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13 40 764 https://ssmp.skidmore.edu/files/original/a7f04e896cbe1009628b80ec5c50f14b.jpeg 9eb842488ea28462feaa6cff59217f34 https://ssmp.skidmore.edu/files/original/997688abe335490bcc0811b5c4908a65.m4a 28b669c0d80ee2c3356f05da25dfb39e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Latinx Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Amara, Freddy Interviewee The person(s) being interviewed Manuel Francisco Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Manuel Francisco Date A point or period of time associated with an event in the lifecycle of the resource 3/10/17 Publisher An entity responsible for making the resource available HI251C: History of Latinx in the U.S. Description An account of the resource Manuel (nickname Manny) taked about his life growing up in the city of Boston, Massachusetts. He is studying Game Design at Bunker Hill Community College in Boston. He shares his thoughts and experiences about being the son of two immigrants - his mother is from Puerto Rico, his father is from Honduras. Language A language of the resource English Abstract A summary of the resource. Manuel Alexander Francisco, who is 24 and currently studying Game Design at Bunker Hill Community College, shared his thoughts and experiences with his neighbor Freddy on March 10th, 2017. Manuel was born in Boston as the son of two immigrants - his mother is from Puerto Rico and his father is from Honduras. He shares about what aspects of his life are and are not influenced by his family's culture. Tradition wise, his family does not celebrate traditional Puerto Rican or Honduran holidays, such as Three Kings Day. Instead, his family celebrates the usual American holidays such as Christmas or Thanksgiving. His grandparents (mother's parents) live with him, and they bring Puerto Rican cooking into his life with traditional dishes such as pasteles. Manuel does not speak Spanish, which was his choice, but says it would be useful for his job if he could. He discusses the benefits of diversity in Boston and forms of discrimination that Latinx people face in the city. The discussion turns to what Manuel believes is the future of Latinx politics in the United States, and he is optimistic that Latinx voters will make an impact.  Boston Computer Science Discrimination Diversity Game Design Holidays Honduras Latinx Pasteles Puerto Rico Spanish Traditions https://ssmp.skidmore.edu/files/original/84ac9e5ae5ca46415795b171e7a58e91.jpg 029f35487196f0dcd4d1f8f4259573ba https://ssmp.skidmore.edu/files/original/389af031aec1842d6123fb59b21c962a.mp3 8e24dc5b61fdd6b58c81ba06f8f146a1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Latinx Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Abrams, Alison Interviewee The person(s) being interviewed Juan Sanchez Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Juan Sanchez Date A point or period of time associated with an event in the lifecycle of the resource 3/24/17 Publisher An entity responsible for making the resource available HI251C: History of Latinx in the U.S. Description An account of the resource Juan talked about what it was like to be a Latino male at Skidmore and Saratoga. Language A language of the resource English Abstract A summary of the resource. Juan is a sophomore at Skidmore and spoke a great deal about his pride as a Dominican which he truly connected to when he came to Skidmore more and was exposed to the othernessd posed by the majority white school and town. He spoke of his family in Brooklyn and their expectations for him as a first generation college student. His binationalism came up as well, Juan pointing out that although born in the US, he does not fully feel welcome within the country and upon visits to The Dominican Republic found that he was again looked down on as a yankee. To deal with his fear he found solidarity with Skidmore's Raices and spoke of wanting to give a voice to latinx on campus and in the future in government.  Dominican Republic family Gender Latinx Saratoga Skidmore College student https://ssmp.skidmore.edu/files/original/81af98f20c832a196ad8912471d813d5.jpg 0c82e7583bc83e757ae046c32bfaf460 https://ssmp.skidmore.edu/files/original/d7911dc1b87852bd1d14a918cff18bfa.m4a 3db0fb9fa5047bb77a295135ab3d203b https://ssmp.skidmore.edu/files/original/79156beb34bfb43c0cdf60a959d8f593.pdf 435696b74fefc6ad9747711cfda9caf4 https://ssmp.skidmore.edu/files/original/54621cb0975f28658933b876e9354a38.pdf f5401926e90aac700c4d4a8b8557e5ff Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Skidmore College Retirees Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Liv Fidler '19 Interviewee The person(s) being interviewed Susan Kress Location The location of the interview Scribner Library, Skidmore College Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Audio recording Record Contributor Individual who prepared the item and/or edited it. Susan Bender Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:52:24 Record Creation Date Day/Month/Year of record creation/edit November 5, 2018 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Susan Kress Date A point or period of time associated with an event in the lifecycle of the resource May 6, 2016 Language A language of the resource English (en) Is Part Of A related resource in which the described resource is physically or logically included. Skidmore Saratoga Memory Project Subject The topic of the resource Retiree Oral History Project Type The nature or genre of the resource Oral History Description An account of the resource Susan Kress joined Skidmore’s English faculty in 1975 and retired in 2013.  During her years at Skidmore she served as chair of the English Department, chair of 3 major college committees, Vice President for Academic Affairs, and Acting President during the sabbatical of President Phil Glotzbach.  She saw the institution of endowed chairs and was herself awarded the Class of 1948 Chair for Excellence in Teaching. In this interview she discusses important curricular changes instituted to increase understanding of diversity and attract more males to the student body. She also reflects on the balance between work and family life and her retirement poetry-writing initiative.  Academic Affairs College Governance Endowed Chairs Literature Women's Movement https://ssmp.skidmore.edu/files/original/da56e949f889517d4697787f6e4605f2.jpg b902573a8f67163804d0536c7a8ffb6f https://ssmp.skidmore.edu/files/original/6c4f648525e3a50121486853ff505ee1.mp3 d48a7e530579e7e2f4a2a873d173eb39 https://ssmp.skidmore.edu/files/original/98996c034871adb0fa707abd363b6a91.pdf b9f9aa804e731dec9390d22996127377 https://ssmp.skidmore.edu/files/original/d87cc8b64e262cad9fe86eea1157a189.pdf d7e0ddb9888aabb0ce7ac144ea3e783e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Skidmore College Retirees Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Renato Dornelas (Class of 2018) Interviewee The person(s) being interviewed Leo Geoffrion Location The location of the interview Scribner Library, Skidmore College Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Audio Recording Record Contributor Individual who prepared the item and/or edited it. Susan Bender Record Creation Date Day/Month/Year of record creation/edit November 5, 2018 Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:07:45 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Leo Geoffrion Date A point or period of time associated with an event in the lifecycle of the resource February 26, 2016 Language A language of the resource English (en) Is Part Of A related resource in which the described resource is physically or logically included. Skidmore Saratoga Memory Project Subject The topic of the resource Retiree Oral History Project Type The nature or genre of the resource Oral History Description An account of the resource Leo Geoffrion joined Skidmore’s Information Technology staff in 1982 at a time when computer usage at the college was limited and its support staff quite small. Over the next 22 years Geoffrion oversaw the development of academic computing and functioned as the College’s webmaster.  In this interview, he describes the evolution of the College’s information technology infrastructure, as well as his work guiding and collaborating with faculty in the introduction of personal computing, the use of email, and computing across the curriculum. After his retirement in 2002, Geoffrion used his web skills to support the work of local community service organizations.   biology Code Blue Eric Weller Friends of Saratoga Springs Library J. Erik Jonsson Library Collaboration Media Services Technology in Education World Wide Web https://ssmp.skidmore.edu/files/original/2c81d6150c4abc2d54ba6725393d5488.jpg 341414fc182104c294b98fc2c06cd788 https://ssmp.skidmore.edu/files/original/324e744cc9f459d1a19f5869a0f284e0.mp3 b40da13a5e271664e633b9c4c5585e76 https://ssmp.skidmore.edu/files/original/fe5abf15b192ff1dabce32b1c3576057.pdf 6e47c40bbc3b5d4124475732cc412690 https://ssmp.skidmore.edu/files/original/54db189cc8ded0ca44ebe52607593fe5.pdf 04ec4900f627aeba70125dde9bc5dd57 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Skidmore College Retirees Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Jeremy Tenenbaum (Class of 2018) Interviewee The person(s) being interviewed Susan Zappen Location The location of the interview Scribner Library, Skidmore college Record Contributor Individual who prepared the item and/or edited it. Susan Bender Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 55:25 Record Creation Date Day/Month/Year of record creation/edit April 23, 2021 Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Audio recording Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Susan Zappen Date A point or period of time associated with an event in the lifecycle of the resource February 26, 2016 Is Part Of A related resource in which the described resource is physically or logically included. Skidmore Saratoga Memory Project Language A language of the resource English (en) Subject The topic of the resource Retiree Oral History Project Type The nature or genre of the resource Oral History Description An account of the resource Susan Zappen came to Skidmore in 1995 as a head of Scribner Library technical services.  She was named Associate College Librarian for Collections in 2001. Susan was active in the greater library community; she was president of ENY/ACRL, and named “librarian of the year in 2006” by her associates. Susan, a technical director, dealt with how information was accessed and organized. Of course, the technological revolution changed the way this occurred. Susan not only accepted this change, but also leaned into it. Kathryn Frederick, Susan’s successor, describes Susan as the ultimate professional. In this interview Susan describes her work as a librarian, the library’s physical renovation and technological revolution, the communities in which she worked, and her favorite retirement activities.   Collections Diversity Intergenerational Faculty Relations retiree Scribner Library Skidmore History Tang Museum Technical Services https://ssmp.skidmore.edu/files/original/87f8de9ebb94716d34433076650dde92.jpg ffd1c4ba1cbd9ca4114593ddf382f6af https://ssmp.skidmore.edu/files/original/f0b1c0efb3d388c4de9c636ed2e54c9e.m4a f78a438f02a247cc4fb6584bee1317ba https://ssmp.skidmore.edu/files/original/4a9565e692d4a8b317c3cde0a522caea.pdf 10e429d45578497dba7e20e1c4697239 https://ssmp.skidmore.edu/files/original/ebdf33e59eeaffde26e3d22bf22801eb.pdf a531790415a4517a743fab60f3fa9d4d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Skidmore College Retirees Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Olivia Fidler '19 Location The location of the interview Scribner Library, Skidmore College Record Contributor Individual who prepared the item and/or edited it. Susan Bender Record Creation Date Day/Month/Year of record creation/edit November 19, 2018 Interviewee The person(s) being interviewed Joanna Zangrando Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Audio Recording Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:34:47 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Joanna Zangrando Date A point or period of time associated with an event in the lifecycle of the resource February 29, 2016 Is Part Of A related resource in which the described resource is physically or logically included. Skidmore Saratoga Memory Project Language A language of the resource English (en) Subject The topic of the resource Retiree Oral History Project Type The nature or genre of the resource Oral History Description An account of the resource During her years at the College (1976-2007), Joanna Zangrando was a central figure in Skidmore’s American Studies Department and a leading voice for incorporating interdisciplinarity and the study of diverse perspectives into the College curriculum. In this interview she reflects on her experiences helping to create and sustain Skidmore's signature Women’s Studies and Liberal Studies programs. Faculty Gender Equity Feminism Liberal Studies Mary Lynn Reconfiguration student body study abroad Women's Studies https://ssmp.skidmore.edu/files/original/28c8f03200f07bebaa6b515412e95f1c.png 41571b7b59919dc01252c33228c4efb1 https://ssmp.skidmore.edu/files/original/994451d3685fb16283fcb9841f979da1.m4a 713ee2d2a215d99a2eb5cc1ce2b46c3e https://ssmp.skidmore.edu/files/original/2b623f3c21cfe626fbfeed1fa6d510d1.pdf 46201f3f4630b5238e37321f9e816d56 PDF Text Text Interviewee: Charles (Chuck) Joseph Years at Skidmore: 1985 – 2010 Interviewer: Rebecca Zosia Stern Location of Interview: Lucy Scribner Library, Skidmore College, Saratoga Springs, NY, 12866 Date of Interview: 2/19/2016 00:00:00 Header 00:36:00 Born in Pennsylvania 00:02:00 First experiences in music around church 00:04:00 Began college experience at West Virginia University 00:05:14 Began interest in Stravinsky in undergrad and went to University of Illinois where interest blossomed. 00:7:00 Benefits of trading ideas on a college campus 00:7:45 Attracted to Skidmore because of Liberal studies program 00:09:16 Changes in Liberal Studies curriculum that required thinking in cross disciplinary terms 00:10:50 Skidmore atmosphere was conducive to change, a lot of women faculty 00:11:40 Infusion with new faculty helped change curriculum 00:14:7 Describes city and Skidmore relationship 00:16:10 Introduced an ethnomusicology course with Professor Gordon Thompson 00:17:24 Conception of artists in residency program 00:20:30 Started to teach course with Isabella Brown on Stravinsky and Ballanchine 00:24:40 Beginning to plan a new music center that would become Zankel 00:34:50 Trying to capture music as it evolves to study academically 00:36:00 Discussing Stravinsky research with primary sources 00:44:00 Discussing later academic interests in Broadway musicals 0048:35 Daughter went to Skidmore as a dancer and studied American Studies 00:53:00 Skidmore fosters an environment to challenge conventional wisdoms 00:57:40 Interest in American Studies, and how culture changes � https://ssmp.skidmore.edu/files/original/465c16c0fcaf7c37890a59338d3f22ed.pdf f5689bf7e983406d47bd87dbc930ed3d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Skidmore College Retirees Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Rebecca Zosia Stern '16 Interviewee The person(s) being interviewed Charles Joseph Location The location of the interview Scribner Library, Skidmore College Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Audio recording Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:59:45 Record Contributor Individual who prepared the item and/or edited it. Susan Bender Record Creation Date Day/Month/Year of record creation/edit November 19, 2018 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Charles Joseph Date A point or period of time associated with an event in the lifecycle of the resource February 19, 2016 Is Part Of A related resource in which the described resource is physically or logically included. Skidmore Saratoga Memory Project Language A language of the resource English (en) Subject The topic of the resource Retiree Oral History Project Type The nature or genre of the resource Oral History Description An account of the resource Charles M. Joseph came to Skidmore in 1985 as a Professor of Music. During his years at the College, he served as Department Chair as well as Dean of the Faculty/Vice President of Academic Affairs. In this interview Joseph describes his work on expanding the music curriculum, the relationship between his Stravinsky scholarship and interdisciplinary teaching, and his vision for what was to become the Zankel Music Center. Academic Affairs Artists in Residence Board of Trustees Curriculum David Porter dean of faculty Diversity Filene to Zankel Hall (Transition) Interdisciplinary Collaboration Liberal Arts Education Liberal Studies Music Department Zankel Music Center https://ssmp.skidmore.edu/files/original/2ab4c359d1ca90e8d2e4720c040fb386.jpg cf0be52b1e3a65bd549f7b980d5157df https://ssmp.skidmore.edu/files/original/23a043a7a56c0cd112bb666e57dd40a7.m4a 6c08a1d3b7e9ff6e01e21bb8a7511fa9 https://ssmp.skidmore.edu/files/original/cd20cf47b101fbe701fbbd003f53b012.pdf e0b3f2d6b8ad6fd966e39d4741b9c600 https://ssmp.skidmore.edu/files/original/d2f206d62a9f79dcc9296fff14dc6653.pdf 7499c22945e5ab10e3325f007fe73e29 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Skidmore College Retirees Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Maria Mayboeck Interviewee The person(s) being interviewed Chris McGill Joseph Location The location of the interview Scribner Library, Skidmore College Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Audio recording Record Contributor Individual who prepared the item and/or edited it. Susan Bender Record Creation Date Day/Month/Year of record creation/edit November 19, 2018 Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:28:47 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Chris McGill Joseph Date A point or period of time associated with an event in the lifecycle of the resource February 26, 2016 Is Part Of A related resource in which the described resource is physically or logically included. Skidmore Saratoga Memory Project Language A language of the resource English (en) Subject The topic of the resource Retiree Oral History Project Type The nature or genre of the resource Oral History Description An account of the resource Chris McGill-Joseph joined the Skidmore workforce in 1987.  She has been a Skidmore wife, UWW student, Administrative Assistant, Skidmore parent, and Special Projects Manager, and she has long had a radio show on Sunday mornings on WSPN. In this interview she talks about the many transitions she witnessed - the move to the new campus, the adoption of technology, the arrival of men as part of the student body, and the opening of many new buildings.  She also touches on the mentoring she received throughout her career and reminisces about her role as manager of the Presidential Search process and administrator for the First Year Experience and the Middle States Association accreditation.   9/11/2001 Campus Move dean of faculty History Department Michael Arnush Pat Oles Peer Tutor Program Phil Glotzbach Phyllis Roth Tad Kuroda Technological Changes WSPN Radio https://ssmp.skidmore.edu/files/original/5cadd2984e0eb91af95a552996c40c88.png bd883b3d99b1d50d1bcdf0b9d7466eca Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bob Boyers Date A point or period of time associated with an event in the lifecycle of the resource February 22, 2017 Creator An entity primarily responsible for making the resource Sam Brown Rights Information about rights held in and over the resource Creative commons license https://ssmp.skidmore.edu/files/original/bc23d1a052a592890809e86b61eaf995.mp3 110431edbd29c02482fe9dbce96202aa https://ssmp.skidmore.edu/files/original/2d01c86c961fac8903ac3fbf2992758b.pdf 61a5cc6d8d2cb383e7c91f89d0a7e1fa https://ssmp.skidmore.edu/files/original/7ebd1a201623e4031d62092adba2e39e.pdf 711c25f00bad3fc83ba943922513b598 PDF Text Text Robert Boyers Interview Transcript Sam Brown: Hi, I’m Sam Brown for Skidmore Oral History. It’s February 22 nd and I’m in the office of Robert Boyers. So I’d first like to ask you, Bob, if you could tell me where you were born, and if you could just introduce yourself a little bit, that would be great. Robert Boyers: Sure. I’m Bob Boyers. I was born in Brooklyn, New York in 1942, and I’ve been teaching at Skidmore College since the summer, actually, of 1969. SB: Generally, can I start by asking how you came to Skidmore? RB: Well, I came to Skidmore in a rather unusual way. I had started a quarterly magazine called Salmagundi out of my apartment in New York City in the middle 1960s when I was a graduate student at New York University, and we managed to bring out—my friends and I had managed to bring out several issues by the Fall of 1968 when I was contacted by the Provost of Skidmore College—a man named Edwin Mosely who had thought about starting a magazine at Skidmore College, and had gone to the Gotham book mart in New York City and had seen some copies of Salmagundi, noted that they were published out of a post office box in New York City, and thought that it would probably be a good idea to be in touch with me about bringing the magazine to the college. So that’s, really, how I came to Skidmore. I came with a magazine. SB: Can you tell me what your motivation was for starting the magazine, specifically? RB: Well, you know, I had several motives. You know, I was a reader of magazines, obviously, like other young intellectuals and so on. And I had begun writing for some of those magazines very early on when I was a graduate student, before I began Salmagundi. I thought it was something I might like to do. The idea had never actually crossed my mind—I mean, I was only twenty-two when the idea finally did cross my mind—and it was placed there by a middle aged professor named Henry Pachter who was the dean of The New School for Social Research in Manhattan. I won’t tell the whole story—I’ve actually written it up in other places. He was a man I got to know in 1964 and he basically put the idea in my head, and encouraged me to do it, and put me in touch with all sorts of writers and intellectuals that I admired. And with that, I was able to figure out how to launch my own magazine. So, that was sort of the origin of the idea, and of course, you know, one’s motives and ambitions are various under those circumstances. Obviously, I was interested in finding an outlet for certain things that I and my friends wanted to write which, at the time at least, was not very easy for us to place in other magazines including very long and demanding essays that we were writing and wanted to continue to write. So there was that sort of thing, but then, also, we were interested in finding a way to bring together politics in the arts in a way that really wasn’t often done in other magazines right at that moment. I mean, there were magazines like the most famous of them: Partisan Review, which managed to publish material on politics and material on the arts, and literature, and film, and so on. But we wanted to do something that was a little different. We wanted to do politics and literature at the same time—to publish articles that engaged with both politics and literature in the same framework and we managed to do that right from the beginning. The only other ambition I’ll mention—I mean there were others—but, really, I was, myself, very taken with the very lengthy essays that were published in the middle of the nineteenth century in the English quarterlies like �the Edinburgh Review and the Westminster Review—the kinds of articles I loved and studied by writers like John Stuart Mill, and Thomas Carlyle, and John Ruskin—those kinds of writers. And really, there was no other magazine in the United States in that moment which reached a large general, educated readership that would accommodate materials of that length. We began to do that right from the start. The second issue of Salmagundi has a very lengthy article on the politics of Jean-Paul Sartre. And we’ve done that throughout the history of the magazine. So that was one of the things that we had in mind to do which we actually did. SB: Can you talk a little bit about how Skidmore facilitated Salmagundi and how it fit itself into the campus right when you got to Skidmore? RB: Well of course, the bottom line really was that Skidmore provided a budget and offices and a couple of student assistants. We had two student assistants. We had very modest offices. Our offices are, now, much more extensive than they were at the time, and we did have, really, a tiny budget—but it was a budget nevertheless. There was no salary for anybody who worked at the magazine, accept for the student assistants, but we had money for mailing and we had a print budget to pay a printer. This was extraordinary. I had managed to support the magazine out of my own pocket for four years which was very difficult to do, and it was wonderful to have this kind of support. In terms of fitting in at Skidmore; that always been not so very easy