. Arnot Robertson against Metro-Goldwyn-Mayer. The action followed a letter the film company sent to Robertson’s employer in 1946, asserting she was ‘out of touch’ with public taste, excluding her from their press screenings and requested the broadcaster’s assistance in preventing her from reviewing further MGM films on air. Robertson charged the film company with libelling her professional competence and imperilling her earnings. This article explores the origins and outcomes of the ensuing three-year legal dispute. Drawing on trade journals, law reports, press coverage and BBC records, the article considers the contrasting models of the ‘audience’ underpinning the wider conflict between the film trade and the ‘quality’ critics. It explores the role of BBC policy and ‘broadcast style’ in making radio criticism a flashpoint and traces the specific circumstances that led the two parties into court. Finally, it considers the lasting legal and cultural consequences of the case. Turner (Robertson) v. MGM redefined the legal meaning of ‘fair comment’, it reshaped BBC policy on broadcast criticism, and shifted the consensus on what constituted responsible and professional criticism – making wit a less respectable critical tool.

James Beard's Early TV Work: A Report on Research

Through the discovery at the Library of Congress of some surviving audio tapes and of NBC log books, this essay seeks to provide more detailed description than hitherto available of James Beard's contributions to cooking pedagogy on American television in the immediate postwar period (specifically, 1946––47). The essay examines the style and content of Beard's pedagogy on three series, Radio City Matinee, For You and Yours, and I Love to Eat. Beard's television efforts are situated in relation to his first efforts as a public propagandist for good American cuisine in his cookbooks of the first part of the 1940s.

Christmas in July

namely, the Radio City Music Hall Christmas Spectacular and the Park Avenue Christmas Tree Lighting and Carol Sing, I am still thinking about what I experienced at these two events in New York. The ghost of Christmas past still haunts me in July. Residing in the New York metropolitan area does not put those of us who live there beyond the occasional need to play the tourist in our own Big Apple. So when a friend suggested we attend the Radio City Music Hall Christmas Spectacular, I welcomed the opportunity. I had seen the show only once before—some thirty years ago—and it seemed like a good way to begin the holiday season. Radio City Music Hall, part of the Rockefeller Center complex, is a cavernous and opulent theatre seating nearly 6,000 people, a vintage Art Deco masterpiece that opened in 1932. It is furnished with a twin-console “Mighty Wurlitzer” organ of 4,400 pipes, boasts a full orchestra, and features the famous Rockettes with their high-kick dance line. The annual Christmas Spectacular is not as pricey as Broadway, and many working parents can still afford to come to it with their children and flash cameras in tow. The program is an amalgam of pop-culture Christmas scenes: a high-tech animation sequence that gives the audience, bedecked in 3-D eyeglasses, the exhilarating sensation of flying with Santa Claus over the streets of Manhattan; the incredibly synchronized dancing of the Rockettes; a sampling from Tchaikovsky’s Nutcracker; and a procession of live sheep and camels moving on stage silently and deliberately to Bethlehem. The show builds to a climactic “living nativity” as majestically garbed wise men bow before the Holy Family and offer their gifts to the Christ child. Then the entire audience joins the cast in singing “Joy to the World.” It’s all here American style: a ninety-minute celebration seamlessly combining holiday chutzpuh, sexy chorus girls, Santa Claus, and the infant Savior in a nostalgic setting Theology Today editorial