to tell you the truth. Most academics, then and now, are really not terribly interested in most things outside the framework of their own academic specialty, and Salmagundi is, by definition, a magazine that encompasses all sorts of different things. So, we always had a small cadre of people at Skidmore professors, and students, and so on who were enthusiastic about the magazine, but most people at the college were not terribly enthusiastic or interested in one way or the other. And that was okay—that was fine. I mean, for one thing, what it meant was that we didn’t have any interference in the running of the magazine. There weren’t enough people out there to be terribly interested in it one way or another, as I say. So there was no impulse to become angry about anything that the magazine doing or failing to do. So that was very useful. But, from the start, we wanted to insert the magazine into the life of the college which is what Edwin Mosley—the Provost of the college—had wanted right from the start. So, from the moment I got here, we began sponsoring the kinds of events that otherwise would never have unfolded at this college. Mainly, we began to sponsor and run conferences—many of them two or three day affairs in which major thinkers, writers, scholars, intellectuals would be brought together and asked to sit around a table for three days or so to debate an important subject. The first of those that we sponsored was actually in 1970, and over the years we’ve done more than thirty of those conferences at the college, and that’s one of the ways in which we hoped to develop the intellectual life of the institution. As I say, most of the faculty here were not terribly interested in or committed to those events, and, in fact, didn’t show up at those events. But it’s been a great thing for the faculty and the students who were interested. And, you know, at any given time there were certainly at least a couple dozen faculty members who were invested in what we were doing and many of those faculty, in fact, participated as speakers in some of those conferences. I will say a very considerable proportion of those faculty members were always in the English department rather than other departments, and that’s always been a source of surprise and disappointment to me after all of the many years I’ve been here. But it’s just a fact of life I’ve learned to accept. �SB: I was wondering if you could turn now to when you first came to Saratoga Springs and your personal experience of coming to Skidmore as a younger man. RB: Well, I mean, the college was somewhat smaller in those days for one thing and when I arrived here we were moving between the old campus in town and the current new campus which wasn't all built up when I arrived here in the late 60's and so on. The place you know of course, in terms of the faculty, certainly wasn't quite as strong then as it's become. We have a much larger proportion of the current faculty right now who are doing significant scholarly work. Many fewer faculty in the late 60's and 70's who were here when I arrived, were doing really significant creative and scholarly work, so that was an important difference. Over the years I've watched all sorts of development in the student body. The students in the late 60's and early 70's were terrific they were very good, then there was a long period of time, a considerable stretch of time, when Skidmore was having a very hard time as many previously male colleges and universities began to accept women and began to compete with Skidmore for women students. So I would say for a period of at least a decade and a bit more, there was a considerable decline in the quality of students we were getting. I mean we always had a number of very good students, but it wasn't until the early 1990's that we began to have the kinds of students that we have become accustomed to over the last 25 years or so where most of our students are actually quite good and many of our students are superb. And again, we went through a period where things were very different. SB: Can you talk a little bit about how gender changed the dynamics of the classroom? RB: Well you know, it's funny because when I came in Skidmore was a women's institution but only for a year or so and in fact in the yearbook for the graduating class of May 1970, because I was a young radical, very radical faculty member at the time, the students asked me to write for their yearbook an article promoting co-education, which I did. And of course I argued that it would be good for everyone including the women at the institution and so on if we took in men. But there was a lot of opposition to that—some of it from current students—but a lot of it from alums. They really felt that the character of the institution would change drastically and in a very unfortunate way. Many of the women I spoke to at the time argued on the basis of experience that they had heard from other people that as soon as male students came into Skidmore, the male students would sort of take over the institution. More or less at once it was said that the Skidmore News, the newspaper would be taken over by males, the literary magazine would be taken over by males, the college government association positions would be taken over by males and so on. It never really happened that way, the fears were exaggerated. I felt they would be exaggerated and although I've been wrong about many things over the course of my years at the college that was one area in which I happen to have been right. The men did not take over the institution. We had strong and brilliant women here in the student body over all of the years and we never had any of that kind of problem in that transition. Of course for awhile, Skidmore wanted to attract male students and had a very hard time doing so and a considerable proportion of the male students we did attract were not nearly to the level of the women students we had, but again, after awhile that began to change and you didn't feel that that was any longer the case. So again, my long years here have been a time when we have watched all sorts of changes taking place. But in terms of the gender problem, I really haven't felt that that has been a significant thing at least in my own experience of the classroom and the institution as a whole. �SB: Can you talk a little bit about how the English Department has changed over the years and how it has grown. I understand you play a big role in hiring faculty members. RB: Yes, for many years I was on the Hiring Committee and the Personnel Committee here and until quite recently in fact our Personal Committee in the department was also the Hiring Committee. We didn't have, for most of the years I've been at the college, separate committees assembled to hire a person for a particular position. Again, the people who were on the Personnel Committee, who were elected to that committee, handled not only assessment, which is to say reappointments, tenure, promotions and all of the hiring. So I was involved in hiring, I had a hand in it, I wasn't the person in charge of it, but I had a hand in it and in the hiring just about everybody who is in the department now and that was a wonderful opportunity to be involved in that. The department has changed in a great many ways, and it's hard to say exactly how. I mean you could point to particular areas where the changes have been dramatic. For example, when I came in there was a poet named Lawrence Josephs who taught a poetry workshop each year. He had an academic background and he was a good but not well-known poet, he did not have a book of poems. He was a man, when I came in, who was in his fifties and he had been here for quite some time. We didn't have a creative writing faculty at all, we didn't have a fiction writer on staff. There was no such thing as creative non-fiction. And again, the only person who taught the poetry workshop was this one man Lawrence Josephs and so I and a number of other people began to fight for the idea that to be credible and to offer creative writing in a serious way, we had to recruit and hire creative writers who were significant authors and had well received books to their credit and so on, and who would basically be hired for that purpose. They wouldn't just be professors with PhD's in an academic subject who felt they could teach a course in fiction and so on, which by the way was never taught when I originally came in at Skidmore. So that was one very significant change and as I say I was one of the people who fought very hard for that. Other areas were very different, we often had considerable battles within the department about whether or not we wanted to hire people specifically to teach freshman composition. Many people felt that it was a good idea for everyone to teach freshman composition, not to hire a separate cadre of people who only did that. But basically over the years I think we sort of have all adapted to the situation as its evolved. And the college as a whole, again I think the faculty certainly has become stronger and in recent years, the student body has become stronger. So I would say in general Skidmore is at a pretty good place right now. I mean I could get into all sorts of parochial matters that are still struggling about but probably not of great interest to people who are not academics themselves. For example, the relationship between theory and what we call primary literature itself. In my own estimation in the profession of literature these days we have lots of people who are entering English Departments who are primarily interested in theory and have very little interest in Literature itself. I think that is very unfortunate. People in my generation generally went in to college English teaching because they were passionate about poetry and fiction and such things. We were interested in ideas, some of us like myself were intellectuals who write about all sorts of issues and topics and so on. But our passion is really about poetry and fiction and the primary texts and the arts and so on. I think my sense has been that many people in the profession, and that includes some people at the college as well, are not that interested in literature for its own sake. They are interested in it for the uses they can make of it in connection with their own theoretical investments, which I think is fine as long as they don't communicate that feeling in �the classroom. In so far as they do, my sense is that the students are not getting what they aught to get when they enroll in classes in Literature. But again, that's just one view and there are many other views that are held by very smart people who see things rather in a different way. SB: I was wondering if you could tell me a little bit about the New York Summer Writers Institute and how that has cemented itself into Skidmore. RB: Yeah that's another one of those things that certainly to me came as an enormous surprise. You know I'm not by temperament or disposition an administrator. There was a time years ago when people would come to me and say you should be Chair of the Department or Dean of the College or something and I'd say no, no I have no interest in doing something like that and I'm not really good at that sort of thing. But 31 years ago Skidmore was approached by the novelist William Kennedy who had just begun the New York State Writers Institute in Albany at the State University. He had a dream of starting a summer program and thought that such a program would be very attractive if it was started at a small liberal arts school like Skidmore and in a town like Saratoga Springs. And so because of Salmagundi and my connections with dozens and dozens of writers and so on, people who were approached thought I would be the obvious person to direct such and institute and it seemed like a nice idea and I thought to do it for a short while. I never really dreamed that I would feel like staying with it for a long time. Again, because it involved a certain type of administrative function that really was not ever part of my ambition, but I found that I liked it and that I was able to build the program into a national program over the course of the first 5 or 6 years. I was given rather a free hand to do that and so the program grew and I found that it was very important to me in a whole variety of ways, some of which were personal some of which were professional. I could mention the personal that is sort of interesting, in the sense that my wife, Peg Boyers, who was the Executive Director of Salmagundi and an occasional writer of critical prose, sort of got the feeling after the first 8 or 10 years of the writers institute that she wanted to try to write poetry. She began to enroll in summer courses first with the poet Robert Pinsky but then shortly thereafter with the poet Frank Bidart and suddenly discovered that she was, lo and behold, a first rate poet and has now gone on to publish three well received books of poems and so that has rather changed her life. Of course I will always be grateful for the fact that the New York State Summer Writers Institute came to me and that I was able to make something of it because it gave my wife this whole extraordinary unexpected career, so there was that. But there was another aspect of it that was through the Writers Institute I became close to dozens of first rate writers who began to contribute their writing to Salmagundi Magazine, which is a magazine that of course by that time had a large national reputation as small quarterly but which for the most part could not have acquired the first rate writing of many of those writers had we not developed personal relationships with them. The simple reason is that we don't pay money. They can give that writing to national magazines, so that's been an extraordinary benefit that I never imagined would come to pass when I decided to take on the Summer Writers Institute. Of course it has been great to have the program here at the college. Our public events 5 nights a week draw good audiences, every night of the week in the auditorium and we get lots of publicity for the college all over the country which is very important to the college and very important to me as somebody who has been at the college for almost a half century. That has been wonderful. The truth is again most faculty at the college don't have anything to do with the institute, don't come to the readings, don't derive any benefit personally or professionally from it which is fine. The seats are filled �every night in the auditorium from people far and wide who come to the events and so on and of course we draw students to the workshops from all over the country, a small number of Skidmore students enroll every year but we have students every year from major universities and small colleges all over the country. SB: I guess going back a little bit, to when you first came to Skidmore; I know there was a lot of student protests happening at the time and I was wondering what the Skidmore student body was like at the time and if you could compare it to the student body now a little bit. RB: Well you know I think in the life of any institution the sort of student politics rises and falls depending on the particular student cohort. In a school like Skidmore, a relatively small number of students can change the atmosphere on the campus in extraordinary ways. When I say small number, I really mean a small number, a dozen, fifteen, twenty students out of 2,000 or more students could really mobilize energies on a campus like this in ways that are quite extraordinary. In the late 1960's when I arrived it was an era all across the country of student radicalism and student protest, but the truth is the overwhelming majority of students at Skidmore at the time were not activists, whatever the sort of publicity that's sometimes put out by people who are themselves activists and so on and remember fondly the "good old days" when..., I mean most students then and now are invested in their academic work and their clubs and their teams and so on and are not deeply invested in politics certainly not in radical politics. There was, however, in the moment of the late 60's and early 70's, a considerable minority of Skidmore students who were very involved in politics both on and off the campus. I was myself very involved in antiWar activities and Civil Rights activities on the campus. I was among a small number, it was a very small number, of faculty members who were basically mobilizing student activism back at that moment. But even then, there were considerable differences of opinion about what mobilizing student activists should entail. If you like I can give you an example. At the time of the Kent State killings in the Spring of 1970, which was the end of my own first year at Skidmore College, there were student protests and lots of Skidmore students became involved, many more that I could of imagined would be possible. I mean hundreds of students were involved in on-campus marches and protests. We began to organize, that is 3 other faculty members and I began to organize teach-ins which would address the war in Vietnam, the question of student activism itself, Civil Rights issues as they were then emerging and so on. And basically it was the tail end of the semester and it called a halt to classes. Many faculty members were very angry about this, understandably I think it is fair to say, and I think this history is available in back issues of the Skidmore New and Saratogian and that sort of thing because obviously it really was newsworthy at least in this immediate local. On one of those teach-in occasions, as we were moving into the second day of our sort of work stoppage and student strike, we were moving toward the final exam period and one of the faculty, a full-time member of the English department in Skidmore, a man about my age, in his mid twenties, a very brilliant young man, got up and urged that we continue the strike right through the final exam period that we simply force the cancelation of the exams. Many students were very upset about this and spoke out at that meeting. And of course there were other faculty members who were very upset about it and again I would say legitimately so and that seemed to me a very important turning point. I as one of the leaders of this organization argued that this was not a good thing to do to put students in jeopardy, students were about to graduate, they needed the course credits and so on. My colleague and I had a ferocious public argument on the subject with lots of other �people participating and basically his view was that these kinds of things are much more terrifying in your imagination than they actually turn out to be in reality. My view was that no actually they can be quite terrifying. People who have spent enormous sums of money and suddenly find that they cannot graduate because they don't have the academic credits to do so have real reason to be terrified and their parents have legitimate reason to be very upset and so on and this is taking the whole thing too far. I don't pretend to be right about this sort of thing, but I am pointing it out to suggest that these types of debates were going on at colleges and universities all over the country and it took place here at Skidmore with hundreds and hundreds of students very much involved. But you know over the years after that point there have been intermittent student mobilizations and protests on behalf of one thing or another and again most Skidmore students haven't been deeply involved in those mobilizations and its always very nice to see an occasional sort of eruption of concern where there is a march or a student protest and so on and it's nice to see that Skidmore students are in fact paying attention to what is going on out there in the world. Of course many of those things unfortunately follow what might be called the ideological fashion and lots of people jump on to a particular bandwagon only because it is the thing that is being done all over the country at any given moment and of course that sort of momentary fashion passes the interest in the issues disappears. I think we have seen that over and over and over again and it's not really surprising, but it's the way of things and it is no different in that sense at Skidmore than it is anywhere else. SB: That was great. We are almost done, but I was wondering if there was anything specifically that you would like to mention about Skidmore in general or about any specific anecdotes or encounters with the Presidents like David Porter or anything like that. RB: Well I have had in general, very warm relationships with the various administrations that I have lived through. My sense is that the present administration, President Glotzbach and Beau Breslin and so on are exceptionally good, smart and dedicated. We have our differences to put it mildly, I mean that's what you would want, I mean I think that is what they would want, that people are thinking about real issues have their differences. I've been very concerned frankly in the last few years in the way I have been intimately over the last 25 years or so, about the, what might be called the reign of political correctness on this campus and other campuses. That is an area in which the present administration and I have some rather considerable differences of opinion. Of course time will tell whether these differences are significant as they sometimes seem to me to be. These kinds of problems having to do with political correctness and so on can be very worrying when you think about the way they play out in the classroom, when you think about the way they constrain open discussion and conversation of subjects in the classroom. It can be very worrying if you think about the way they shape the recruitment of new faculty and I'm frankly worried about those things. I've seen things recently over the years, especially recently, which seem to me to suggest that these issues are more important right now than they have been in the past and my sense is that administration typically runs scared when these kinds of things erupt. They worry that the faculty will find them at fault, will censure them and then they don't adopt the kinds of leadership that they are capable of. I haven't seen that just yet occurring with the present Skidmore Administration but there are worrying signs at least for me and some of my colleagues who are similarly worried, and I hope that our fears are, as they sometimes are, exaggerated or misguided, but we will see. �SB: Okay, last question. If you could talk about some of the things you are proud of and what Skidmore has meant to you. RB: Well you know of course I love to teach and I'm old enough to stop, to retire. I'm hoping to keep going, which says a lot about what matters most to me and what I'm pleased about as I look back over my years at the college. Every year for a very long time now at the alumni reunion in late May early June I give a mini class on some subject or other and every year I have a very large crowd turning out and of course many of them are people from a very long time ago who studied with me many many years ago and are coming back to their thirtieth reunion or their fortieth reunion that sort of thing. We get to see one another and remember the past and that sort of thing and that is important to me when I know that these students from the past remember these classes together as formative to them in some way and that of course is in some ways the most important thing. A considerable cohort of students who become very close friends, whom I see on a regular basis, come and stay with us for the weekend and that is sort of great. When we had the last Salmagundi conference this past fall the 50th Anniversary conference, we had 7 former students who graduated in the past who came back for the 3 days, two of them flew in from San Francisco, that was great to me. If you ask me what are you proud of what are you gratified by...That. That is very important to me more than anything else in many ways. SB: Great! Thanks a lot Bob RB: You are welcome. By all means. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Skidmore College Retirees Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Sam Brown '16 Interviewee The person(s) being interviewed Robert Boyers Location The location of the interview Scribner Library, Skidmore College Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Audio recording Record Contributor Individual who prepared the item and/or edited it. Susan Bender Record Creation Date Day/Month/Year of record creation/edit November 19, 2018 Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:47:57 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Robert Boyers Date A point or period of time associated with an event in the lifecycle of the resource February 22, 2016 Is Part Of A related resource in which the described resource is physically or logically included. Skidmore Saratoga Memory Project Language A language of the resource English (en) Subject The topic of the resource Retiree Oral History Project Type The nature or genre of the resource Oral History Description An account of the resource Robert Boyers, came to Skidmore in 1969 as a professor of English and editor-in-chief of "Salmagundi Magazine," which has been housed at the College ever since. In this interview, Professor Boyers talks about the journal’s influence on campus and beyond, as well as his work as director of the New York State Summer Writers Institute. He also describes his engagement with student activism in the early 1970's, as well as his continuing commitment to maintaining lively intellectual debate at the College. https://ssmp.skidmore.edu/files/original/bc5b5a37e7a3a66f5b9474f0276aa72d.jpg 56849fb624ea6765de4f329ad3515140 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Adult and Senior Center of Saratoga Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Repository Name of the repository that holds the original item. Saratoga Adult and Senior Center (Saratoga Springs, N.Y.) Record Contributor Individual who prepared the item and/or edited it. P. Radcliffe Record Creation Date Day/Month/Year of record creation/edit 6/12/16 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Date A point or period of time associated with an event in the lifecycle of the resource 1973 Date Issued Date of formal issuance (e.g., publication) of the resource. 9/16/73 Title A name given to the resource Concentration Publisher An entity responsible for making the resource available The Saratogian Format The file format, physical medium, or dimensions of the resource Newspaper article Abstract A summary of the resource. 3 seniors playing cards** activity cards game saratoga senior center senior citizens seniors https://ssmp.skidmore.edu/files/original/a17adb2b6c0e75c6ebf2ca0d34cbe8bb.jpg 05a8b3f48408ac9e3ac5315fd81e8226 https://ssmp.skidmore.edu/files/original/f263f04145f8d9c09310b1629592326d.mp3 7f2cce58c5dd5ba8187fa0236c5eca68 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Evolution of Beekman Street (20th century-2016) Date A point or period of time associated with an event in the lifecycle of the resource 12/13/16 Is Part Of A related resource in which the described resource is physically or logically included. Saratoga Memory Project Source A related resource from which the described resource is derived Skidmore College Publisher An entity responsible for making the resource available DS: 113A Storytelling Interviewing, Skidmore College Description An account of the resource History of Beekman street, evolution of Beeekman, artist identities/roles, the future. Language A language of the resource English Format The file format, physical medium, or dimensions of the resource Original recording wave file, 16 bit 44.1 khz Zotero Interviewee Amejo Amyot, M'elle Pirii-Lee, Cecilia Frittelli, Interviewer Jonah Brenner, Amanda Peckler, Yuelin He, Max Lowe, Dejon Bunn-Constant Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Maximillian Lowe Interviewee The person(s) being interviewed Geroge Demers Location The location of the interview WSPN Studio Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Digital Audio Recording Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 53:34 Time Summary A summary of an interview given for different time stamps throughout the interview 00:00:00 Introduction 00:00:54 Moving to Saratoga 00:02:48 Getting priced out of Beekman street 00:04:54 Beekman street in the 1900s 00:07:05 The Saint Anothony's feast 00:08:40 Gangsters, prostitutes, and servants 00:10:30 East side vs west side 00:11:25 Kids hanging out 00:12:30 Youth group 00:15:15 Bureaucratic problems with the youth center 00:17:30 A lack of culture in Saratoga 00:18:00 Watercolor art 00:20:00 Living on the west side of Saratoga 00:21:53 New artists in Beekman 00:28:26 The lack of a Saratoga community 00:31:50 New Jersey Korean tacos 00:33:50 The future of Saratoga 00:37:00 WSPN radio 00:38:00 Authentic artists 00:41:45 Moving into the the Saratoga community 00:45:44 Saratoga's disconnected relationship with Skidmore students 00:50:10 The new Saratoga/closing thoughts Record Creation Date Day/Month/Year of record creation/edit 12/14/2016 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with George Demers Date A point or period of time associated with an event in the lifecycle of the resource 12/14/2016 Is Part Of A related resource in which the described resource is physically or logically included. Saratoga Memory Project Publisher An entity responsible for making the resource available DS113A: Storytelling Interviewing, Skidmore College Description An account of the resource George Demers is a longtime Saratoga resident with a relationship that dates back to the origins of Beakman Street. George discusses a unique perspective on Saratoga's art culture, or the lack thereof. Language A language of the resource English Creator An entity primarily responsible for making the resource Maximillian Lowe Subject The topic of the resource Saratoga Springs -- Beekman Street Arts District -- History oral history https://ssmp.skidmore.edu/files/original/891899d3ea38b03435dedbc5c7a6df4d.jpg 413c973c03f0d2013a4ccae7304dc478 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Evolution of Beekman Street (20th century-2016) Date A point or period of time associated with an event in the lifecycle of the resource 12/13/16 Is Part Of A related resource in which the described resource is physically or logically included. Saratoga Memory Project Source A related resource from which the described resource is derived Skidmore College Publisher An entity responsible for making the resource available DS: 113A Storytelling Interviewing, Skidmore College Description An account of the resource History of Beekman street, evolution of Beeekman, artist identities/roles, the future. Language A language of the resource English Format The file format, physical medium, or dimensions of the resource Original recording wave file, 16 bit 44.1 khz Zotero Interviewee Amejo Amyot, M'elle Pirii-Lee, Cecilia Frittelli, Interviewer Jonah Brenner, Amanda Peckler, Yuelin He, Max Lowe, Dejon Bunn-Constant Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource [Beekman Street Flag] Date A point or period of time associated with an event in the lifecycle of the resource 12/1/2016 Creator An entity primarily responsible for making the resource Amanda Peckler Rights Holder A person or organization owning or managing rights over the resource. Amanda Peckler Contributor An entity responsible for making contributions to the resource Amanda Peckler Medium The material or physical carrier of the resource. photo https://ssmp.skidmore.edu/files/original/f863a13c9738589421052c00202205ea.jpg 8fc2103e9a6404da4d2e2c3a9a4f9520 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data poster Record Contributor Individual who prepared the item and/or edited it. Amanda Muir Date Depicted (Display) Text version of the date field -- can handle non-numeric characters (ca. 1850s, [1844]). This is the content date field that will display. 2/12/16 Date Depicted (Numeric) Date that the information on the item depicts. In many cases, this will be the same date as that in the date field, but there will be exceptions. For example, a historical map drawnin 1890 might show Saratoga Springs as it was in 1820. Or, the information on the map itself might include detailed information that enables us to extrapolate a date, for example, "based on a survey done in 1841." Many State Archives map catalog records refer to this as the "situation date." 2/12/16-2/14/16 Publisher Publisher of the item, or of the book or atlas in which it appears. The Flurry Festival Organization Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Flurry Festival 29th Year Poster Date A point or period of time associated with an event in the lifecycle of the resource 2/12/16 Publisher An entity responsible for making the resource available The Flurry Festival Language A language of the resource English Format The file format, physical medium, or dimensions of the resource jpg advertisement dance Flurry Flurry Festival music https://ssmp.skidmore.edu/files/original/d4ee2f6a1e8a827a5672709d7b10507a.jpg abc035b91f081203c0b83bbfffe56736 https://ssmp.skidmore.edu/files/original/2517f175df1dd6f0ac7f89d103f9150a.mp3 6cb93cd6036977fb4168abcdb78f2670 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Flurry Festival Description An account of the resource The Flurry Festival is a three day music and dance Festival that takes place in Saratoga Springs in February. The festival holds workshops, performances, dances, and jam sessions in the city center and throughout the town. The Flurry first started as a dance festival for contra dancing but has expanded to musicians and spans all genres of music and dance as well as encompassing family friendly events such as storytelling. Language A language of the resource English Subject The topic of the resource The Flurry Festival Creator An entity primarily responsible for making the resource Jennifer Davies, Clara-Sophia Daly, Dustin Foote, Amanda Muir, Tess Olcott, Format The file format, physical medium, or dimensions of the resource Original recording wav file, 16 bit 44.1 khz Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Amanda Muir Interviewee The person(s) being interviewed Peter Davis Location The location of the interview Room 128B, Lucy Scribner Library, Skidmore College Original Format The type of object, such as painting, sculpture, paper, photo, and additional data digital audio recording Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 53:34 Record Contributor Individual who prepared the item and/or edited it. Amanda Muir Record Creation Date Day/Month/Year of record creation/edit 8/12/2016 Time Summary A summary of an interview given for different time stamps throughout the interview 00:00:00 Introductions 00:00:32 Discusses role of program director 00:01:28 Relationship to Paul Rosenberg, becoming the flurry program director 00:03:17 Asks wife how to strategize taking on the Flurry organization. Turns to computers 00:04:18 First year directing the festival, a power outage occurred in the city center while the weather became colder 00:07:25 Brought in swing music, the vision of Paul Rosenberg 00:08:30 Restructured the guidelines to increase profit for organization and increase younger attendance 00:10:40 Hired younger bands to increase youth attendance and added more youth oriented programing 00:12:20 Expanded the Flurry festival reach to a national scope, while still including local bands, teachers, and performers 00:14:20 Set up specific event for little kids and teens with help from board members 00:16:05 Remincing of sense of community at first Flurry festival. 00:16:50 Placed in a swing dance workshop at Old Songs Festival, met Jay Unger and Molly Mason who were big influences in the beginning of the Flurry Festival 00:17:30 Early swing dancing at the Flurry. Played the band at the festival and helped spread the word of the festival to more swing dancers 00:19:17 Played as a musician at the Flurry along with his son Ben 00:20:30 Maintained and increased the diversity in music and dance, added techno contra dance along with urban and traditional dance forms 00:23:50 Advertising the amount of music and songs available 00:24:25 Grant outreach through the Flurry Organization to underprivileged organizations to give them attendance to the festival 00:26:14 Increased positivity and support from the Saratoga community, specifically businesses 00:28:05 The flurry festival community. Hired musicians discovering the Flurry for the first time 00:30:07 Support of flurry community through financial troubles 00:31:00 Effects of the cold weather on the festival programmers and participants 00:33:25 Enjoying the Flurry. The difficulty of programming the events 00:36:20 Final performance was a medley of musicians at the festival that jammed including the Midwestern Swing 00:38:30 Watching the new people see the huge contra dances 00:39:30 Explaining the Flurry experience to non participants 00:42:20 The role the Flurry plays in Peter Davis’ life, looking towards the future 00:45:03 Considering the attendance of workshops and events 00:45:40 Positives and negatives of program director, writing a decline to a workshop teacher 00:46:50 The directors and departments on the Flurry Organization board 00:49:30 Desire to have support from local colleges and student performances 00:53:20 End Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Peter Davis Date A point or period of time associated with an event in the lifecycle of the resource 12/8/2016 Publisher An entity responsible for making the resource available DS113A: Storytelling Interviewing, Skidmore College Language A language of the resource English Creator An entity primarily responsible for making the resource Amanda Muir Is Part Of A related resource in which the described resource is physically or logically included. Skidmore-Saratoga Memory Project Description An account of the resource An interview with Peter Davis, the program director of the Flurry Festival from 2006- present day. Peter discusses the nuts and bolts of creating the schedule and how it changed from Paul Rosenberg's direction to the current form. Format The file format, physical medium, or dimensions of the resource Original recording wav file, 16 bit 44.1 khz Subject The topic of the resource Saratoga Springs -- Flurry Festival -- History City Center dance director Flurry music oral history Peter Davis programs The Flurry Festival https://ssmp.skidmore.edu/files/original/90a510c707aebe80af8fd724e9c253ae.JPG eb80eda24068062ba36cf005b3e2d4c9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Vonnie Estes Date A point or period of time associated with an event in the lifecycle of the resource 12/01/2016 Creator An entity primarily responsible for making the resource Clara-Sophia Daly https://ssmp.skidmore.edu/files/original/2da702f6bbad7209be00cc4cd0a0c6eb.mp3 32207a5305495d412280d86899595e9d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Flurry Festival Description An account of the resource The Flurry Festival is a three day music and dance Festival that takes place in Saratoga Springs in February. The festival holds workshops, performances, dances, and jam sessions in the city center and throughout the town. The Flurry first started as a dance festival for contra dancing but has expanded to musicians and spans all genres of music and dance as well as encompassing family friendly events such as storytelling. Language A language of the resource English Subject The topic of the resource The Flurry Festival Creator An entity primarily responsible for making the resource Jennifer Davies, Clara-Sophia Daly, Dustin Foote, Amanda Muir, Tess Olcott, Format The file format, physical medium, or dimensions of the resource Original recording wav file, 16 bit 44.1 khz Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Clara-Sophia Daly Interviewee The person(s) being interviewed Vonnie Estes Location The location of the interview Lucy Scribner Library, Room 127, Skidmore College - Saratoga Springs NY Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Digital audio recording Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 53 minutes Record Contributor Individual who prepared the item and/or edited it. Clara-Sophia Daly Record Creation Date Day/Month/Year of record creation/edit 06/12/2016 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Vonnie Estes Date A point or period of time associated with an event in the lifecycle of the resource 12/01/2016 Is Part Of A related resource in which the described resource is physically or logically included. Skidmore-Saratoga Memory Project Publisher An entity responsible for making the resource available DS113A: Storytelling Interviewing, Skidmore College Description An account of the resource Interview with Vonnie Estes, musician, dancer, and volunteer at The Flurry Festival, a three-day music and dance festival in Saratoga Springs, NY. Estes speaks about growing up, her evolution as a piano player, the history of The Flurry Festival, and her influence over many folk music events around the Northeast. Language A language of the resource English Creator An entity primarily responsible for making the resource Clara-Sophia Daly Format The file format, physical medium, or dimensions of the resource Original recording wav file, 16 bit 44.1 khz Date Created Date of creation of the resource. 12/02/2016 Abstract A summary of the resource. 00:0:26 Header 00:0 20 Explanation of The Flurry Festival and types of music there. 00:1:30 Vonnie Estes. Born in Syracuse New York October 12 1953. Grew up in Fabias New York. Played Piano as a child and took private lessons in school. 00:5:22 Volunteered at Boston Spa Historical Society. Attended first contra dance in 1978. 00:10:17 Attended first Flurry Festival Dance in Gymnasium. 00:14:36 People come back to The Flurry Festival year after year for the community. Many relationships are formed from the music and dance community. 00:18:20 Describes why it is so fun to play for dancers as opposed to jamming with other musicians in a house concert setting. 00:20:40 Young Skidmore students attend jam sessions with other local musicians. 00:23:20 Describes music sessions as “welcoming” and inclusive. 00:25:40 Explains other music groups in NY area that Vonnie Estes and husband are members of. 00:29:10 Defines what a hammer dulcimer is 00:32:26 Prefers upright piano to a keyboard. Likes the acoustic sound and tonality of a real piano. 00:35:15 Describes her job at General Electric working with digital equipment and using a genographics machine to digitize images. 00:36:16 Describes the lack of communication today in comparison with when she was young. 00:38:50 Meets volunteers at The Flurry who are also community minded. 00:41:32 Explains a typical day at The Flurry and what she does. Goes from venue to venue around Saratoga to hear music, play music, dance and volunteer. 00:42:21 Added three extra hours to schedule for The Flurry Festival in 2016. 00:42:46 Describes husbands responsibilities in relation the The Flurry. 00:45:40 Calls her husband “tall, dark and handsome” and “a good dancer”. 00:46:36 Losing Saratoga Music Hall as a venue. Talks about new venue possibilities for The Flurry. 00:49:05 Describes contra dancing as easy. You only have to know “your right from your left hand and walk up and down” 00:49:38 Explains what a “figure” is in terms of square dancing. 00:50:04 Talks about how contra dances used to be segregated by gender, but now are not. Used to be called “proper” dances, now they are “improper” - meaning that it is mixed woman and men and not separate. Notable change in contra dance. 00:51:29 When asked about politics in this country as a whole: “We’re in trouble coming up” “I didn’t vote for him” 00:52:13 Invites all Skidmore students and dancers to The Flurry and to other local dances in the area. 00:52:56 Thank you from Interviewer to Interviewee. Subject The topic of the resource Saratoga Springs -- Flurry Festival -- History Contra Dance dance music oral history Piano Quebec The Flurry Festival https://ssmp.skidmore.edu/files/original/20e95a3a929f69df109dada4f00fa508.gif 4b0afc180b2402dd8144aaadd55d2df0 https://ssmp.skidmore.edu/files/original/f886ad1d2da3cd79705f6b7b7615befe.mp3 a7d0f138fd571604a1633869ae628e79 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Evolution of Beekman Street (20th century-2016) Date A point or period of time associated with an event in the lifecycle of the resource 12/13/16 Is Part Of A related resource in which the described resource is physically or logically included. Saratoga Memory Project Source A related resource from which the described resource is derived Skidmore College Publisher An entity responsible for making the resource available DS: 113A Storytelling Interviewing, Skidmore College Description An account of the resource History of Beekman street, evolution of Beeekman, artist identities/roles, the future. Language A language of the resource English Format The file format, physical medium, or dimensions of the resource Original recording wave file, 16 bit 44.1 khz Zotero Interviewee Amejo Amyot, M'elle Pirii-Lee, Cecilia Frittelli, Interviewer Jonah Brenner, Amanda Peckler, Yuelin He, Max Lowe, Dejon Bunn-Constant Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Yuelin He Interviewee The person(s) being interviewed Cecilia Frittelli Location The location of the interview 143 Grand Ave. Beekman Street, Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Digital Recording Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 37 minutes Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 16 bit, 44.1khz Record Contributor Individual who prepared the item and/or edited it. Yuelin He Record Creation Date Day/Month/Year of record creation/edit 12/12/2016 Time Summary A summary of an interview given for different time stamps throughout the interview 00:00:05.28Header 00:00:23.03 Introduction. History of her business. Been around in textile industry for a long time. Born in Boston in 1958. Graduated in 1980 with a degree in theater design and in fiber arts. 00:04:23. Relationship with weaving. Father's influence. 00:05:39 Introduced to Beekman Street in 2001 by Amio. Did not find space until 2007. Involved with this street since the very inception. 00:08:36 Relationship with Amio. Nice vibe, history, and restaurant drew her to Beekman Street. Working and LIVING IN THE SAME AREA. Perfect and quiet place for artists to live and work. 00:10: 54 Artists on Beekman street. 00:15:14. The idea of showing the public the process of production. Lifestyle. Products with story. More excitement about products. 00:18:28. Adaptation to the art district community. 00:19:53 Economic crisis. Shop locally, shop meaningful. 00:21:14 Promotion of shop eco-friendly, local, small. 00: 22:44 Operation of the studio. 00:24:36 Add experience to business. Not just about selling the product. Lifestyle. The idea of making something beautiful and having some people appreciating it. 00:26:36 Customers composition and products. 00:27:27 Favorite moment with Beekman Street. Art Fair. Show case. Festive event. 00:29:36 Differences in working in big cities and working in small community 00:31:39 Challenges artists face. 00:34:22 The thriving history of Beekman Street and the current status. 00:35:36 Possibility to make Beekman Street thriving again. 00:36:17 Government needs to do more. 00:37: 24 End Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Cecilia Frittelli Date A point or period of time associated with an event in the lifecycle of the resource 12/07/2016 Creator An entity primarily responsible for making the resource Yuelin He Is Part Of A related resource in which the described resource is physically or logically included. Skidmore Saratoga Memory Project Description An account of the resource History of street, evolution, artists identities/roles, the future Language A language of the resource English oral history https://ssmp.skidmore.edu/files/original/730185ca71ceaa47d45c9e65e0a23b09.jpg cdc3c38dddb3c800eb635577e421a702 https://ssmp.skidmore.edu/files/original/20222186c6bd9b738489db9568bc7ddf.wav 65a9f8a6e9d2d18b3866fe4c93c84263 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Evolution of Beekman Street (20th century-2016) Date A point or period of time associated with an event in the lifecycle of the resource 12/13/16 Is Part Of A related resource in which the described resource is physically or logically included. Saratoga Memory Project Source A related resource from which the described resource is derived Skidmore College Publisher An entity responsible for making the resource available DS: 113A Storytelling Interviewing, Skidmore College Description An account of the resource History of Beekman street, evolution of Beeekman, artist identities/roles, the future. Language A language of the resource English Format The file format, physical medium, or dimensions of the resource Original recording wave file, 16 bit 44.1 khz Zotero Interviewee Amejo Amyot, M'elle Pirii-Lee, Cecilia Frittelli, Interviewer Jonah Brenner, Amanda Peckler, Yuelin He, Max Lowe, Dejon Bunn-Constant Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Dejon Bunn-Constant Interviewee The person(s) being interviewed David Plaskett Record Creation Date Day/Month/Year of record creation/edit 06/12/2016 Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Digital Audio Recording Record Contributor Individual who prepared the item and/or edited it. Dejon Bunn-Constant Location The location of the interview 69 Beekman Street, Saratoga Springs, NY 12866 Transcription Any written text transcribed from a sound Interviewee: David Plaskett Interviewer: Dejon Bunn-Constant Location of Interview: Kitchen of Black Elks Lodge, 69 Beekman Street Date of Interview: 12/10/16 00:00:01.13: Header 00:00:12.02: Introduction. Resident of Saratoga Springs and Black Elks Lodge since 1998 00:00:59.37: Discussion on decline of participation of Black Elks Lodge and fraternities in general. Misconception on lodge and change from the festive, young, organized, active participation it used to have. Focus on functions of lodge - bar, parties. Loss of knowledge of history. 