Sound Studies: Framing Noise

'a shower of meteors of sound'1In a 1937 lecture, John Cage issued his now commonplace statement: 'Wherever we are, what we hear is mostly noise. When we ignore it, it disturbs us. When we listen to it, we find it fascinating' (1961: 3). Just four years earlier, Cage was studying with Henry Cowell at The New School, where German composer Hanns Eisler was also teaching. In 1928 Eisler had written: 'When you are composing and you open the window, remember that the noise of the street is not mere noise, but is made by man' (1978: 30). In a later interview Cage returned to the theme:I had the lights turned out and the windows open. I advised everybody to put on their overcoats and listen for half an hour to the sounds that came in through the window, and then to add to them - in the spirit of the sounds that are already there, rather than in their individual spirits. That is actually how I compose. I try to act in accord with the absence of my music.(1982: 176)The purpose of this exercise is not to locate the origin of a now wellcirculated idea; it is simply to hear the words of two composers describing what it means to study music within an 'entire field of sound', outside conventional distinctions between music and non-music, noise and sonority. It is not surprising that sound studies would begin in elemental studies of its rational language: music. Yet what might be surprising is that this circulation of ideas took place not in a conservatory, but at The New School, an institution founded by dissident, radical scholars, refugees from the increasingly authoritarian culture of Columbia University. At around the same time, young radical American composers called for the rejection of European musical idealism and, in the voice of Aaron Copland, instead embraced a modern music that would be 'principally the expression in terms of enriched musical language of a new spirit of objectivity, attuned to our times' (Copland 1941: 18). The New School listened.In 1927, Copland was appointed to the faculty and organised the famous Copland-Sessions series of lectures and concerts. The series brought recognition to a new American music - to Copland and Roger Sessions, and to other composers, including Roy Harris, Virgil Thompson, and Walter Piston. Copland's appointment to the faculty was followed by those of musicologist Charles Seeger and composers Henry Cowell, Hanns Eisler, and Ernst Toch. Copland's jazz influences, Eisler's worker's songs and twelve-tone music and Cowell's non-Western musical influences privileged innovation and multi-disciplinarity that displaced European musical idealism. This experimental approach not only realised in praxis the radical ideals of The New School's founders, but it also modeled the interdisciplinarity that would influence curricular planning. This was not a 'music school'. It was a school where musical performance and listening collaborated with dance, film, visual art and architecture.In 1928, when The New School's townhouse headquarters on West 23rd Street in Manhattan were slated for demolition, its president Alvin Johnson sought to create a new structure that captured the institution's progressive approach to education. He commissioned modernist architect and theatrical set designer Joseph Urban to design The New School's new home at 66 West 12th Street. On the ground floor of that building, the first International Style structure in New York, was the eggshaped Tishman Auditorium - an acoustical achievement in its own right, but also a rehearsal for Urban's Radio City Music Hall. The rounded ceiling presented acoustical challenges, which designers overcame by hanging concentric plaster rings from the ceiling, a strategy later employed at Radio City (Landmarks Preservation Commission: 1997). While Tishman marked a milestone in modern acoustics, The New School's scholars were engaging in groundbreaking research on modern sounds and sound technologies. The New School Film Music Project, funded by the Rockefeller Foundation and conducted by Eisler and Theodor Adorno, sharply criticised the synthesis of music and image in Hollywood film. …

The First Century of Blues: One Hundred Years of Hearing and Interpreting the Music and the Musicians

The First Century of BluesOne Hundred Years of Hearing and Interpreting the Music and the Musicians R. A. Lawson (bio) Click for larger view View full resolution Figure 1. Bessie Smith (here), Blind Lemon Jefferson, Muddy Waters, Eric Clapton, Stevie Ray Vaughn, and a host of other musicians—some famous, some anonymous—inherited and recreated blues music throughout the twentieth century. Photograph by Carl Van Vechten, courtesy of the Collections of the Library of Congress. [End Page 39] Just over one hundred years ago, classically trained African American musician and composer W. C. Handy accepted the directorship of a Knights of Pythias band in Clarksdale, Mississippi. The Knights—a fraternal organization founded during the Civil War to promote goodwill in the bitterly divided country—had convinced the Alabama native to return south after a stint as a music director in the Midwest. One night in 1903, while napping on a bench at the train depot in the Mississippi Delta hamlet of Tutwiler, Handy awoke to the sound of strange music. Looking around the platform, he saw a man playing a guitar and singing. The sad-looking guitarist used a knife to slide across the instrument's strings and repeated his lyrics several times in each verse. Though Handy did not know it at the time, he was witnessing two of the essential features of Delta blues music: the slide guitar technique and the repetitive lyrical structure, derived from old field hollers. This chance encounter with the bluesman at the Tutwiler train depot became Handy's first experience with the musical form he would later popularize to such a degree that he eventually adopted the title "Father of the Blues."1 To commemorate the centennial of this seminal event in blues history, the U. S. Senate proclaimed 2003 the Year of the Blues. Blues musicians, scholars, and enthusiasts participated in a wide range of events: all-star concerts at New York's Radio City Music Hall, academic symposia on the blues, international competitions for emerging talents, and the debut of a documentary film series on the blues directed by Hollywood notables such as Martin Scorsese and Clint Eastwood.2 The blues centennial also gave historians the occasion to reflect on encounters with and interpretations of blues music over the last one hundred years. What were the dominant narratives and interpretations of blues history and who created them? What contemporary events, guiding principles, or biases shaped this history? As blues music's loci, performers, and audiences shifted over time, how did the ideal of the masculine, acoustic Delta-based blues become enshrined in both scholarly and commercial reckonings of authentic blues? These and other questions are fundamental to blues studies as we enter the next century of the music. Bessie Smith, Blind Lemon Jefferson, Muddy Waters, Eric Clapton, Stevie Ray Vaughn, and a host of other musicians—some famous, some anonymous—inherited and recreated blues music throughout the twentieth century. Joining these musicians in this effort were those who documented and interpreted the blues in the one hundred years since W. C. Handy first heard it. A century of encounters between folklorists, historians, and critics and blues music and musicians reflects several generations' attempts to answer the "race question," resulting in critics seeing blues music as essentially accommodative of or, conversely, fundamentally resistant to Jim Crow society. Furthermore, writers of blues history have over time grappled with the music's authenticity, particularly when juxtaposed [End Page 40] with increasingly consumption-driven, modernizing Western society. For most of the time period in question, the prevailing works on blues music were framed by questions of authenticity, race, and political ideology. However, it seems that as the twentieth century came to a close and the number of publications on blues music increased, writers favored more varied and narrow subfields. Fewer authors aspired to the sweeping, definitive study of the blues, while more writers looked at the blues as part of a particular historical problem, such as violence or poverty, in the American South. The Blind and the Bedeviled In 1961 Bob Koester, a producer with Chicago-based Delmark Records, made an amazing discovery. Sleepy John Estes, a bluesman who had achieved fame on the...