00:04:35.11: Recounts history of the Drill team as an integral part of what Elks used to be. Used to be source of pride and representation of Saratoga in competitions with other cities. Meetings and social gatherings used to be face of Black Elks. Community, support driven. 00:08:32.23: Clarifies racist history of Elks lodge - exclusion lead to need for Black fraternity members to create own space. Emphasis on sameness between Elks of all races despite division in history. 00:10:09.44: Mentions that Elks started in England. 00:13:13.07: Explains that original purpose of fraternal organizations was loving, giving. That purpose has been clouded. 00:14:12.58: Stresses importance of young membership, transparency of history key to people knowing the reason why they are joining, 00:15:19.23: Tells history of Frederick Allen in Saratoga Springs, organization of City Hall. 00:16:56.34: Remarks Black Elks Lodge being the first and last Black lodge in New York. Declares desire to keep Lodge alive due to racial significance in Saratoga. 00:19:14.17: Discusses exclusion and lack of appreciation of the lodge by the larger Saratoga community. Lack of funding and desire by townspeople to keep lodge alive. 00:21:47.05: Notes how lodge historically had auxiliary attractions to gain membership that no longer exists. 00:24:05.39: States belief that lodge should have membership drive as rejuvenation effort. 00:25:42.40: “Can We Talk” by Tevin Campbell starts playing in the distant background, remarked by Mr. Plaskett as he discusses meetings historically being members only. 00:26:43.18: Describes color guard - women in parades held by fraternities in past who would wave the fraternity’s flag and do a routine to introduce the fraternity being represented. 00:28:48.31: Not many original Elks members left to remember and recount history and legacy to newer generations. 00:31:03.04: Downplay of lodge’s legacy and importance by the rest of Beekman Street and the rest of Saratoga. Makes clear that the town actually wants to see the Arts District and the Lodge gone. 00:32:45.51: Arts District began being rented by people of too wealthy a class for artists to survive and maintain the businesses and homes they had along Beekman Street. Severity of the collapse, refinancing occurring around 2010. 00:37:14.01: Closing. Remarks importance of interviewer’s interest in the history of the Lodge and maintaining the narrative of the Lodge as a method to draw attention to it. Emphasis on knowledge of history as most powerful tool to use. Unsure if he believes Lodge should attempt to rejuvenate itself or let go of history, disappointed tone. 00:40:46.40: End. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 40:46 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with David Plaskett Is Part Of A related resource in which the described resource is physically or logically included. Skidmore-Saratoga Memory Project Language A language of the resource English Creator An entity primarily responsible for making the resource Dejon Bunn-Constant Format The file format, physical medium, or dimensions of the resource Original recording wav file. 16 bit 44.1 khz Date A point or period of time associated with an event in the lifecycle of the resource 12/10/2016 Publisher An entity responsible for making the resource available DS113A: Storytelling Interviewing, Skidmore College. Description An account of the resource The overarching theme of the interview I conducted displays Mr. Plaskett's doubtful yet hopeful view for the future of the Lodge. He has been living in Saratoga and participating in the Lodge since 1998 - he has been an Elks member since his youth. As a senior citizen, he remarks the shift he has observed in the priorities and reasons why people join (or do not join) the lodge. Lastly, he focuses on the importance of knowing and maintaining the history of the Elk's lodge, as there has been blatant prejudiced disregard for the continuation of the lodge by the larger Saratoga community. He hopes that by keeping history alive and continuing the narrative, the essence of what Elkdom means to the Black Elks will be kept alive as well. Date Created Date of creation of the resource. 12/13/16 Subject The topic of the resource Saratoga Springs -- Beekman Street Arts District -- History oral history https://ssmp.skidmore.edu/files/original/11fdca4550e5e2fae2b6c9d9b3b04e74.mp3 7fd8d83b1ccc146419a90e1cbc403248 https://ssmp.skidmore.edu/files/original/0820b301c08262c2bd676ad7276ef56f.jpg a131c649407fbceab4d1bf0d24ac384d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Evolution of Beekman Street (20th century-2016) Date A point or period of time associated with an event in the lifecycle of the resource 12/13/16 Is Part Of A related resource in which the described resource is physically or logically included. Saratoga Memory Project Source A related resource from which the described resource is derived Skidmore College Publisher An entity responsible for making the resource available DS: 113A Storytelling Interviewing, Skidmore College Description An account of the resource History of Beekman street, evolution of Beeekman, artist identities/roles, the future. Language A language of the resource English Format The file format, physical medium, or dimensions of the resource Original recording wave file, 16 bit 44.1 khz Zotero Interviewee Amejo Amyot, M'elle Pirii-Lee, Cecilia Frittelli, Interviewer Jonah Brenner, Amanda Peckler, Yuelin He, Max Lowe, Dejon Bunn-Constant Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Amanda Peckler Interviewee The person(s) being interviewed M'elle Pirri-Lee Location The location of the interview 62 Beekman Street Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 47 minutes Time Summary A summary of an interview given for different time stamps throughout the interview Interviewee- M’elle Pirri-Lee Interviewer- Amanda Peckler Location of Interview: Saratoga Healing Arts Center on 62 Beekman Street Date of Interview: 12/3/2016 00:00 Header 00:25 Introduction. Born May 1962 Denver, Colorado. 00:47 Lived in Denver until 9 years old. Grew up w parents and little brother. Parent divorce and mother lost job. Mother and her moved to Schenectady, NY. Family already lived in Northeast. 02:07 At 9 years old in 1st grade, family would travel to Adirondacks. Describes beauty of trees of NE that she wasn’t used to in Colorado. 02:50 Lived in Schenectady until age 22. Moved to Syracuse, Poughkeepsie. 2000 moved to Amsterdam. 2001 moved to town of Glen. Moved to Saratoga a few years later. 03:35 Describes her interest in alternative health and how it led her to Saratoga Springs. Originally on Region’s Street, which used to be Skidmore’s theater where current Bloom yoga studios are. 04:46 Met Joanne Halloran, a naturopathic doctor in Saratoga, who enabled M’elle to start up her private practice. 05:37 Discusses the spiritual healing history of Saratoga and the mineral springs. How it drew people to Saratoga because of the Saratoga Resort and the mineral healing baths. 07:12 Tells us about her specialized practice of myofascial release, similar to a massage bc used hands on body for healing. Discusses what fascia is and its purpose in and on our body. 10:59 Tells story of what inspired/ influenced her into this practice. Picked up on it in P.T school. Put this interest aside after graduating until 9/11. Just married to husband who was in National Guard, got called to be on duty during 9/11. Describes the stress and trauma of the situation being apart from husband. In order to stay busy, she would spend time doing agility classes w/ dog. On her ride home one day after being bombarded by people asking how her husband was doing when she had no way to contact him/ know how he was doing, realized she wants try something “fun and new”. Gets letter about taking classes on myofascial release. 14:44 Worked at a Developmental Center with people with developmental disabilities. Helped w/ those who had limited range of motion physically. Had one patient who was blind & suffered from spastic circumduction gait. Could not walk. Doctor would get mad at M’elle saying she was not “aggressive” enough when treating his range of motion. As gentle as she was, he would whimper and show signs of fear whenever he would hear her coming or hear her voice. When she started using myofascial release concepts and allowed time rather than simply stretching do the work, she saw positive results & less fear and pain felt by patient. 16:59 Husband went to Iraq w/ National Guard Unit. M’elle continued to take classes to keep busy. Set goal to start private practice that would deal solely w myofascial release. 17:56 Discusses how Beekman street in particular enabled her practice to blossom/ be made possible for herself. Found a home on Beekman once she visited the space for the first time. Felt it was an open and warm place, well-suited for the safety she wanted her patients to feel who she aims to help them through the healing they need. Loved the small community of the Arts District. 19:15 15 years ago, movement created to make this area into the “Arts district” to counter the “unsafe” reputation she describes the location had prior due to drugs. The locals wanted to “take back their neighborhood” and create space for artists to come and find live/work situations and produce art. Buildings became reclaimed. Named the building “Saratoga Healing Arts” so, they would fit in with the Arts District. 21:00 Discusses her personal connection to art through the non-traditional and complexity involved with the healing arts. Views every patient as an individual, can’t make assumptions about what they will need. Talks about perspective on different types of healing being their own kind of “art forms”. 22:50 A challenge she runs into on Beekman street is that she doesn’t take insurance & people are not used to that. Parking is also an issue because of restaurants. People who have trouble walking will have issues w/ physical access to getting to practice. 25:16 Agrees with the notion that Beekman street is a location where outsider’s come and find their own place within. Describes the eclectic mix of personalities and neighbors along the street, both in businesses and people who live there. Street fair in June, showcases the community and the artist district. 26:33 Tells story about the time she broke her wrist in May & couldn’t work. Set up a go-fund me account to pay for meals & many friends and neighbors on Beekman donated $$, gift cards, delivered food, help with anything. Felt strong sense of support and being included in the community. 28:40 Describes the openness she sees in the Saratoga area to alternative spiritual practices. Open churches & meditation sessions for anyone no matter their faith or even no-faith. Yoga in the park. Library meditations post 2016 election. Talks about that this is a call for Saratogians to take a stand for what is right, say no to discrimination and racism, and say yes to inclusion. 30:34 Creates a safe space in her practice especially in light of the election. Deals w/ physical trauma which is tied to emotional trauma. Creates a judgement free zone for patients to process whatever emotions may come up during a session. Tries best to keep politics out of the conversations she’ll have during sessions w patients so, that no matter who the person is & who they voted for, it is a safe space for them to process. 32:39 Recounts moments she had to handle situations where patients were emotional during a session. Things like mourning a death of loved one. Had to understand how to handle it if someone is vulnerable especially young people campaigning during the election who felt disenfranchised afterwards. 34:01 “Any emotion you express is a good emotion” 34:17 Discusses the importance of creating a safe emotional space for other human beings. Explains her feelings on those who are in chronic pain are held back from total healing due to this societal trend which encourages us to bottle up our emotions. “Big boys don’t cry.” “Big girls don’t get upset or get angry” There are physical implications tied to containing our emotions. “Issues are in our tissues” 35:48 Words of mentor, John Barnes “If you know what you’re doing before entering the room, you don’t know what you’re doing” (in regards to emotional knowledge of patients beyond their physical condition). Discusses how she handles having patients explain their stories to her that have led them to seek out her practice. 38:43 Always been part of a community even as she moved to a new place bc of family connections. Reflected on her difficult time connecting and believing in the “specifics of the Presbyterian church” which she had to join as a 13 year old girl. Believed in a higher power, but questioned the belief in the father, son, and holy ghost components of the religion. Felt guilty & couldn’t lie. Mother was accepting of this and encouraged her to explore other churches/ places of worship in neighborhood. Never really found anything she felt most connected to, but still remained open until this day. 41:46 Felt part of church community and events & singing. But, reciting prayers she didn’t believe in didn’t sit well with her. Would come to coffee hours and come to services for her joy of music, but never joined church. 43:19 Discusses her love of learning about other religions and cultures. Also, likes to focus on what makes those different practices similar to one another rather than the differences as a way of making the world a better, more harmonious place. “To have small differences in dogma or doctrine become so divisive in our country, I find very sad.” 44:44 Some of the similarities she found as a result of exploring different faiths as a 13 year old girl and throughout her life consist of: there is a higher power no matter what the name is, caring for fellow human beings and animals of this planet, being of service is important, and not judging. 46:00 Shares thoughts on positive experience living and working in Saratoga. Small town w/ many different amenities. 47:14 End Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with M'elle Pirri-Lee Date A point or period of time associated with an event in the lifecycle of the resource 12/3/16 Date Created Date of creation of the resource. 12/6/16 Creator An entity primarily responsible for making the resource Amanda Peckler Publisher An entity responsible for making the resource available DS 113A: Storytelling Interviewing, Skidmore College. Language A language of the resource English Abstract A summary of the resource. M'elle Pirri-Lee, a licensed physical therapist at the Saratoga Healing Arts Center located right on Beekman Street, takes us into the realm of alternative medicine. She shares the importance and power in healing using methods such as physical therapy especially in times of hardship from her experience helping those with developmental and traumatic physical and emotional experiences. M'elle's narrative is one which brings great value to the evolving community that Beekman Street has always been known for. She also provides us a deeper look into providing and helping upkeep a safe emotional space in her practice and in the world around her. Description An account of the resource Oral history Subject The topic of the resource Saratoga Springs -- Beekman Street Arts District -- History Extent The size or duration of the resource. 46 minutes oral history https://ssmp.skidmore.edu/files/original/8ea2b722eeea8123ac29729740b4b928.jpg 736c25be2ad08a45bfcb22b6fb6c1749 https://ssmp.skidmore.edu/files/original/9505fd1c09599a7cf16e19d9917a8940.mp3 9d6f079b52609a13d20d047ac10e1810 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Evolution of Beekman Street (20th century-2016) Date A point or period of time associated with an event in the lifecycle of the resource 12/13/16 Is Part Of A related resource in which the described resource is physically or logically included. Saratoga Memory Project Source A related resource from which the described resource is derived Skidmore College Publisher An entity responsible for making the resource available DS: 113A Storytelling Interviewing, Skidmore College Description An account of the resource History of Beekman street, evolution of Beeekman, artist identities/roles, the future. Language A language of the resource English Format The file format, physical medium, or dimensions of the resource Original recording wave file, 16 bit 44.1 khz Zotero Interviewee Amejo Amyot, M'elle Pirii-Lee, Cecilia Frittelli, Interviewer Jonah Brenner, Amanda Peckler, Yuelin He, Max Lowe, Dejon Bunn-Constant Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Jonah Brenner Interviewee The person(s) being interviewed Amejo Amyot Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Original recording wav Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 47 min Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 16 bit, 44.1 khz Record Creation Date Day/Month/Year of record creation/edit 12/6/13 Time Summary A summary of an interview given for different time stamps throughout the interview 00:00:00 Header 00:00:30 I’m Amejo Amyot and I live in Saratoga Springs, NY. I was born in Salamanca, NY on an Indian Reservation. 00:03:08 Discusses art classes in high school and how it was discouraged. 00:04:30 Saratoga Springs in the 1960s. 00:07:50 Discusses the history of Beekman Street before she started the project in 2000. There were 7 or 8 restaurants along Beekman Street. Mostly Italian people. 00:11:05 Urban renewal. They got rid of the historic nature of the city. 00:12:45 Talks about what sparked the creation of the art district and the influence that her time in Florida had on the project. 00:16:46 Efforts she took to get rid of crime in the neighborhood and make the area safe. 00:19:00 Artists were in the 3rd floors of Broadway buildings, but they were getting priced out. Artist did not have a place to go. That was the idea of Beekman. 00:22:00 Goals of the project. Live on the street, work on the street, street fairs, and foster a community. 00:22:45 Discusses how the city council was afraid of Artists. 00:25:25 Evolution of the street since the late 90s/early 2000s. 00:31:08 Artists involvement in the project and the different people that supported her. 00:32:36 Talks about the recession in 2008 and the impact it had on Beekman. 00:38:00 The major setbacks of the project and how the city did not continue to support the arts district. 00:39:50 Why the neighborhood will not come back as an arts district. 00:45:40 Discusses her favorite memory on the street. Jazz bands on the street that played every Friday night. It was the place to be. 00:47:19 End Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Amejo Amyot Date A point or period of time associated with an event in the lifecycle of the resource 12/13/16 Is Part Of A related resource in which the described resource is physically or logically included. Skidmore Saratoga Memory Project Source A related resource from which the described resource is derived Skidmore College Publisher An entity responsible for making the resource available DS 113A Storytelling Interviewing, Skidmore College Description An account of the resource Her life, Beekman Street, Reasons she started the project, How the street has changed over the years, The impact of the recession. Language A language of the resource English Creator An entity primarily responsible for making the resource Jonah Brenner Date Created Date of creation of the resource. 12/7/16 oral history https://ssmp.skidmore.edu/files/original/994f7263d69d49cba4362038c514dadb.jpg bda11e122e7641e9b4efcf4e1efbe898 https://ssmp.skidmore.edu/files/original/29b306a9af46b5d70117b51c547e7531.mp3 6415d4862fbeb549c899184f2428345c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Flurry Festival Description An account of the resource The Flurry Festival is a three day music and dance Festival that takes place in Saratoga Springs in February. The festival holds workshops, performances, dances, and jam sessions in the city center and throughout the town. The Flurry first started as a dance festival for contra dancing but has expanded to musicians and spans all genres of music and dance as well as encompassing family friendly events such as storytelling. Language A language of the resource English Subject The topic of the resource The Flurry Festival Creator An entity primarily responsible for making the resource Jennifer Davies, Clara-Sophia Daly, Dustin Foote, Amanda Muir, Tess Olcott, Format The file format, physical medium, or dimensions of the resource Original recording wav file, 16 bit 44.1 khz Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Amanda Muir Interviewee The person(s) being interviewed Paul Rosenberg Location The location of the interview Lucy Scribner Library, Skidmore College Original Format The type of object, such as painting, sculpture, paper, photo, and additional data digital audio recording Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 61 minutes Record Contributor Individual who prepared the item and/or edited it. Amanda Muir Record Creation Date Day/Month/Year of record creation/edit 6/12/2016 Time Summary A summary of an interview given for different time stamps throughout the interview 00:00:00 Introductions. 00:00:52 Flurry hosted Iraq war protests in 2003 and 1989. 00:01:30 Founding of the Flurry Festival in Guilderland, New York, held at Westmere Elementary School 00:05:05 First year of the Flurry Dance Festival was met with a snowstorm. 00:06:12 Drawing in crowds by having good callers, musicians, and word of mouth. Held a dawn dance. 00:08:20 The importance of the president’s day weekend in the Flurry festival 00:10:30 Best memory was watching the children have fun dancing. Wanted more family activities 00:12:00 Inspired by music workshops and jamming of Ashokan camp and worked to incorporate this aspect 00:13:00 Starting the final jam performance at the end of the festival. 00:15:16 Creating the festival name and the impact it had with non dancing participants 00:17:20 Introduction of concerts into the festival 00:18:12 Procrastinating on creating the program, starting committee meetings late. 00:18:50 Influence of the Old Songs Festival and Nancy Gretta in the creation of the Flurry Festival 00:20:00 Difficulty organizing the first Flurry festival with Old Songs Committee members 00:23:45 Adding workshops and dances created difficulty in choosing and organizing 00:25:25 Rising tensions with the school because of wear and tear on soccer field and floor wear as well as cleanup 00:26:43 Adding more committees as jobs were needed 00:27:26 Moved festival at last minute because a broken pipe destroyed the multi-room. Hurried to find a new location Joe Dalton, leader of the Saratoga chamber of commerce, suggested the Saratoga City Center, Saratoga music hall and Skidmore College. 00:29:55 Dislike of the hard floors of the City Center. Had no other options and made due 00:31:06 Success of location, excluding Skidmore College 00:32:21 Difficulty with parking and so used a shuttle 00:33:06 Saratoga downtown changed perspective of hosting dances at schools to city centers. 00:34:10 Working with the Hilton manager on booking rooms the first few years 00:36:05 Deciding to stay in Saratoga 00:36:20 Creation of a video of the festival was made in 1992 00:36:55 Heaviest snowstorm the festival had almost caused the event to fold if not for the community 00:38:25 Decided to get married at the Festival in 1992 and wore a tuxedo. Jim Greggory, created a dance to honor him and his new wife 00:40:54 Informing everyone when the festival moved suddenly to Saratoga Springs 4 weeks away from the day 00:42:23 Finding a welcoming community in Saratoga Springs 00:44:03 Expanding awareness of the Flurry, especially with Mae Banner from the Saratogian 00:46:41 Considering moving to Saratoga 00:47:15 Attempting to date while organizing the Flurry Festival 00:51:00 Effecting relationships with performers 00:52:19 Reflecting on all of his goals being accomplished in bringing a world together 00:55:12 Commenting on the lack of diversity of color 00:56:28 Switching pianos across town 00:57:42 Still getting nervous feelings opening night. 00:59:10 Love of seeing children, jamming, and diversity of offerings 01:00:05 Working on keeping Saratoga Music Hall from becoming court space 01:00:50 End Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Paul Rosenberg Date A point or period of time associated with an event in the lifecycle of the resource 12/2/2016 Publisher An entity responsible for making the resource available DS113A: Storytelling Interviewing, Skidmore College Description An account of the resource Interview with Paul Rosenberg, founder of the Flurry Festival and director of programs until 2005. Paul discusses the Festival's beginnings at an elementary school and the move to the City Center in Saratoga Springs. Language A language of the resource English Creator An entity primarily responsible for making the resource Amanda Muir Format The file format, physical medium, or dimensions of the resource Original recording wav file, 16 bit 44.1 khz Date Created Date of creation of the resource. 12/2/2016 Is Part Of A related resource in which the described resource is physically or logically included. Saratoga Memory Project creator dance director Flurry music oral history programs The Flurry Festival https://ssmp.skidmore.edu/files/original/8bf985724d4cbdd8cabcfdc04440301f.jpg b1858738feacce97cbe9ef03da28c89c https://ssmp.skidmore.edu/files/original/927357b49e8def38608dad5e360999fc.mp3 af9a9d36a298344fefa7f1073ac0b79f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Flurry Festival Description An account of the resource The Flurry Festival is a three day music and dance Festival that takes place in Saratoga Springs in February. The festival holds workshops, performances, dances, and jam sessions in the city center and throughout the town. The Flurry first started as a dance festival for contra dancing but has expanded to musicians and spans all genres of music and dance as well as encompassing family friendly events such as storytelling. Language A language of the resource English Subject The topic of the resource The Flurry Festival Creator An entity primarily responsible for making the resource Jennifer Davies, Clara-Sophia Daly, Dustin Foote, Amanda Muir, Tess Olcott, Format The file format, physical medium, or dimensions of the resource Original recording wav file, 16 bit 44.1 khz Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Tess Olcott Interviewee The person(s) being interviewed John Kirk Location The location of the interview Arthur Zankel Music Building, Room 325 at Skidmore College Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Digital audio recording Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 58 minutes Record Contributor Individual who prepared the item and/or edited it. Tess Olcott Record Creation Date Day/Month/Year of record creation/edit 06/12/2016 Time Summary A summary of an interview given for different time stamps throughout the interview Interviewee: John Kirk Interviewer: Tess Olcott Location of Interview: Zankel Music Building, Room 325 Date of Interview: 12/2/2016 00:00:00 Header 00:00:18 Introduction – Born in New Finland, Canada, father in the Air force so grew up around the world. Moved to the states when he was 11. Grew up in turbulent times. 00:01:32 The 1960s were a time of great music, his sisters music collection got him started in music, and she taught him guitar. He got his own guitar at age 9. It was organic from there, self-taught. In college he got his first banjo for $40, led to listening to more banjo recordings which had mandolin and fiddle so he learned those also. 00:4:47 Came to Skidmore when wife started teaching banjo, still teaches in Vermont – music history and instrumental music, has been teaching for 9 years at Skidmore. Loves teaching college students because of their enthusiasm, likes to teach how to learn music. Being able to teach and having students show appreciation gives great joy. In the 1950's you could not study jazz because of its stigma, enjoys seeing the growth of music. 00:10:21Playing in a group near Albany and was asked to play in the Flurry Festival at a junior high school. Calls contra dancing while playing the fiddle. The festival was on a much smaller scale. It was 1987, the first year it started. 00:12:30 Calling dancing is very common in traditional music and many international dances. In America, it started with dancing masters. There was different organized dances for English, Irish, etc. that colonists brought here. Masters would travel around calling dances, still happens today. The tradition is held. There are several different formations and music types. There is a huge contra dancing society, one of the main reasons for the Flurry. Explains how contra dancing works. Recent Flurry now have gender free dances. 00:18:12 Changes to the Flurry after the move – More space, more variety, more performers, more people. All new dances, new workshops, new instruments. Talks about each new dance, especially international dances. Having it in the middle of winter brings people out and about. 00:22:21 Going to the flurry – overwhelming, sounds from everywhere in every move. Explains the process of looking at a program and deciding which events to go to because there are so many events, you have to plan ahead or else you may miss something amazing. Endless opportunities even for beginners. Always something to do throughout the whole weekend. Young people people now outnumber the people who have been going for years. 00:27:36 Being part of the community – people that go that he plays with that he has known for 40 years. Great to get to visit with old friends. It is always fun to go to the big sessions where a lot of things come together. 00:29:22 How the younger generation effects the feel of the festival – Higher energy level, great to see the change in music. There are always new ways of playing music. Seeing new innovative ways of playing music. 00:32:37 – Big changes to the festival – change happens gradually, but seeing all new forms of international music is exciting. Sometimes get so caught up in appreciating the music and don't notice all of the change until later. Contra dance is still the big social dance. At the very first flury, the danced the finish write off of the gym floor, including the logo. 00:35:34 Doing the festival with wife is priceless. They get to do all of the events together is always fun. 00:36:20 Favorite things to go to at the Festival – Loves the impromptu sessions in the hallway, the percussive dance, and several of the international dances. Went on a tour around the world and got used to hearing music in a new way. 00:38:56 The changing community – mostly in numbers. Incredible population. Diversity has also increased. Especially with gender. Also talks about Irish set dancing. People are coming from farther away, the social media presence is expanding. They have a house full every year which has turned into a tradition. 00:41:53 Affect on Saratoga – Had to battle for space every year. Main street and downtown businesses have been really supportive. Brings in a lot of people to the city. 00:43:20 Other traditions – At the end of the festival, the next conference is a Baptist gospel revival conference. People at flurry are all tired and a mess by the end and the Baptist group is all dressed very nicely. Its funny to compare the two. People make friends very quickly at the Festival. Political, social, plans and networking talked about. There are struggles too, but they all disappear post partum 00:46:37 Other challenges – Staying hydrated and nourished. Trying to get everywhere. Deciding where to go. Very few artistic problems 00:47:59 Favorite memory/story - Lots of favorite things, playing with legendary mandolin players and Peter Davis. Every percussive dance performance is worth seeing. To be a part of the final dance on stage in the big band. 00:52:18 What advice would you give – Print out a schedule and highlight what you want to do. Look forward to it and fear nothing. Fear not. Go to the dances and try to participate. Stay hydrated and dress in layers. 00:55:05 Favorite workshop – percussive dance festival, or funny songs and sing along. Maybe a yoga class! Come to the festival – it’s a great tradition. 00:58:12 End of interview Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with John Kirk Date A point or period of time associated with an event in the lifecycle of the resource 12/02/2016 Is Part Of A related resource in which the described resource is physically or logically included. Skidmore-Saratoga Memory Project Publisher An entity responsible for making the resource available DS 113A: Storytelling Interviewing, Skidmore College Description An account of the resource Oral History interview with John Kirk, musician and contra dance instructor for The Flurry Festival. Talks about the changes to the festival that have occurred over the years in terms of audience, music types and dance styles. Language A language of the resource English Creator An entity primarily responsible for making the resource Tess Olcott Format The file format, physical medium, or dimensions of the resource Original recording 16 bit 44.1KHz Date Created Date of creation of the resource. 12/2/2016 Subject The topic of the resource Saratoga Springs -- Flurry Festival -- History John Kirk oral history The Flurry Festival https://ssmp.skidmore.edu/files/original/0760a3d4e07b864ec4806f63eed488a0.png ad92cf235aec9c15623bcb2d4c77c6c8 https://ssmp.skidmore.edu/files/original/a34a117f77a095db0c35022d9534cf90.mp3 523c3ff228a1ae1d88556d4d646f4673 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Flurry Festival Description An account of the resource The Flurry Festival is a three day music and dance Festival that takes place in Saratoga Springs in February. The festival holds workshops, performances, dances, and jam sessions in the city center and throughout the town. The Flurry first started as a dance festival for contra dancing but has expanded to musicians and spans all genres of music and dance as well as encompassing family friendly events such as storytelling. Language A language of the resource English Subject The topic of the resource The Flurry Festival Creator An entity primarily responsible for making the resource Jennifer Davies, Clara-Sophia Daly, Dustin Foote, Amanda Muir, Tess Olcott, Format The file format, physical medium, or dimensions of the resource Original recording wav file, 16 bit 44.1 khz Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Colin Liscord Interviewee The person(s) being interviewed John Guay Location The location of the interview Skidmore College Library room 128C Transcription Any written text transcribed from a sound Interviewee: John Guay Interviewer: Colin Liscord Location of Interview: Study Room 128C in Skidmore Library Date of Interview: 12/1/16 00:00:01- Header 00:00:31- Introduction, born September 21, 1944 in Biddeford Maine. Currently resides in Easton New York. 00:01:14- President one Flurry Dance Organization. Runs seventy dances a year. Flurry originated to help fund local dances. Been going for thirty years. 00:02:34- Started small, thirty local performers. Grown to 4700 performers from all around. 00:03:22- Mission statement, to inspire and connect people through traditional music and dance. 00:11:36- Contra dance evolved for the dancers. 00:12:06- Flurry has evolved, started techno contras. Draws youth in, happens at midnight. 00:19:47- Plays hammer dulcimer. 00:23:28- Important historic and community event. More than just music and dance, brings community together. 00:25:05- During the Flurry have different rooms in hotel have music lessons, historic lessons and dances. 00:27:05- Added more dances over the years. Jamming together in the halls. 00:28:04- Started to see high school kids come and play instruments and dance. 00:32:04- Revitalization of music. 00:35:20- would like to see more Skidmore students come play and dance. 00:36:31- Flurry more about dance. 00:37:27- Would never consider moving. Saratoga has a nice community feel for the Flurry. 00:38:34- Only dancing and music art forms. 00:41:01- Flurry unique, has beginning and experienced dancers. Organization needs to keep more experienced dancers around for this experience. 00:43:18- End. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Digital Audio Recording Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 43 minutes Record Contributor Individual who prepared the item and/or edited it. Colin Liscord Record Creation Date Day/Month/Year of record creation/edit 06/12/2016 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with John Guay Date A point or period of time associated with an event in the lifecycle of the resource 12/1/2016 Is Part Of A related resource in which the described resource is physically or logically included. The Flurry Festival Publisher An entity responsible for making the resource available DS 113A: Storytelling Interviewing, Skidmore College Description An account of the resource Oral History interview with John Guay, president, musician and dancer of the Flurry Festival. Guay talks about how the Festival has changed over the years and the problems they have today. Language A language of the resource English Creator An entity primarily responsible for making the resource Colin Liscord Subject The topic of the resource Saratoga Springs -- Flurry Festival -- History Format The file format, physical medium, or dimensions of the resource Original Recording wav file. 16 bit 44.1KHz Date Created Date of creation of the resource. 12/1/16 oral history https://ssmp.skidmore.edu/files/original/cbc82ce88c5b21d8e9a78f3950396b6b.jpg 33b1f7a7f02f95030ca6551d3bd8af82 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Photo: Trish at Arches National Park, Moab UT https://ssmp.skidmore.edu/files/original/af2d61a9aa474a3b66da98ca7292879c.mp3 59e8e837133886fd596a6c1eca6cb52f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Trish Miller Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Flurry Festival Description An account of the resource The Flurry Festival is a three day music and dance Festival that takes place in Saratoga Springs in February. The festival holds workshops, performances, dances, and jam sessions in the city center and throughout the town. The Flurry first started as a dance festival for contra dancing but has expanded to musicians and spans all genres of music and dance as well as encompassing family friendly events such as storytelling. Language A language of the resource English Subject The topic of the resource The Flurry Festival Creator An entity primarily responsible for making the resource Jennifer Davies, Clara-Sophia Daly, Dustin Foote, Amanda Muir, Tess Olcott, Format The file format, physical medium, or dimensions of the resource Original recording wav file, 16 bit 44.1 khz Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Jennifer Davies Interviewee The person(s) being interviewed Trish Miller Location The location of the interview Lucy Scribner Library, Room 128b, Skidmore College Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Digital Audio Recording Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 43 minutes Record Contributor Individual who prepared the item and/or edited it. Jennifer Davies Record Creation Date Day/Month/Year of record creation/edit 06/12/2016 Time Summary A summary of an interview given for different time stamps throughout the interview Log: Interview with Trish Miller 0:28 – Discusses her early background with music and dance, how she first became interested in dancing and folk music 2:55 – Becomes a member of touring dance troupe The Green Grass Cloggers, which is how she met her husband John Kirk because he was one of the troupe’s musicians 4:20 – Trish discusses what brought her to Saratoga Springs, and what the town was like when she first came here, Paul Davis 7:00 – how Saratoga Springs has affected The Flurry and vice versa 9:20 – how interest in folk music has evolved over the past few decades 12:00 – Trish’s first experience at the Flurry Festival, Paul Rosenburg 15:50 – Ways that the festival has changed, Hudson Mohawk Traditional Dancers 18:35 – sense of community from within and beyond the festival 21:55 – what a participant/visitor of the Flurry could expect to experience (both positive and negative), the energy/atmosphere of the festival’s environment 28:06 – discusses some various styles of folk music and dance at the festival, Jay Ungar, Pierre Chartrand 32:00 – discusses some of the international participants in the festival 34:20 – discusses Bosnian performers at festival and speaks a bit about the Bosnian culture present in nearby New York state 35:35 – discuses hip-hop stomp dance group from Albany and how the group expresses ideas of social justice and politics 37:55 – recollects on the year that Saratoga lost power due to snow right as the festival was starting and how the dedicated participants overcame this obstacle 41:20 – Trish’s hopes for Skidmore to become more involved in the Festival Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Trish Miller Date A point or period of time associated with an event in the lifecycle of the resource 12/05/2016 Language A language of the resource English Creator An entity primarily responsible for making the resource Jennifer Davies Date Created Date of creation of the resource. 12/05/2016 Publisher An entity responsible for making the resource available DS 113A: Storytellling Interviewing, Skidmore College Format The file format, physical medium, or dimensions of the resource Original recording wav file, 16 bit 44.1 khz Description An account of the resource Trish Miller, dedicated Flurry participant and teacher of banjo at Skidmore College, describes her background in folk music and traditional dance and discusses her experiences with the annual Flurry Festival in Saratoga Springs. Subject The topic of the resource Saratoga Springs -- Flurry Festival -- History dance music oral history The Flurry Festival https://ssmp.skidmore.edu/files/original/715dfe378e724755269c14479a0ed997.jpg c0cfe1a3511d9eb1ea6a72868979dad4 https://ssmp.skidmore.edu/files/original/2a64abe0904f1b23ab55f655b1a1d5f9.mp3 3181ae5dc23a0fb0a868739603a20c1b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Flurry Festival Description An account of the resource The Flurry Festival is a three day music and dance Festival that takes place in Saratoga Springs in February. The festival holds workshops, performances, dances, and jam sessions in the city center and throughout the town. The Flurry first started as a dance festival for contra dancing but has expanded to musicians and spans all genres of music and dance as well as encompassing family friendly events such as storytelling. Language A language of the resource English Subject The topic of the resource The Flurry Festival Creator An entity primarily responsible for making the resource Jennifer Davies, Clara-Sophia Daly, Dustin Foote, Amanda Muir, Tess Olcott, Format The file format, physical medium, or dimensions of the resource Original recording wav file, 16 bit 44.1 khz Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Dustin Foote Interviewee The person(s) being interviewed Douglas C. Haller Location The location of the interview Residence of Interviewee Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Digital Audio Recording Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 41:14 Record Contributor Individual who prepared the item and/or edited it. Dustin Foote Record Creation Date Day/Month/Year of record creation/edit 06/12/2016 Time Summary A summary of an interview given for different time stamps throughout the interview Interviewer: Dustin Foote Interviewee: Doug Haller Log Notes 00:00-00:29 Header 00:30-02:30 Doug talks about background in Schenectady 03:00-04:17 After Doug divorces his first wife, he discovers his passion of contra dancing 04:20-08:24 Description and history of contra dancing 08:32-10:10 Describes his first experience at the flurry 10:25-10:56 “contradancing was a great opportunity to meet new people and make new friends” 11:15-12:45 Pervasiveness of contradancing across the country 12:53-14:09 Doug meets his second wife contradancing 14:10-17:36 Diverse styles of dancing at the flurry; Paul Rosenburg mentioned 17:47-20:40 Doug speaks of the different roles he has had on the flurry administration 20:40-21:59 Current administrative roles in the flurry 22:00-24:17 What kind of people attend the flurry? 24:36-26:54 What keeps Doug coming back to the flurry? “I think the flurry helps the world become a better place, just for a little bit of time.” 27:19-31:43 Doug gives a personal anecdote on why the flurry is so significant. “It would be nice if the world were more like the flurry the rest of the year.” 31:44-32:31 What would you tell your 1992 self about this festival 32:37-38:55 Doug talks about being the administrative director of the flurry during a power outage, mentions the community response. “these people are not going to let you fail, and they didn’t” 36:20-37:07 How the flurry ended up in Saratoga 39:05-40:00 What do you want the future of the flurry to look like? 40:23-41:09 Doug’s final thoughts on involvement in the flurry festival Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Doug Haller Date A point or period of time associated with an event in the lifecycle of the resource 12/3/2016 Is Part Of A related resource in which the described resource is physically or logically included. The Flurry Festival Publisher An entity responsible for making the resource available DS113A: Storytelling Interviewing, Skidmore College. Description An account of the resource Interview with Doug Haller, ex-Administrative Director of the Flurry Festival. Topics include the development of the festival and Doug's experiences organizing the Flurry. Language A language of the resource English Creator An entity primarily responsible for making the resource Dustin Foote Format The file format, physical medium, or dimensions of the resource Original recording wav file, 16 bit 44.1 khz Date Created Date of creation of the resource. 12/3/16 Subject The topic of the resource Saratoga Springs -- Flurry Festival -- History dance Doug Haller Flurry music oral history Saratoga Springs The Flurry Festival https://ssmp.skidmore.edu/files/original/dfe1982a31c9fabdf32d987d23be08ef.JPG 2af6d0ab7eaa9669cc9192fbb170a440 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Record Contributor Individual who prepared the item and/or edited it. D.Stephenson Record Creation Date Day/Month/Year of record creation/edit 05/12/2016 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource My Father's Shoes Date A point or period of time associated with an event in the lifecycle of the resource 1976 Description An account of the resource These are a pair of shoes given to me by my father. Years ago when he was looking through his old things he stumbled upon these. These shoes were acquired by him when he was about 18 making them at least 40 years old. My dad got these shoes from his family run department store which he dreamed of taking over. After college my dad did take over these stores for some time and moved on to a different job years later. These shoes are meaningful to me because they meant a lot to my father and he took such good care of them that he could pass them on to me 40 years later. Format The file format, physical medium, or dimensions of the resource Leather Apparel clothing family father memories momento shoes https://ssmp.skidmore.edu/files/original/396630454d40b23b9ad0a2e80957b3ce.jpeg be09f75faa2aa89077db92e49d646e3f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Harry T. Burleigh 150th Commemoration Date A point or period of time associated with an event in the lifecycle of the resource 2016 Map Cartographic document Date Published (Display) Text version of the date field -- can handle non-numeric characters (ca. 1850s, [1844]). This is the date field that will display. 1952 Date Published (Numeric) Date the item was printed. This will be set as a date field, accommodating only numbers. The field will be able to handle single dates or date ranges. This will not display, but will be indexed and searchable. 