Arkansas Listings in the National Register of Historic Places

Edward Durrell Stone Buildings IN 1916, A FAYETTEVILLE LUMBER COMPANY challenged local boys to design birdhouses. The prestigious competition had the president of the University of Arkansas as one of its judges. Fourteen-year-old Edward Durrell Stone won first prize: $2.50. To create a bluebird house, he sheeted a wooden box in sassafras branches cut in half to look like logs. In his autobiography, he described the small cash prize and local recognition as his undoing, immediately hooking him on a career in design. He followed in the footsteps of his older brother, Hicks, a practicing architect in Boston. Today, Edward Durrell Stone is widely regarded as one of the greatest American architects of the mid-twentieth century. He left Arkansas early in his career but returned intermittently and even had a satellite office in northwest Arkansas from 1955 to 1959 to help him execute commissions in the state. Stone attended the art school at the University of Arkansas from 1920 until 1923 before heading to Boston to join his brother and begin his formal training in architecture. He started at the Boston Architectural Club, then went to Harvard after winning a 1926 competition that awarded him a year's tuition. He later transferred to Massachusetts Institute of Technology because a professor there, Jacques Carlu, was experimenting with modern designs that interested Stone. In 1927, Stone won a prestigious Rotch award to travel to Europe for two years. In the course of his travels, he became more enamored of modern design after having seen and studied the works of modernist innovators Ee Corbusier and Eudwig Mies van der Rohe. Returning to the United States in 1929, Stone began his professional career. He did his earliest work as a paid architect in the employ of larger architectural firms. He worked on the Waldorf-Astoria hotel and Radio City Music Hall in New York but did not fully display his talents until receiving and designing his first private commission, the Mandel House in Westchester County, New York, in 1933. With the Mandel House, Stone made a name for himself for having designed and built one of the earliest International-style residences in the United States. While the work of Rudolf Schindler and Richard Neutra had appeared in the Los Angeles area as early as 1928, the Mandel House helped introduce the style to the East Coast, where it became increasingly popular in the 1930s. Stone's work in the International style was well received, and he built many houses in the northeast. However, as public opinion became more favorable toward the style in the late 1940s, Stone began to pull himself away from it. Edward Durrell Stone visited Frank Eloyd Wright's Taliesin in Wisconsin in the 1940s. His encounters with Wright's work began to alter his design philosophies. He began to feel that buildings executed in the International style left something to be desired. They were sparse, too arid, too cold. Wright had found something that the International-styIe designers had missed. Stone deeply appreciated Wright' s integration of nature into his designs and his use of indigenous materials. After two decades of helping to lead the International-style movement in the United States, Stone reinvented himself and developed an individual style based more upon the work of Frank Eloyd Wright. It was in this latter part of his career that Stone designed most of the buildings in Arkansas with which he is credited. Two of the five private residences Stone completed in Arkansas, the Willis Noll House in Fayetteville (1950) and the Jay Eewis Residence in McGehee (1955), have been placed on the National Register, as has his Pine Bluff Civic Center (1963-1968). These three buildings are fine expressions of Stone's ideology during this stage of his career. The Willis Noll House in Fayetteville illustrates well the changes that Wright's influence had wrought. In the late 1940s, Stone was working on several different projects in northwest Arkansas when he was approached by a local grocer, Willis Noll, to design a home on Mount Sequoyah. …