1952 Abstract (& Historical Note) Natural language description of the map itself, providing a general summary of the map and noting significant features. This is the place to introduce keywords and proper names that might be of interest to researchers, but do not warrant a separate subject heading of their own. Inset maps should also be described here, with their full titles given. Whenever historical or explanatory information is available, it should be included here as well. This includes information about items or events that are larger than just the map itself; for example, information about cartographers, a description of the map's historical significance (for example, "This is the first printed map of Saratoga Springs"), notes on the laws leading to a map's creation, descriptions of changes in state or county lines, information about the organization that created the map, how often maps were updated, and information about the map's creation and publication. Many State Archives maps have historical information in the catalog record -- that should be captured in this field. Map of the Saratoga Spa and its environs. Includes "walking distances from administration building to" select locations, and a list of the main buildings in the park. Repository Name of the repository that holds the original item. Special Collections and Archives, Lucy Scribner Library, Skidmore College (Saratoga Springs, N.Y.) Scope Tiered geographical location (for example: United States, New York State, Saratoga County, Saratoga Springs, Congress Park). This field is here for two reasons: first, to present, at its narrowest level, the scope of the entire item (in other words, not every place name has to be listed here). Second, this field will allow for accurate and helpful narrowing and broadening of geographic searches. Neighborhood/District Type For Maps: This subject field describes the purpose of the map. This is a controlled-vocabulary field using terms developed for this project. It is important to note that Map Theme and Map Type are not hierarchical, thus it is possible to have the two fields overlap or even duplicate each other. In determining the purpose of the map, the cataloger should consider the publisher, and, (if known) original use of the map. For example, a map that shows a wide variety of information might be a candidate for General in the map_type field, however, if it was prepared by the state geologist and contains, in addition to everything else, substantial information about the geology and topography of the state, it would be classified as a Geological map. Multiple terms can be used in this field. Tourist maps Theme For browsing purposes, we are borrowing and adapting themes from the Library of Congress's American Memory project. Infrastructure and Communication Travel and Tourism Environment and Conservation Subject - Details This subject field describes the amount of detail in a map. For maps: (or layers) included on the map itself. This field might denote that the map includes information about, for example, Mountains, Railroads, Soundings, Elevation, or Population. These are controlled-vocabulary terms developed locally. The cataloger should be generous in assigning these terms -- even if only one canal is visible on the map, it should receive a "Canals" subject in this layer. Some of these terms are less specific than others and may warrant expansion in the Abstract field. For example, the "Businesses" term might be included here while the Abstract notes that the map shows mills and stores. Multiple terms can be used in this field. Health resorts--New York (State)--Saratoga Springs--Maps Subject - Geographic Library of Congress subject headings. For maps: for major geographic locations depicted on the map, followed, in nearly every case, by the "Maps" genre subheading. (For example, "Saratoga Springs (N.Y.) -- Maps.") This field will be especially important when the records from this collection are incorporated into larger databases and catalogs. Saratoga County (N.Y.)--Maps Place of Publication The city (and if necessary) state or country of publication. [Saratoga Springs, NY] Physical Dimensions The actual physical size of the original image 28 x 22 cm. Scale The scale of the item (if known) 3cm = 1200 ft Record Contributor Individual who prepared the item and/or edited it. J. Dym Record Creation Date Day/Month/Year of record creation/edit 01/12/2016 URL Special Collections, Skidmore College, <a title="Saratoga Spa" href="http://digitalcoll.skidmore.edu/cdm/singleitem/collection/p15968coll2/id/41/rec/5">http://digitalcoll.skidmore.edu/cdm/singleitem/collection/p15968coll2/id/41/rec/5</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saratoga Spa https://ssmp.skidmore.edu/files/original/ccb6607671649749b18ef0ef1cdc42db.pdf 7dfd33ca5fe521ea7d8469f0f697ca3c PDF Text Text HARRY T. BURLEIGH’S LIFE MUSIC and H arry T. Burleigh (18661949) started his life as a musician early. Living in a musically talented household in post-Civil War Erie, Pennsylvania, Burleigh learned African-American spirituals from his mother and maternal grandfather and participated in Burleigh family concerts at home. While he considered his mother his first music teacher, his voice teacher, George F. Brierly, was the most important influence in his hometown, where he experimented with a wide array of instruments, including guitar, piano, and other string instruments, as well as singing. Congenitally shortened ring fingers ended the musician’s early dreams of becoming a concert pianist. Burleigh quickly gained national attention. As a pre-teen, Burleigh drew local notice for solos performed in school and church choirs. When the New Orleans University Jubilee Singers came to Erie in 1888, he joined their tour, traveling and singing with them for eight months. In 1892, at just 16 years of age, Burleigh auditioned for and received a full four-year scholarship to the National Conservatory of Music in New York City. Erie’s citizens came together and donated money to help him afford living in this cultural capital. During the summer of 1892, Burleigh worked at the Grand Union Hotel in Saratoga Springs, where he also may have sung at Bethesda Episcopal Church. His time in Saratoga working in the service industry and singing in the church likely brought him in contact with local socialites, some of whom may have helped finance his education at the Conservatory. He also had the opportunity to hear world-famous African-American soprano Sissieretta Jones (Black Patti), who sang in Saratoga Springs that August. While Burleigh was at the Conservatory, Czech composer Antonín Dvorák mentored the young baritone. The two mutually inspired each other with the “Symphony in E Minor” (from the New World) reflecting the composer and Conservatory director’s appreciation for the significance and musicality of African-American music notable in his use of two spirituals. Because Burleigh was so integrated into the art music scene, his compositions (over 260 works) and choral arrangements (almost 190) are valued and analyzed by scholars and performers. By combining his classical training and the AfricanAmerican musical traditions he grew up with, Burleigh, in a sense, legitimized African-American spiritual music for a largely white audience. Throughout his life and career, which included singing for decades as a soloist at St George’s Episcopal Church of New York, Burleigh made a concerted effort to be true to his musical and cultural roots. Although there is only one known recording of him performing, his legacy continues on through his arrangements of spirituals from “Deep River” to “Swing Low Sweet Chariot,” and his many original compositions. Layman’s Magazine of the Living Church, 1940. Photo: New York Herald-Tribune � https://ssmp.skidmore.edu/files/original/9e5c5a7dfe198e09ce93bc356e0d2dd5.pdf 3961d39e15efbad1bbc1432b30ba461d PDF Text Text TIMELINE December 12 1886 May Harry Thacker Burleigh was born in Erie, PA to Henry and Elizabeth Burleigh. 1888 Burleigh joined Fisk University Jubilee Singers of New Orleans, with whom he traveled for eight months. Harry T. Burleigh (l) with grandfather Hamilton Waters and brother Reginald Waters (r), ca. 1868. From Snyder, Harry T. Burleigh. Fisk Jubilee Singers in 1882. (Burleigh not pictured). Wikipedia. December 1891 Summer 1892 Burleigh spent the summer in Saratoga Springs, NY, working as a waiter at the Grand Union Hotel. He immersed himself in the music culture, including performing at services at the Young Men’s Christian Association. Broadway at the United States Hotel, Saratoga Springs, ca. 1900, Detroit Publishing Co. Library of Congress, Print and Photographs Division. 1898 Facade of the National Conservatory of Music of America, 47-49 West 25th Street, New York City, 1904. Wikipedia. Burleigh moved to New York City to study at the National Conservatory of Music on a full scholarship. 1894 Burleigh was chosen as a soloist with the choir at St. George’s Episcopal Church in New York City after competing against 60 others. Married poet Louise Alston on February 9. 1899 1900 Alston Waters Burleigh, Harry T. Burleigh and Louise Alston Burleigh's son, was born. Burleigh became the first AfricanAmerican soloist in Temple Emanu-El’s choir in New York City. Temple Emanu-El, 65th Street, New York City 1906 Burleigh sang at the African American Council Convention for delegates from 20 states. 1916 Burleigh released the first of a series of arrangements of “Deep River”, one of his most famous works. 1919 Three generations—Rachel Farley, Louise Alston Burleigh's mother; Louise Alston Burleigh, and Alston Waters Burleigh, circa 1900. Photo courtesy of the Burleigh family. Snyder, Harry T. Burleigh. 1914 Burleigh helped to found the American Society of Composers, Authors, and Publishers (ASCAP). 1917 Burleigh's original composition, “Little Mother of Mine” was made famous by opera singer Enrico Caruso. George Broome, a friend of Burleigh’s, established the first black recording phonograph recording company, Broome Special Photograph Records. Burleigh sang his own arrangement of “Go Down, Moses” for Broome, which was his only commercial recording. 1949 1924 Harry T. Burleigh died of heart failure at age 82, in New York City. Burleigh made his radio debut on a broadcast celebrating his 30th anniversary as the baritone soloist at St. George’s Church. St George’s Church, 209 E. 16th Street, New York City, ca. 1905. Library of Congress, Print and Photographs Division. Harry T. Burleigh, 1943 Digital Library, University of Pennsylvania � https://ssmp.skidmore.edu/files/original/70f3d722650635d988e7e11f2b0bb7a2.pdf e7594afe5bb9fc376c67fd24c546b2b2 PDF Text Text AFRICAN-AMERICAN MUSICAL ROOTS of Harry T. Burleigh Spirituals Minstrel Shows Ragtime James Reese Europe and Band (Badger). Wikipedia First page of “The Frolic” (Burleigh). Burleigh’s Arrangement of “Deep River,” 1907 (first page). Courtesy Historical American Sheet Music, David M. Rubenstein Rare Book and Manuscript Library, Duke University, RBR Music 694 African-American slaves performed a wide variety of spirituals and other Christian music. Many of these songs were coded messages of subversion against slaveholders, or which signaled escape. The title of this spiritual as arranged by Harry T. Burleigh refers to crossing the river Jordan, which was a symbol in many spirituals not only of a wish to reach heaven, but also of a yearning to be freed from slavery (Jones). Burleigh in 1906 - Musical Director of the St. George’s Men’s Club minstrel show. Photograph from the 1907 minstrel show program. Developed in the 19th century, minstrel shows were a popular form of entertainment in the antebellum and Reconstruction periods. Minstrel shows included both black and white entertainers who wore blackface, and the shows mocked AfricanAmerican music and culture through racial stereotypes. Beginning in 1906, Burleigh ran a vaudeville show for St. George’s Men’s Club in New York City. He served as musical director, where performances included more than the racial mockery typical of minstrelsy. The 1907 program reveals only one ragtime tune typical of the Zip Coon character (a dominant racial stereotype). Ragtime music, syncopated music primarily performed on the piano, contributed greatly to the development of harmonic and melodic complexities of later African-American music (Jones). Though Burleigh called ragtime “the old plantation melody caricatured and debased,” many of Burleigh’s compositions such as “The Frolic” used syncopated rhythms that were clearly influenced by ragtime (Snyder 322). James Reese Europe, a prominent African-American musician, considered ragtime to be a true and natural expression of African-Americans, saying “the Negro plays ragtime as if it was second nature to him -- as it is” (Berlin 246). � https://ssmp.skidmore.edu/files/original/2517863b17b5e84bb72317caebfd1036.pdf 20f29326986e6b48dac5c1d0c0b5d5aa PDF Text Text in AFRICAN-AMERICANS SARATOGA A frican-Americans have lived in the Capital District for centuries, with 400 serving in the Battle of Saratoga in 1777. Nearby Saratoga Springs has long served as a tourist destination for white and black Americans. In the nineteenth-century, the tourism of wealthy white travelers provided AfricanAmericans, including Harry T. Burleigh, with a range of work and business opportunities. So a small year-round presence of 3-5% of the population – growing from 88 in 1830, to 158 in 1855, to 315 in 1960—increased in summer months. African-Americans lived and worked throughout the community of Saratoga Springs. Many settled on Congress, William, Cowen and Franklin Streets close to big hotels and businesses downtown where many were employed. While many held jobs in services – including music and entertainment, cooking, cleaning, racing, staffing dining areas, and laundry -- AfricanAmericans were also respected jockeys, entrepreneurs, and business owners in Saratoga Springs. 4 Solomon Northup Solomon Northup, shown dressed in a “plantation suit.” Twelve Years a Slave, 1859. 5 Saratoga Spa State Park Saratoga Spa State Park, established in 1911 as the New York State Reservation, preserved the spring waters and was built as a resort to draw in all Americans to a European-style springs experience. Today, it is a nationally acclaimed historical landmark, and has been home since 1966 to the Saratoga Performing Arts Center as well as many springs and bathhouses. Working man's view of Broadway, circ. 1890. Courtesy of the George S. Bolster Collection, Saratoga Springs History Museum. 1 Jack’s Harlem Club Jack’s Harlem Club, owned by Isaiah Jack, served both African-American and white Saratogians. This African-American owned and operated business lasted as a club only through the 1940s, however, his restaurant lived much longer and was equipped with a cabaret on the second floor. This cabaret became Jack’s Harlem Club in 1950. Jack invited singers, impersonators, and comedians to contribute to the entertainment of black and white Saratogians and visitors. Detail, The Saratoga Spa, Saratoga Springs, NY, 1952. Skidmore College, Scribner Library digital collection. 6 Grand Union Hotel Jack’s Harlem Club Cabaret, 1941. Courtesy of the George S. Bolster Collection, Saratoga Springs History Museum. 2 Hattie’s Restaurant Hattie’s Restaurant, known as the Chicken Shack, served as an integrated restaurant that fed Southern cooking with a Louisiana touch in Saratoga Springs since 1938. Originally located west of Broadway at 7 South Franklin Street, the restaurant is now located at 45 Phila Street. Aerial view of Grand Union Hotel, 1916. Courtesy of the George S. Bolster Collection, Saratoga Springs History Museum. 3 Saratoga Race Course Trainer Wesley Smiley, former steeplechase jockey with horse Graham of Geniva. Courtesy of the George S. Bolster Collection, Saratoga Springs History Museum. The Grand Union Hotel, which employed African-Americans as service staff, is where Harry T. Burleigh worked in summer 1892 as a wine steward. Under a new owner in 1872 the hotel became one of the world's largest hotels, with music performances by Victor Herbert and his orchestra -- possibly with a Burleigh cameo. There was a dining room serving 1,400, 824 guest-rooms, a mile of covered piazzas, two miles of corridors, 12 acres of carpeting and an acre of marble tops and floor tiles.” (Denby 42) 7 United States Hotel Hattie Austin at the door of Hattie's, 1969, 7 South Franklin Street. Courtesy of the George S. Bolster Collection, Saratoga Springs History Museum. Saratoga Race Course, opened in 1863, is the third oldest racetrack in the U.S. It’s been in use almost every year since 1864 and in 1999, was ranked as Sports Illustrated's #10 sports venue of the twentieth century. It employed many African-Americans as jockeys, grooms, and stable hands. Isaac Burns Murphy, the “Prince of Jockeys,” especially thrilled crowds in the 1880s and 1890s. Some African-American jockeys, like Wesley Smiley, became trainers. Solomon Northup – a free person of color who was tricked, taken away from his home in Saratoga Springs, and sold into slavery – is an integral part of Saratoga’s history. Solomon and his family moved to Saratoga Springs in March 1834, initially residing on Washington Street, and later moved to the United States Hotel. Northup, like many of his African-American contemporaries, worked in tourism, first as a hack driver for Isaac Taylor who owned Washington Hall and later at the United States Hotel, where he got to know Judge Marvin, the man who ultimately helped secure his release from captivity in Louisiana. Northup was a musician who frequently played at the United States Hotel and other area hotels. Solomon’s story not only produced great works like the book and later film, Twelve Years a Slave, detailing his enslavement and escape, but also increased popular interest in Saratoga Springs. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. "United States Hotel, Saratoga Springs, N.Y." The New York Public Library Digital Collections. 1898 - 1931. Vacant since an 1865 fire, the United States Hotel was rebuilt at a cost of more than a million dollars in 1874. At the height of hotel construction in Saratoga, the United States Hotel was among the largest hotels in the world. It contained “768 rooms, a parlor greater than four thousand square feet, and a dining room of more than ten thousand square feet” (Sterngrass). Hotel manager Joseph Smith wrote in 1897 that “[t]he waiters employed at the Spa are usually colored men, the [United] States [Hotel] never having had any other.” (Armstead) Map: Saratoga Springs, NY. Burleigh Lith., Troy, NY, 1888. Courtesy of LOC. Geography and Maps Division. � https://ssmp.skidmore.edu/files/original/c84eed705bae6fd9765da1cd2d620d46.pdf 83bc8c6aaf78d63dbe13bc794e8719af PDF Text Text 1892 BURLEIGH IN SARATOGA: THE LORE THE HISTORICAL RECORD Burleigh was “discovered” in Saratoga Springs with the help of summer residents in 1880. Area newspapers, including The Saratogian and Albany Evening Journal, do not reveal a direct connection between Burleigh and Mrs. MacDowell. Nor do the Bethesda Episcopal Church archives. It seems unlikely that Burleigh first came to the area in 1880, at 14 (as the 1964 article said). Newspapers seem to first have noted Burleigh in 1892. An article on the Grand Union Hotel staff member described his singing in a service at a Y.M.C.A. affiliated with the Presbyterian church. WORK, WORSHIP SONG and “The services at 4pm began to attract such crowds there was not room for all to hear. To one of the services that year also came the mother of the famous American composer, Edward C. MacDowell. She was Mrs. Frances Knapp MacDowell, a guest at the United States Hotel. Like the others she was entranced and came again and again to hear the Negro youth. In 1892, Mrs. MacDowell made is possible for Burleigh to attend the National Conservatory of Music in NY, where another of his friends became Anton Dvorak, American composer.” - The Saratogian, April 24, 1964 “I have a warm spot in my heart for Saratoga Springs and for its people. I’ll never forget the start I received there. It gave me encouragement to strive higher.” –Harry T. Burleigh, The Saratogian, 1964 Bethesda Episcopal Church was founded in 1830. Saratoga Springs’ first Episcopal church, which seated 600, moved to Washington Street near Broadway, in 1847. Although a 1964 Saratogian article claims Burleigh sang in this church choir in 1880, no documentary evidence yet found confirms the story. Harry T. Burleigh may or may not have been discovered by the classical music world in Saratoga Springs. However, during the summers of 1892 and 1894 he was in the Spa City. The published record confirms the young singer’s dedication to work, worship and song which were a hallmark of his later life and career in New York City. “The new rooms of the Young Men’s Christian Association were occupied yesterday for the first time for a Sunday service. The Rev. Dr. F. A. [Netle] of Chicago presided, and the Rev. Dr. Merrick Johnson of Chicago delivered an address. Harry Burleigh, colored, of Erie. Pa, assistant head waiter at the Grand Union, sang “I’m the Child of a King.” Selection from “Prettily Played: Shakespeare Produced on the Grand Union Lawn,” - August 15, 1892, Evening Journal. Fulton County Postcards Website Y.M.C.A. In 1892, Burleigh performed at a Sunday service at the YMCA in Saratoga Springs, inaugurating its new rooms at 18-20 Phila Street for worship. This is a description of the Y.M.C.A.’s mission and activities from Kirwin’s Saratoga Springs Directory. Bethesda Episcopal Church Choir, ca. 1890s. Courtesy of Bethesda Episcopal Church Archives. Text from Kirwin’s Saratoga Springs 1983 directory. 1894 FELLOW PERFORMERS A RETURN ENGAGEMENT By 1894, the New York Herald confirms Burleigh’s growing stature. An article on “Saratoga’s Big Season” (August 19) includes Burleigh as a ‘notable guest’ affiliated with the National Conservatory of Music who will sing at a “musicale at the North Broadway cottage of Mrs. John. W. Ehninger of New York.” A week later (August 26), the paper reported how the home’s “spacious parlors were filled with a fashionable and appreciable audience.” Fellow African-American singers also performed in town, including the soprano Sissieretta Jones. Untitled Document Thomas M. Tryniski 309 South 4th Street Fulton New York 13069 www.fultonhistory.com North Broadway, Saratoga Springs, NY. Detroit Publishing Col. ca.1900. Library of Congress, Prints and Photographs Division. The ‘cottages’ of wealthy summer visitors lined North Broadway. At the top was Woodlawn Park, now the home of Skidmore College. On this street, Burleigh gave a private concert in August 1894. file:///C|/Documents%20and%20Settings/Administrator/Desktop/hello.html2/18/2007 11:01:03 AM In Saratoga Springs, Burleigh encountered New York socialites, clergy and fellow workers. The town also hosted many African American performers, including successful opera and troubadour singer Sissieretta Jones, known popularly as “Black Patti.” Sissieretta Jones Born Matilda Sissieretta Joyner (1869-1933) studied voice at the New England Conservatory. Known as “Black Patti” after an Italian fellow-soprano, she gave concerts in Saratoga Springs that attracted thousands, possibly including Burleigh, in August 1892 and 1894. The Daily Saratogian described one: “[A] great crush of people... began pouring into the park an hour before... the concert. Both entrances were used and the rush did not cease for an hour and one half. Every chair, bench or seat Music Pavilion & Lake, Congress Park, ca. 1880. From the Wittemann Brothers’ Saratoga Album (1883). Archive.org of any kind,... was taken and still sixty percent of the people stood during the entire program... [T]he pavilion... was surrounded on all sides by the crowd of between five and six thousand people who were attracted by the phenomenal singer they were anxious to hear. Black Patti, University of Washington Libraries, Digital Public Library of America (DPLA). � https://ssmp.skidmore.edu/files/original/5cded9f5ef689b106d7c18bc94320afd.pdf 2d657130ac1d6ea0ff04b8e63d387440 PDF Text Text “The plantation songs known as “spirituals” are the spontaneous outbursts of intense religious fervor, and had their origin chiefly in camp meetings, revivals and other religious exercises. …. It is a serious misconception of their meaning and value to treat them as “minstrel” songs, or to try to make them funny by a too literal attempt to imitate the manner of the Negro in singing them….Their worth is weakened unless they are done impressively, for through all these songs there breathes a hope, a faith in the ultimate justice and brotherhood of man…. The message is ever manifest that eventually deliverance from all that hinders and oppresses the soul will come, and man—every man— will be free.” -Harry T. Burleigh, 1917 ABOUT the EXHIBIT This exhibit was researched in Fall 2016 by students in Elizabeth Macy’s 2016 Blues and African-American Musical Heritage class. Timeline and Biography: Kenter Davies, Joey Freeman, Jon Wiedemann African-American Musical Roots: Willy Bresee, Joseph Eisele, Sayeed Joseph African-Americans in Saratoga: Leonardo De Jesus Oliveira, Tyler Magner, Kelsea Schimmel Burleigh in Saratoga: Olivia Cox, Taylor Fohrhaltz-Burbank, Jules Koslow MDOCS’ Jordana Dym and Jesse Wakeman provided additional research and planning. Poster design by Michael Zhou, ’17. Saratoga artist Daesha Devón Harris contributed photographs from her series, “and yet must be...my Promise Land.” Exhibit posters were printed with support by the Music Department and MDOCS’ Skidmore-Saratoga Memory Project with funds from the Andrew W. Mellon Foundation “Project Vis” grant. Special thanks to Jeremy Day-O’Connell, Music, and Shelley Curran, Zankel, for support for hanging the exhibit, and to Jamie Parillo, Director, Saratoga-Springs History Museum for sharing photographs from the George S. Bolster Collection. Additional visual materials come from the Special Collections, Scribner Library, Skidmore College; Prints and Photographs Division and Map Division, Library of Congress; Art and Picture Division, New York Public Library, Digital Collection; Historical American Sheet Music, David M. Rubenstein Rare Book and Manuscript Library, Duke University; Special Collections, University of Washington Libraries; Saratoga Room, Saratoga Springs Public Library; Bethesda Episcopal Church Archives (Saratoga Springs); and MDOCS’ Skidmore-Saratoga Memory Project (ssmp.skidmore.edu). Sources “African American Spirituals.” Library of Congress Online, URL: https://www.loc.gov/item/ihas.200197495. Armstead, Myra B. Young. “African-American Life.” Saratoga Springs, A Centennial History, Field Horne, ed, Kiskatam Publishing. 2015. -----. Lord Please Don’t Take Me in August: African-Americans in Newport and Saratoga Springs, 1870-1930. University of Illinois Press, 1999. Badger, Reid. “James Reese Europe.” Encyclopedia of Alabama, 5 October 2009, URL: http://www.encyclopediaofalabama.org/article/h-2470. Berlin, Edward A. King of Ragtime: Scott Joplin and His Era. Oxford University Press, 2016. Burleigh, Harry T. From the Southland: Piano Sketches by Harry T. Burleigh. Theodore Presser Co., 1914. Denby, Elaine. Grand Hotels: Reality and Illusion. Reaktion Books, 2002. Fiske, David, Clifford Brown and Rachel Seligman, Solomon Northup: The Complete Story of the Author of Twelve Years a Slave. ABC-CLIO, 2013. Greenwald, Helen. The Oxford Handbook of Opera. Oxford University Press, 2014. Jones, LeRoi. Blues People: Negro Music in White America. Quill, 1963. “Century’s Best - SI’s Top 20 Venues of the 20th Century”. Sports Illustrated. June 7, 1999. “Saratoga Race Course,” Wikipedia, the Free Encyclopedia. Lynn, Mary C. Make No Small Plans: A History of Skidmore College. Skidmore College. 2000. Nicholson, James. The Notorious John Morrissey: How a Bare-Knuckle Brawler Became a Congressman and Founded Saratoga Race Course. U. Press of Kentucky, 2016. Owsley, Dennis. “The Jazz History Of St. Louis-Part 1: The Ragtime Era And The Roaring Twenties.” St. Louis Public Radio, 4 July 2014, URL: http://news.stlpublicradio.org/post/jazz-history-st-louis-part-1-ragtime-era-and-roaring-twenties#stream/0. Rehl, Jane W. Honorable Work: African-Americans in the Resort Community of Saratoga Springs, 1870-1970. Historical Society of Saratoga Springs, 1992. Snyder, Jean. Harry T. Burleigh: From the Spiritual to the Harlem Renaissance. University of Illinois Press, 2016. “Spa State Reservation Commission,” Saratoga Springs: 250 Years in Maps, 2015, Skidmore-Saratoga Memory Project, URL: http://ssmp.skidmore.edu/exhibits/show/mappingsaratoga/. Sterngrass, Jon. First Resorts: Pursuing Pleasure at Saratoga Springs, Newport, and Coney Island. JHU Press, 2003. University at Albany Planning Studio, Planning & Design Recommendations For The West Side Neighborhood,Saratoga Springs, New York, Fall 2001. URL: http://www.albany.edu/gp/files/2001_Fall_West_Side_Saratoga_Springs.pdf. � https://ssmp.skidmore.edu/files/original/1c499641efefd717f8c0add8166b83d1.pdf 15ce2e77491dee43e47ee3bdbc54e8eb PDF Text Text Harry T. Burleigh th year 150 Commemoration � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Harry T. Burleigh 150th Commemoration Date A point or period of time associated with an event in the lifecycle of the resource 2016 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Harry T. Burleigh Exhibit Posters Date A point or period of time associated with an event in the lifecycle of the resource November 30, 2016 Language A language of the resource eg Creator An entity primarily responsible for making the resource Zhiyu (Michael) Zhou https://ssmp.skidmore.edu/files/original/82347a75877a928ef2bdfe07bb7f2c82.png 62e1ab3b7b472a1cc7e22083610e53e6 https://ssmp.skidmore.edu/files/original/d59662066c281b347e8f2b08c5d02f44.jpg 5320709271b0abcda6ab554d6d0a272c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Harry T. Burleigh 150th Commemoration Date A point or period of time associated with an event in the lifecycle of the resource 2016 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. URL Wikipedia entry, James Reese Europe, <a title="James Reese Europe" href="https://upload.wikimedia.org/wikipedia/commons/b/b9/JREurope.jpg">https://upload.wikimedia.org/wikipedia/commons/b/b9/JREurope.jpg</a> Repository Name of the repository that holds the original item. Library of Congress Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource James Reece Europe Date A point or period of time associated with an event in the lifecycle of the resource 1919 Is Part Of A related resource in which the described resource is physically or logically included. Sheet music cover for "Good Night Angeline" with photo of en:James Reese Europe and his famous 369th U.S. Infantry "Hell Fighters" Band. https://ssmp.skidmore.edu/files/original/ad80273b52a5c747b6afefe310d36964.png 0cc8db1899b15ab25b8a36fcfa8951a9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Harry T. Burleigh 150th Commemoration Date A point or period of time associated with an event in the lifecycle of the resource 2016 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Burleigh as musical director of St. George’s Minstrel Show, 1906 Date A point or period of time associated with an event in the lifecycle of the resource 1907 Is Part Of A related resource in which the described resource is physically or logically included. Program for the 1907 St. George's Minstrel Show Source A related resource from which the described resource is derived Appears in Jean Snyder, <em>Harry T. Burleigh: from the Spiritual to the Harlem Renaissance</em>, University of Illinois Press, 2016.&nbsp; Original in the author's collection. https://ssmp.skidmore.edu/files/original/333c5befa228f78f8c35efa9dd2d4653.png 73806a0e7a833a4cf8415f68ee5538a6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Harry T. Burleigh 150th Commemoration Date A point or period of time associated with an event in the lifecycle of the resource 2016 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Interviewer The person(s) performing the interview Clara-Sophia Daly Interviewee The person(s) being interviewed Slim Shady URL Courtesy Historical American Sheet Music, David M. Rubenstein Rare Book and Manuscript Library, Duke University, <a title="Burleigh's Deep River, 1907 arrangement" href="http://library.duke.edu/rubenstein/scriptorium/sheetmusic/n/n06/n0694/n069">RBR Music 694 </a> Record Contributor Individual who prepared the item and/or edited it. J. Dym Record Creation Date Day/Month/Year of record creation/edit 29/11/2016 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Burleigh’s Arrangement of Deep River (first page). Date A point or period of time associated with an event in the lifecycle of the resource 1907 Language A language of the resource eng Creator An entity primarily responsible for making the resource Burleigh, Harry Thacker Type The nature or genre of the resource sheet music https://ssmp.skidmore.edu/files/original/3c01674efd294f6470964a12bedb2529.JPG 8e5ab759ca4d4bb2e4268b5b1e5c561e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Harry T. Burleigh 150th Commemoration Date A point or period of time associated with an event in the lifecycle of the resource 2016 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document Organized July 26, 1887. Free reading room and par­lor , 18 and 20 Pbila street; also gymnasium for n1embers. Regular meetings second -Tuesday of each month. Gospel service Sunday a.t 4 p. in. Rooms open from 9 a. m. to 10 p. m. D. F. Ritchie, P.res.; C. L. Haskins,. vice pres.'; Syd ey A. Rickard; treas.; L. A. James, rec. sec.; A. E .. Atwater, gen. sec.; A. F. Wolf, physical director. Junior Department-Meets ·every Wednesday afternoon a 4.30. · · Marion Sanford, pres.; Chauncey W1lliams, vice-pres. Eddie Clark, sec. . · Woman's Auxiliary, Y. M. C. .A..--Meets ¥· M. C. A. · rooms, first Thursday of each month at 8 p. m. Sarah Wood, pres.; Mrs. S .. A. Rickard, vice-pres.; Agnes Ritchie, sec. and treas. . . YMC. A. Wheelmen-Regular meetings 1st Thursday of each month at Y. M. C. A. rooms. Ralph A. Stewart, pres.; Harry F. Thomas, ·Vice-pres.; Wm. H. Waterbury, ec. and treas.; A. F. Wolf, capt.; J. Crawford Eddy, lieut . Original Format The type of object, such as painting, sculpture, paper, photo, and additional data text Abstract (& Historical Note) Natural language description of the map itself, providing a general summary of the map and noting significant features. This is the place to introduce keywords and proper names that might be of interest to researchers, but do not warrant a separate subject heading of their own. Inset maps should also be described here, with their full titles given. Whenever historical or explanatory information is available, it should be included here as well. This includes information about items or events that are larger than just the map itself; for example, information about cartographers, a description of the map's historical significance (for example, "This is the first printed map of Saratoga Springs"), notes on the laws leading to a map's creation, descriptions of changes in state or county lines, information about the organization that created the map, how often maps were updated, and information about the map's creation and publication. Many State Archives maps have historical information in the catalog record -- that should be captured in this field. A brief description of the Saratoga Springs YMCA founding, activities, location and leadership. Includes notes on the Junior Department, Woman's Auxiliary and Weelman (cyclists) Repository Name of the repository that holds the original item. Saratoga Room, Saratoga Springs Public Library Record Contributor Individual who prepared the item and/or edited it. J. Dym Record Creation Date Day/Month/Year of record creation/edit 28/11/2016 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Ÿoung Men's Christian Association" Date A point or period of time associated with an event in the lifecycle of the resource 1893 Is Part Of A related resource in which the described resource is physically or logically included. Kirwin's Directory, Saratoga Springs, NY Language A language of the resource eng https://ssmp.skidmore.edu/files/original/fb74d39b9aa31c5a0b9decf113f37ef1.jpg 18d2709df2d7be5109e2fbf31799630b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Harry T. Burleigh 150th Commemoration Date A point or period of time associated with an event in the lifecycle of the resource 2016 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Record Contributor Individual who prepared the item and/or edited it. J. Dym Record Creation Date Day/Month/Year of record creation/edit 28/11/2016 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource [ Sun Flower Boot Black] Date A point or period of time associated with an event in the lifecycle of the resource ca. 1890 Is Part Of A related resource in which the described resource is physically or logically included. George S. Bolster Collection Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Saratoga Springs History Museum. Rights Holder A person or organization owning or managing rights over the resource. Saratoga Springs History Museum. Please do not reuse without permission from the Saratoga Springs History museum. https://ssmp.skidmore.edu/files/original/bc6c7fe1c52dada6e0c9e0edff4e88ad.tiff d8de8a846510217cf7bfd3eb8b5674e0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Harry T. Burleigh 150th Commemoration Date A point or period of time associated with an event in the lifecycle of the resource 2016 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Theme For browsing purposes, we are borrowing and adapting themes from the Library of Congress's American Memory project. Cities and Towns Property and Development URL <a title="Bird's Eye View of Saratoga" href="http://digitalcollections.nypl.org/items/510d47e1-59a3-a3d9-e040-e00a18064a99">http://digitalcollections.nypl.org/items/510d47e1-59a3-a3d9-e040-e00a18064a99</a> Repository Name of the repository that holds the original item. New York Public Library Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource [Bird's Eye View of Saratoga] Date A point or period of time associated with an event in the lifecycle of the resource 1872 Is Part Of A related resource in which the described resource is physically or logically included. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. New York Public Library, Digital Collections The Miriam and Ira D. Wallach Division of Arts, Prints and Photographs. https://ssmp.skidmore.edu/files/original/9d17c601b08212036a36a981f90da8d0.jpg d0846c2a3c23880f337d62fb41605cdc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Harry T. Burleigh 150th Commemoration Date A point or period of time associated with an event in the lifecycle of the resource 2016 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Record Contributor Individual who prepared the item and/or edited it. J. Dym Record Creation Date Day/Month/Year of record creation/edit 28/11/2016 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource [Jack's Harlem Club Cabaret, 72 Congress Street] Date A point or period of time associated with an event in the lifecycle of the resource 1941 Is Part Of A related resource in which the described resource is physically or logically included. George S. Bolster Collection Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Saratoga Springs History Museum. Rights Holder A person or organization owning or managing rights over the resource. Saratoga Springs History Museum. Please do not copy, print, republish or use without permission from the Saratoga Springs History Museum. https://ssmp.skidmore.edu/files/original/fd6271beefa5bd96430d4e634e0d10df.jpg 25e3c6ddb1700a221bdda6a24d53b6b1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Harry T. Burleigh 150th Commemoration Date A point or period of time associated with an event in the lifecycle of the resource 2016 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource [Aerial view of Grand Union Hotel, with Congress Park in Foreground] Date A point or period of time associated with an event in the lifecycle of the resource 1916 Is Part Of A related resource in which the described resource is physically or logically included. George S. Bolster Collection Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Saratoga Springs History Museum. Rights Holder A person or organization owning or managing rights over the resource. Saratoga Springs History Museum. Please do not copy, print, republish or use without permission from the Saratoga Springs History Museum. https://ssmp.skidmore.edu/files/original/f6c3f33e8f25f221a84cf37ace9f7522.jpg 8eb88c51d90e08c4e650b6a8717de901 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Harry T. Burleigh 150th Commemoration Date A point or period of time associated with an event in the lifecycle of the resource 2016 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Record Contributor Individual who prepared the item and/or edited it. J. Dym Record Creation Date Day/Month/Year of record creation/edit 28/11/2016 Repository Name of the repository that holds the original item. The Saratoga Springs History Museum (Saratoga Springs, N.Y.) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Hattie Austin at door of Hattie's 1969 Date A point or period of time associated with an event in the lifecycle of the resource 1969 Is Part Of A related resource in which the described resource is physically or logically included. George S. Bolster Photograph Collection Date Copyrighted Date of copyright. 1969 Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Saratoga Springs History Museum Rights Holder A person or organization owning or managing rights over the resource. Saratoga Springs History Museum. Please do not copy, print, republish or use without permission from the Saratoga Springs History Museum. https://ssmp.skidmore.edu/files/original/6112e5e6b41a602ff370f2137877b1b9.jpg e08141dbc65099720ea89604cb9b9d29 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Harry T. Burleigh 150th Commemoration Date A point or period of time associated with an event in the lifecycle of the resource 2016 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Record Contributor Individual who prepared the item and/or edited it. J. Dym Record Creation Date Day/Month/Year of record creation/edit 28/11/2016 Theme For browsing purposes, we are borrowing and adapting themes from the Library of Congress's American Memory project. Recreation Repository Name of the repository that holds the original item. The Saratoga Springs History Museum (Saratoga Springs, N.Y.) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wesley Smiley trainer, former steeplechase jockey horse Graham of Geniva Date A point or period of time associated with an event in the lifecycle of the resource ca. 1920 Is Part Of A related resource in which the described resource is physically or logically included. George S. Bolster Photograph Collection Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Saratoga Springs History Museum Rights Holder A person or organization owning or managing rights over the resource. Saratoga Springs History Museum. Please do not republish or post on the internet without acquiring permission from the SSHM. https://ssmp.skidmore.edu/files/original/cb558163ca7c2297e50f29c13357bc4f.pdf 623e9d1de19552daf3679316b47b0f46 PDF Text Text AT NEW-YORK'S FAMOUS SPA: THOUSANDS FLOCKING TO SARATOGA FOR AN ... New York Times (1857-1922); Aug 26, 1894; ProQuest Historical Newspapers: The New York Times with Index pg. 12 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Harry T. Burleigh 150th Commemoration Date A point or period of time associated with an event in the lifecycle of the resource 2016 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Abstract (& Historical Note) Natural language description of the map itself, providing a general summary of the map and noting significant features. This is the place to introduce keywords and proper names that might be of interest to researchers, but do not warrant a separate subject heading of their own. Inset maps should also be described here, with their full titles given. Whenever historical or explanatory information is available, it should be included here as well. This includes information about items or events that are larger than just the map itself; for example, information about cartographers, a description of the map's historical significance (for example, "This is the first printed map of Saratoga Springs"), notes on the laws leading to a map's creation, descriptions of changes in state or county lines, information about the organization that created the map, how often maps were updated, and information about the map's creation and publication. Many State Archives maps have historical information in the catalog record -- that should be captured in this field. This article about Saratoga Springs activities in late August 1894 mentions Black Patti (Sissieretta Jones) singing in Congress Park on August 25. Record Contributor Individual who prepared the item and/or edited it. J. Dym Record Creation Date Day/Month/Year of record creation/edit 28/11/2016 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Date A point or period of time associated with an event in the lifecycle of the resource 26/08/1894 August 26, 1894 Is Part Of A related resource in which the described resource is physically or logically included. The New York Times Title A name given to the resource At New York's Famous Spa https://ssmp.skidmore.edu/files/original/012c74944be22e8a1c318cc7b5c7e088.jpg 6dda4c0d8b44011c2d0baefd3428a80d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Harry T. Burleigh 150th Commemoration Date A point or period of time associated with an event in the lifecycle of the resource 2016 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 negative : glass ; Physical Dimensions The actual physical size of the original image 8 x 10 in. Record Contributor Individual who prepared the item and/or edited it. J. Dym Record Creation Date Day/Month/Year of record creation/edit 28/11/2016 Date Depicted (Display) Text version of the date field -- can handle non-numeric characters (ca. 1850s, [1844]). This is the content date field that will display. ca. 1900-1915 Date Published (Display) Text version of the date field -- can handle non-numeric characters (ca. 1850s, [1844]). This is the date field that will display. 1900 Theme For browsing purposes, we are borrowing and adapting themes from the Library of Congress's American Memory project. Transportation Infrastructure and Communication URL <a title="North Broadway, LOC" href="https://www.loc.gov/resource/det.4a19686/">https://www.loc.gov/resource/det.4a19686/</a> Repository Name of the repository that holds the original item. Prints and Photograph Division, Library of Congress Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Publisher An entity responsible for making the resource available Detroit Publishing Co., publisher Subject The topic of the resource Saratoga Springs, NY -- Streets. United States--New York (State)--Saratoga Springs. New York (State)--Saratoga Springs Format The file format, physical medium, or dimensions of the resource photograph Title A name given to the resource [North Broadway] https://ssmp.skidmore.edu/files/original/baa112ccebf975a7fcf8b9fbc3aa394f.pdf 260ea771ea26bb40c1c8020183381253 PDF Text Text , \ SARATOGIAN, FRIDAY, APR. 24, 1*64 6ARATOOA 8PBINO6, N*W BERRTS'WOBID In Our Opinion m % Negro greats sang in city *J Clifton Park leads population boom (Third to a aeries on great music) There are few precedents in the Capital District irta for the rate of growth of the Town of Clifton Park in the last few years. In that period, the town has increased its population 35 per cent. If this rate were to continue for the rest of the decade, growth would approximate 88.7 per cent for the 1960-1970 period. One Saratoga County towns and two in Albany County grew at somewhat comparable rates from 1950 to 1960. Charlton more than doubled its residents in that time, as did Guilderland in Albany County. At the same time, Colonie swelled from 29,500 to 52,700. In terms of people, rather than percentages, Charlton's growth was about 1,800, while the two Albany towns went up 9,500 and 22,200, respectively. Clifton Park is likely to be someplace in between, with t projected increase, if the same rate continues, of some 3,500. There is no safe way of estimating how the rite will go. It is likely that it has actually accelerated in the last two of the four years measured in the special census and it may continue to accelerate for a while and then level off. But it is safe to estimate that the normal pattern will see this growth spill over into towns bordering Clifton Park, with the spillover coming more rapidly than before because of the Northway. Thus, Malta can expect an early population growth which could well, by the end of the decade, approach that of Clifton Park. Saratoga Springs, as a natural crossroads and business center, should experience greater growth than has been normal. Charlton and Ballston have already expanded considerably. Halfmoon grew a lot between 1950 and 1960 aid will continue to grow because of three factors: Northway spillover, proximity to Troy and spillover from Mechanicville, which has no place to grow as a community. Moreau, which became the second largest community in the county between 1950 and 1960 (over 8,400) may be more stable for a while, but as the Wilton School for the retarded is built, it and Wilton will have new impetus. These are not just statistics, they are people. Nor ire the projections overoptimistic. Realist as Fred Droms, supervisor of Clifton Park, is, he underestimated his own town's growth by 5 per cent and we could be underguessing, rather than overdoing it. So the figures are running ahead of the projections. The character of our county is changing. Governmental, social and educational problems, almost unprecedented in the county, appear to lie ahead. They mean that old ways of doing things aren't enough, that we must be ready to adjust to new needs, new people. We hope the warning is not lost on the community leaders of the county, both in and out of government. it looks fflce ff flice place to visit, bat / woafaart wxaef Roscoe Drummond Johnson takes complete Washintgon—The most significant fact in Washington today is that transitional government is at an end and that Lyndon B. Johnson is completly in charge. It has been accomplished more competently, more smoothly, more rapidly than anyone would have believed possible. The Johnson administration is now on its own—making its own decisions, creating its own initiatives, and cultivating its own image in its own way. • The one thing which to me stands out above all others is this: Johnson has not merely acceded to the Presidency; he has seized the Presidency with unequalled energy. Johnson is not merely presiding over his administration; he is operating the Presidency as if he had been in the White House at least five years. He is no longer looking back at the tragedy which robbed the nation of President Kennedy. Johnson is looking ahead. He is no longer appealing to Congress or to the country to accept his measures as a tribute to the memory of the late President. He is asking that everything be judged on its own. Seed of lawlessness • One of the most trenchant public utterances to be made in a long time has come from the man who next August will become president of the American Bar Association. He is Lewis F. Powell Jr. and every American might well listen carefully to what he said in a recent luncheon address. "One of the root causes of lawlessness in this country," he declared, "is excessive tolerance by the public in accepting substandard, marginal, immoral and unlawful conduct. "This tolerance has reached the point of moral sickness." Among the things he believes are excessively tolerated, Mr. Powell listed juvenile drinking, flagrant violation of traffic laws, flouting of obscenity and pornography laws, illegal gambling, cheating on claims against insurance companies, circumvention of divorce laws, condoning of violence, and disregard of laws in