East Side, West Side, All Around the Town: APA’s Planned Tours Get You There

Back to table of contents Previous article Next article Annual MeetingFull AccessEast Side, West Side, All Around the Town: APA’s Planned Tours Get You ThereMark MoranMark MoranSearch for more papers by this authorPublished Online:7 May 2004https://doi.org/10.1176/pn.39.9.0060APA members attending APA’s 2004 annual meeting in New York City can leave the driving to someone else if they want to explore this grand city. APA has arranged a series of tours that will show off many facets of the city, from the well known to the obscure but nonetheless interesting. Many will be offered twice during the week of the meeting.• Six-Hour Tour of Manhattan: From uptown to downtown, this tour includes the new Times Square, Madison Square Garden, Greenwich Village, SoHo, Little Italy, Central Park, the Cathedral of St. John the Divine, Grant’s Tomb, Harlem, the Museum Mile, Fifth Avenue, Rockefeller Center, Empire State Building Observation Deck, and more.Sunday, May 2, or Wednesday, May 5, 9 a.m.-3 p.m.; $42• Walking Tour of the Upper West Side: Visitors on this tour of Central Park (Strawberry Fields and Bethesda Fountain), Lincoln Center, and Harlem will learn the history and architecture of Harlem and enjoy a short stop at the African Market for a unique shopping experience.Sunday, May 2, or Tuesday, May 4, 9 a.m.-1 p.m.; $29• Hudson Valley Tour: The first stop is Kykuit, the Rockefeller estate, home to four generations of Rockefellers. Kykuit commands breathtaking views of the Hudson River, grand collections of art, 20th-century sculpture, fine furniture, Chinese ceramics, and classic automobiles.Monday, May 3, or Wednesday, May 5, 8:30 a.m.-4:30 p.m.; $97• Lower Manhattan and Ellis Island: This tour starts with narrated sightseeing en route to the Battery Park ferry, which will take visitors to Liberty and Ellis islands. The ferry will stop briefly at Liberty Island for an close-up view of the Statue of Liberty. Upon return, visitors will receive a tour of historic Lower Manhattan, South Street Seaport, Brooklyn Bridge, and the site of the World Trade Center.Monday, May 3, or Wednesday, May 5, 8:30 a.m.- 2:30 p.m.; $57• Walking Tour of Lower East Side: Put on your comfortable walking shoes for this tour of Manhattan’s Lower East Side. Get an insider’s view of Greenwich Village, Chinatown, and Little Italy.Monday, May 3, 10:30 a.m.-2:30 p.m.; Wednesday, May 5, 9 a.m-1 p.m.; $29• Harbor Cruise: Enjoy a two-hour harbor tour of Manhattan from Midtown on the West Side around the southern half of Manhattan to Midtown on the East Side.Monday, May 3, 1 p.m.-5 p.m.; $43• West Point: Visitors will travel north along the Hudson River to the U.S. Military Academy at West Point, home to more than 4,000 cadets and staff. The narrated tour of the16,000-acre campus includes stops at the Parade Ground, the Chapel, and Trophy Point.Tuesday, May 4, or Wednesday, May 5, 8 a.m.-4 p.m.; $92• Midtown Manhattan: This tour includes the 42nd Street architectural corridor from the United Nations, Grand Central Terminal, Chrysler Building, and New York Public Library into the revitalized Times Square. It also includes Rockefeller Center, Radio City Music Hall, St. Patrick’s Cathedral, Channel Gardens, Trump Tower, and Fifth Avenue. The tour ends with a visit to the Observation Deck of the Empire State Building for a spectacular view of Manhattan.Tuesday, May 4, 9 a.m.-1 p.m.; $38• Walking Tour of SoHo: Explore the SoHo neighborhood with its unique cast-iron buildings, art galleries, and boutique shops.Tuesday, May 4, or Wednesday, May 5, 11 a.m.-3 p.m.; $27• Garment District Shopping and Walking Tour: On this walking and shopping tour of the famous garment district, showroom visits may include outerwear, accessories, sportswear, and designer clothes at wholesale pricing. Brands and showrooms are subject to availability at time of tour.Tuesday, May 4, 1 p.m.-5 p.m.; $76• Dinner Cruise: Enjoy an evening of entertainment, dinner, and dancing while cruising around Manhattan and enjoying its picturesque skyline.Tuesday, May 4, or Wednesday, May 5, 7 p.m.-11 p.m.; $119• Museum Mile: This is a guided tour of the Metropolitan Museum of Art and the Guggenheim Museum. Participants will have free time to do their own exploring afterward.Wednesday, May 5, 9 a.m.-3 p.m.; $75The APA-sponsored tours are provided through Event Transportation Systems. All tours will depart from, and return to, the Javits Center and require a minimum of 30 people.Tickets for the tours will be on sale at the Tour Desk, located in the Javits Center lobby. Reserved tickets may also be picked up at the desk. ▪ ISSUES NewArchived