general. Those among us who are completely innocent of any of the tolerances mentioned by Mr. Powell can, of course, forget what he has said. The rest of us can thank him for saying it—and make sure we remember and heed it. I . i m Remember when? Apr. 24 1939 — The City Council at last night's meeting voted to give parking meters a six months trial. An eloquent plea for the Citizens of Saratoga Springs "to do something about a terrible situation where our city's population has practically stood still for 60 years at 13,000 in spite of all our natural advantages," was made by Samuel Goldberg of the Ro-Ed Mansion, at last night's open meeting of the Chamber Of Commerce. Apr. 24,1949 — The federal government has intervened in New York Power and Light Corporation plans to build a big power dam on Sacandaga River at Stewart's Bridge in Saratoga and Warren counties. "Pull study" will be given to the power company's proposal to contruct an earth dam, 1,400 feet long and 112 feet Paul R. Rouillard recently f Chronicle! of Saratoga TORJC received the gold medal for winning the 100 yard free style race in the inter-fraternity swim meet at Hanover. We will row No. 1 in the Dartmouth crew against Amherst next Saturday and also in the Dad Vail regatta of nine colleges at Poughkeepsie on May 21. April 24, 1959 ~ Thousands of members of the Daughters of the American Revolution from all parts of the country this week are seeing and admiring their national organization's tribute in Washington, DC. to its four founder*, incuding Ellen Hardin Walworth, who was a Saratogian. Included in the throng are Mrs. Walter Moore, regentelect of the Saratoga Chapter, and Mrs. R. C. Lamb, its chaplain. John A. Simone Jr., has opened an office for the practice of law at 384 Broadway. • THIS IS NO TIME EVEN to atempt to judge where Lyndon Johnson will rate as a President. But it is amply evident that he brings a special combination of qualities rarely present in one man at the same time. He is the most politically resourceful President since Franklin Roosevelt and the most zestful President since Theodore Roosevelt. He has just addressed both the American Society of Newspaper Editors in Washington and the Associated Press in New York. (Most Presidents address either one or the other.) He has just held three press conferences in the past week, including one big, live televised press conference in the State Department auditorium a la JFK. It went well. The nation's newspaper editors meeting in Washington — mostly Republican — thought Johnson would win re-election. The publishers meeting in New York— • • • ON THE BASIS OF HIS first five months in office, it is clear than Johnson is not disposed to delay, to postpone, to run away from hard decisions. He dared to take the railroad negotiations, which plagued both President Eisenhower and President Kennedy, into the White House—and this was no small political risk. He ventured upon a personal correspondence with Premier Khrushchev which led to the uranium production-cut agreement announced a few days ago. He listened to conflicting advice within his Administration over whether he should give his support to the anti Goulart military coup in Brazil before one could tell how democratic or undemocratic it was going to prove to be—and Johnson took the risk of supporting it, rejected the wait* and-see counsel. • • • I AM NOT SUGGESTING that the record is all rosy. The Panama negotiations were fumbled in the early stages. Our stake in Viet Nam needs much more persuasive Presidential exposition to keep public and Congressional support for what needs to be done. What is most visible, as transition government comes to an end, is that a very skilled politician and a massively do-it-now man is filling the Presidency to near bursting. Those who constantly compare President Johnson with President Kennedy will continue to be disappointed. He will never look and act like Kennedy. He will always look and act like Lyndon B. Johnson. © 1964 Publishers Newspaper Syndicate Stop reading word by word You can skip, skim or savor By THE READING LABORATORY INC. Written for Newspaper Enterprise Association (Time your reading of this column and compare your speed with that indicated at the end. The expected speed assumes a daily 5 per cent improvement.) many ways. He will read for information AND to evaluate. He'll read critical, opinionative writing alertly; he'll be on the lookout for poor reasoning, for invalid premises when he reads political comment. You read that a stateman gave a speech about this or that; your father will want to know why the statesman took that position, why the change in attitude, what he is really after. Your father will analyse that talk, bring his whole reading background to judge the content. Your father will get a lot more out of each development hecause he wants more, and it will take him more time. e • o WE'VE COVERED THE FOUR reasons for reading: 1. For information, and here you read at top speed, making use of all the steps. 3. For relaxation, and here you read fast but not so fast as for information. 3. For self-enrichment, and here you read more slowly because you don't want to miss any of a classic's beauty. 4. For critical evaluation, .and here you are not a passive observer, but an alert and questioning judge and jury. This is your slowest pace,' hut it should not be a slow pace after putting these columns into practice. (You should have completed this reading in 61 seconds.) (NEXT: Some Notes on Notes.) DIFFERENT KINDS OF reading require a different pace. Let's say you're given an assignment tonight in the appreciation of two poems by Robert Frost. Will you preread it, write down searching questions, skip and skim your way through it? Certainly not. Frost is meant to be savored for his style, his imagery, his choice of words. Furthermore, Frost is meant to be enjoyed; he wrote to delight you, to move your heart, not to give you facts. The same would be true with Dickens. His personal purpose in writing his classic novels may have been sociological, but what a mistake to dash through his books as you might a reference work in sociology. The simply peerless character delineations, the matchless descriptive passages all would be lost. You would mist the very heart and genius of the man. No, don't zigzag through Frost or Dickens. That technique has a place, but not here. • DID «W KNOW THAT THE "VAN" IN U0WI6 VAN BEETHOVEN DIDN'T MEAN AN</TruN6? mostly Republican — thought Johnson , would run even stronger than President Kennedy would have run. Few politicians or political writers would have held this view before Nov. 22 —that if the Vicepresident were compelled ' to take over he would be as strong, or stronger, politically than his. predecessor. This is further evidence of how quickly and completely Johnson has come to occupy the Presidency. • • BUT NOW YOUR ENGLISH literature assignment is finished and you can curl up with that mystery novel your friend loaned you. Your purpose now is altogether different; you're not looking for self-enrichment, you just want to relax. You know you can gloss over the author's prose without insulting a great master. Just the clues and the story is all you want and you're eager to see how the book ends. So speed makes sense, but don't skip and skim to the extent that you miss til the clues and spoil the fun. • • • AFTER DINNER YOU PICK up the paper. All you want is information. What'i happened around the world, In your home town, at last niht's sporting event. This you can read in about 15 minutes because your purpose called for top speed. Instant information instantly. Now your father reads the newspaper, hut his purpose If different from yours » Quick quiz % Q—How many different products come from trees? A—The products from trees are almost countless—it is estimated that than are more than 9,000 uses for'paper and paper pulp alone, s e e Q—Where was the birthplace of tilt naturalist John J. Audubon? A—Audubon himself thought ho was born near New Orleans, La., when Louisiana was still French territory. Many historians, however, believe that he was born In Haiti. -...-».• Untitled Document Thomas M. Tryniski 309 South 4th Street Fulton New York 13069 www.fultonhistory.com By EVELYN BARRETT BRITTEN City Historian Saratoga Springs has always been on the alert to recognize talent, whatever the race or creed. Two of the greatest artists of all time, who wore introduced to Saratoga Springs audiences were Negroes—Caesexette Jones, called familiarly "Black Patti," and Harry Thacker Burleigh, famed soloist whose arrangement of "Deep River" is immortal. o e • THE SARATOGA STORY of both makes interesting history. Cesaeretta Jones, whose rise to fame was swift, possessed a voice resembling that of the famous Adeline Patti, who had made several American tours, and was received by huge audiences. So like the famed Patti's voice was that of Miss Jones, that she was known throughout her singing career as "Black Patti". In the 1880s and lttO's, her magnificent voice was heard as a soloist at various concerts held in Congress Psrk, and shortly after the completion of Convention Hall in 1894 she sang there, -receiving one of the greatest ovations accorded by the 5,000 people from near and far who jammed the hall to hear her sing, Marguerite in Gounod's opera "Faust." This was the role in which Adeline Patti had scored her greatest success. e e • THERE ARE FEW STORIES more intriguing than the discovery of one of the greatest of all Negro lingers, Harry Thacker Burleigh, here in Saratoga Springs. In the summer of 1880 Burleigh was a wine boy serving in the Grand Union Hotel, and was attracted to attend classes at Bethesda Church which the late beloved rector, the Rev. Dr. Joseph Carey, was holding in the church afternoons for a group of boys from many cities who were working in the great hotels. Dr. Carey .organized one of the most worthwhile choirs ever assembled in our resort. To this service one afternoon in the 1880's came Burleigh, having an inner craving for music. He was singing with the choir one afternoon, all intent on his music, when suddenly he became quite embarassed and confused to find himself singing alone. All the other boys, thrilled by his voice, were silent, listening intently. His voice died away at the end of a hymn. Dr. Carey urged him to go on. The memory of his beautiful singing was recounted by the youths to many visitors they served at the various hotels. The services at 4 p.m. began to attract such crowds there was not room for all to hear. To one of the services that year also came the mother of the famous American composer, Edward C. MacDowell. She was Mrs. Frances Knapp MacDowell, a guest at the United States Hotel. Like the others she was entranced and came again and again to hear the Negro youth. ' at • • m^__^^__^^__ IN 1892, MBS. MAC DOWELL made it possible for Burleigh to attend the National Conservatory of Music in New York, where another of his friends became ton Dvorak, American composer, a MacDowell's son was Burleigh's ideal ana so there was little wonder that he chose on many occasions in his concerts to sing, the song for which Edward C. MacDowell became doubly famous, "to a Wild Rose." Burleigh for 52 years was the baritone soloist in St. George's Protestant Episcopal Church in New York City, and it was a tradition on every Palm Sunday, that ho should sing The Psalms, his audience coming from many other parishes to hear this. • e • WHEN THE GREAT SOLOIST observed the golden anniversary of his career, some years before his death, a reception was given him in St. George's Parish House, which was thronged to capacy by the great and the lowly, the wealthy and thq poor. Harry Thacker Burleigh never forgot Sartaoga Springs. He told some Saratogians who attended the reception, "I have a warm spot in my heart for Saratoga Springs and for its people. I'll never ferj • get the start I received there. It gave me encouragement to strive higher." v.0 • • • WHEN BURLEIGH DIED several years ago, the New York newspapers gave him credit as being the moving spirit in saving the beautiful Negro spirituals for th world, some 5Q of which he arranged personally. He had sung them before the, kings and heads of many European countries. It was Burleigh's arrangement of "Deep Rixer," which featured the last Saratoga Festival given in Congress Park in 1959 and was sung by the late John Blanchard, a local soloist of real ability and talent, whose untimely death cut short a musical artist. • • • SARATOGA SPRINGS had the honor of of organizing the developing one of the first churches in this area for the colored race, the African Methodist Episcopal Church in Maple Avenue, founded in June, 1863. The Civil War was then in progress, and greater religious opportunities were sought for the Negroes, many of whom came here summers as the employes of visitors. The first church stood in Willow Walk, now Spring Avenue. In November 1866, the first little church was destroyed by fire. Rebuilt the following year, the church was dedicated by Bishop J. J. Clinton. In 1888, this first church was so badly in need of repairs, that, with money given by Mrs. Benjamin J. Dyer, the present edifice was erected in Maple Avenue, and named in honor of Mrs. Dyer then owner of the Vermont House, corner of Grove and Maple Ave., and called, the Dyer Memorial A. M. E. Zion Church. In 1900 the name of Phelps was added in memory of a summer cottager who gave $500 for improvements to the church. In this church many important soloists were heard in a half century, and the Negro spirituals reached their perfection as sung by many of the soloists who ca o cajttfK here summers. U.S. anti-gambling statutes Pressure closed Hot Springs (Second of Two Articles) By JAMES W. CANAN Gannett News Service Washington—The closing of a big-time gambling operation in Arkansas last year illustrates the power that has accrued to federal lawmen under the 1961 anti-gambling statutes. The Justice Department tried two years ago to indict the gamblers who ran the games in Hot Springs, but failed. It lacked enough evidence that the games were "interstate." But the department kept trying, and doggodness prevailed. With the help of the local press, the federal men pressured the state into closing the gambling enterprise to avoid future trouble. Without the anti-gambling laws, the Department would not have been in a position to keep up the pressure, much less seek indictments in the first place. • e e SEVERAL OTHER CASES whore indictments ware lacking hut where gamblers voluntarily took cover demonstrate the difficulty of measuring the impact of the laws on a ease-by-ease basis. But where the impact can he gauged that way, the laws Mem to have served well Items: o The breakup o! a dice game in Reading, Pa., and indictment of IB men involved in it. They had made the mistake of "lugging" several players across the New Jersey line. Agents found $26,000 on the table. e The arrest and indictment of Harold Konigsberg of New Jersey and Angels Bruno, allegedly the top Philadelphia-area racketeers, on conspiracy eharges stemming indirectly, from the laws. e The imprisonment of Frank Zizzo, a Hammond, Ind.. gambler suspected of fronting for the Chicago "Cosa Nostra." He wasn't caught crossing the Djdiaaaniinois line, but he was tied to two henchman who had. • The indictment of William Gearhart, owner of a casino at White Sulphur Springs, W. Vs., on a charge of crossing into Ohio to bank his receipts. e The conviction of Marvin P. Kabase, • renowned Alabama gambler. He had used telephone company credit cards to phone out-of-state bookies. o The imprisonment of Joseph Manieri and several others operating a New York. New Jersey-Connecticut numbers racket described as on* of the very biggest. The FBI said they collected bets averaging more than $20,000 a day. e The voluntary closing of several racing-news wire services, including the Noli Now* of Louisiana, one of the most e The arrest of 10 "turf tiottors,r in New York, one of whom did a $60.ooo-aday business. They waft safe from the FBI just being touts, but not whoa they used Western Union money orders to distribute winnings. e The closing of a big "monte" game at Myrtle Beach, S.C., on the evidence that one of the players had paid up with a check from a bank in another stato> * \ ALL TOLD,, THE JUSTICE Department has used the 1961 laws to conduct 14,524 investigations in fields it couldn't have touched without them. Among the investigations have been—and are—224 in New York (mostly in the New York City area), 60 in Connecticut and 40 in New Jersey. Eighty-one indictments have been re* turned. Of the 264 defendants charged, 118 have been convicted. There are 31 indictments outstanding, involving 97 defendants. Except for Bruno, and possibly Konigsberg and Zizzo, the quarries caught under the 1961 ststutes hardly seem worth the attention of the FBI and the federal courts. But the Justice Department contends that this attitude of not bothering to crack down on the journeyman has served, over the years, to fatten the kingpins the most. , e e o TO SHOW THAT IT IS getting a better grip on organized crime across the board, the department cites its 288 convictions last year, as compared with 138 in 1962, 73 in 1961 and 45 in 1960. Perhaps even more indicative of the department's activity were the 615 organized-crime indictments returned in 1963, nearly double the number of 1962, five times as many as in 1961, and a whopping twelvefold more than in 1960. The indictments and convictions cover mostly operators of casinos, numbers rackets, horse rooms, dice games, handbooks and, in a few cases extortion enterprises. That they fall shy of the big names in narcotics, prostitution, coinvending machines and illegal liquor traffic; is a cause of some gloom at the Justice Department. Yet the crime laws of 1961 have given the department a better chance to chip away at the thrones of the kings of crime and the hope that harder blows are in the making. THE SARATOGIAN SCtmber: The Gannett Group " Founded 1854 » Published daily except Sunday The Saratogian, Inc., Telephone * Saratoga Springs 5844242 Robert D. Wilkinson General Mgr. Fred G. Eaton . . . Editor John V. Hannigan ....'.. Business MgaW Member: Audit Bureau of Circulation!^ Second-class postage paid at Saratoga Springs. The Associated Press is entitled exclusively to the use for republication of all local news printed in this newspaper. Gannett Advertising Sales, Inc.' National Representative, 1271 Avenues of America New York 20, N.Y. New York, Syracuse, Detroit, .• Chicago, San Francisco SUBSCRIPTION carrier . . . ; B One iSS RATCI 4*0 per wee* Tew $1300 Mn*itns Three Month* One Month 7 0O «.....»,.,».,»,, S.7| 1.35 Mall rates apply only where Met* li n o > delivery •errlce. M a l i »ub•cription mult be accompanied tw WHlanw to cover � https://ssmp.skidmore.edu/files/original/63923982ea7f17114d2460442dbbf8a5.jpg 91f148bb09baaa31934eca5a2dd603fb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Harry T. Burleigh 150th Commemoration Date A point or period of time associated with an event in the lifecycle of the resource 2016 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document Saratoga Springs has always been on the alert to recognize talent, whatever the race or creed. Two of the greatest artists of all time, who wore introduced to Saratoga Springs audiences were Negroes—Caeserette Jones, called familiarly "Black Patti," and Harry Thacker Burleigh, famed soloist whose arrangement of "Deep River" is immortal. o e • THE SARATOGA STORY of both makes interesting history. Cesaeretta Jones, whose rise to fame was swift, possessed a voice resembling that of the famous Adeline Patti, who had made several American tours, and was received by huge audiences. So like the famed Patti's voice was that of Miss Jones, that she was known throughout her singing career as "Black Patti". In the 1880s and lttO's, her magnificent voice was heard as a soloist at various concerts held in Congress Park, and shortly after the completion of Convention Hall in 1894 she sang there, -receiving one of the greatest ovations accorded by the 5,000 people from near and far who jammed the hall to hear her sing, Marguerite in Gounod's opera "Faust." This was the role in which Adeline Patti had scored her greatest success. e e • THERE ARE FEW STORIES more intriguing than the discovery of one of the greatest of all Negro lingers, Harry Thacker Burleigh, here in Saratoga Springs. In the summer of 1880 Burleigh was a wine boy serving in the Grand Union Hotel, and was attracted to attend classes at Bethesda Church which the late beloved rector, the Rev. Dr. Joseph Carey, was holding in the church afternoons for a group of boys from many cities who were working in the great hotels. Dr. Carey .organized one of the most worthwhile choirs ever assembled in our resort. To this service one afternoon in the 1880's came Burleigh, having an inner craving for music. He was singing with the choir one afternoon, all intent on his music, when suddenly he became quite embarrassed and confused to find himself singing alone. All the other boys, thrilled by his voice, were silent, listening intently. His voice died away at the end of a hymn. Dr. Carey urged him to go on. The memory of his beautiful singing was recounted by the youths to many visitors they served at the various hotels. The services at 4 p.m. began to attract such crowds there was not room for all to hear. To one of the services that year also came the mother of the famous American composer, Edward C. MacDowell. She was Mrs. Frances Knapp MacDowell, a guest at the United States Hotel. Like the others she was entranced and came again and again to hear the Negro youth. ' at • • m^__^^__^^__ IN 1892, MBS. MAC DOWELL made it possible for Burleigh to attend the National Conservatory of Music in New York, where another of his friends became Anton Dvorak, American composer. MacDowell's son was Burleigh's ideal so there was little wonder that he chose on many occasions in his concerts to sing, the song for which Edward C. MacDowell became doubly famous, "to a Wild Rose." Burleigh for 52 years was the baritone soloist in St. George's Protestant Episcopal Church in New York City, and it was a tradition on every Palm Sunday, that ho should sing The Psalms, his audience coming from many other parishes to hear this. *** WHEN THE GREAT SOLOIST observed the golden anniversary of his career, some years before his death, a reception was given him in St. George's Parish House, which was thronged to capacy by the great and the lowly, the wealthy and thq poor. Harry Thacker Burleigh never forgot Sartaoga Springs. He told some Saratogians who attended the reception, "I have a warm spot in my heart for Saratoga Springs and for its people. I'll never ferj • get the start I received there. It gave me encouragement to strive higher." • • • WHEN BURLEIGH DIED several years ago, the New York newspapers gave him credit as being the moving spirit in saving the beautiful Negro spirituals for th world, some 50 of which he arranged personally. He had sung them before the, kings and heads of many European countries. It was Burleigh's arrangement of "Deep River," which featured the last Saratoga Festival given in Congress Park in 1959 and was sung by the late John Blanchard, a local soloist of real ability and talent, whose untimely death cut short a musical artist. Abstract (& Historical Note) Natural language description of the map itself, providing a general summary of the map and noting significant features. This is the place to introduce keywords and proper names that might be of interest to researchers, but do not warrant a separate subject heading of their own. Inset maps should also be described here, with their full titles given. Whenever historical or explanatory information is available, it should be included here as well. This includes information about items or events that are larger than just the map itself; for example, information about cartographers, a description of the map's historical significance (for example, "This is the first printed map of Saratoga Springs"), notes on the laws leading to a map's creation, descriptions of changes in state or county lines, information about the organization that created the map, how often maps were updated, and information about the map's creation and publication. Many State Archives maps have historical information in the catalog record -- that should be captured in this field. This article contains many unproven, unsubstantiated assertions about Burleigh's time in Saratoga Springs starting in 1880 and his discovery by a New York City socialite. While the story may be true, the documentary record has not yet provided evidence to confirm it. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chronicles of Saratoga: Negro greats sang in city Date A point or period of time associated with an event in the lifecycle of the resource 24/04/1964 April 24, 1964 Is Part Of A related resource in which the described resource is physically or logically included. The Saratogian Creator An entity primarily responsible for making the resource Evelyn Barret Britten Britten, Evelyn Barret