Showing posts with label sound. Show all posts
Showing posts with label sound. Show all posts

Thursday, March 1, 2018

The NRR Project #48: William Jennings Bryan's 'Cross of Gold' speech


‘Cross of Gold’ speech
Speaker: William Jennings Bryan
Recorded: 1921
9:32

William Jennings Bryan was known as “The Great Commoner,” but it is more apt to think of him as America’s first great demagogue. He was the ultimate orator, with a booming voice, expressive body, and a mellifluous approach to speechwriting that swept listeners into a rapt state, and sometimes rapture itself. He could command a crowd, but not the electorate — he ran for president three times, and lost each time.

Fate deigned to make him an early success. At the politically young age of 36, he reached his zenith in the American consciousness on July 9, 1896 at the Democratic convention in Chicago — his celebrated “Cross of Gold” speech.

Robert Cherny’s essay on the speech is invaluable for making clear the then-burning issue of the “gold standard” versus the “free silver” factions in U.S. politics. In essence, big business and the moneyed interests, what Teddy Roosevelt was soon to term “the trusts,” preferred the low prices caused by accepting only gold as legal tender. Meanwhile, the farmers of the country, still a substantial majority, wanted the coinage of silver in order to ease the debts they could not pay due to lower prices for their goods.

“The Boy Orator of the Platte” was a champion of the people (something disputed by historians such as Irving Stone, who considered him a fatuous blowhard). Devoutly religious, he had a Messianic sense about him that was quite compelling. The Democratic Convention was made for his purposes.

The speech itself was a mishmash of invective, sentiment, and rhetoric, much of it audience-tested in prior speeches for maximum effect. “The humblest citizen in the land when clad in the armor of a righteous cause is stronger than all the whole hosts of error that they can bring. I come to speak to you in defense of a cause as holy as the cause of liberty — the cause of humanity.” He excoriated the “Atlantic coast” (aka big business) and apotheosized the common man —


“Ah. my friends, we say not one word against those who live upon the Atlantic Coast; but those hardy pioneers who braved all the dangers of the wilderness, who have made the desert to blossom as the rose—those pioneers away out there, rearing their children near to nature’s heart, where they can mingle their voices with the voices of the birds—out there where they have erected schoolhouses for the education of their children and churches where they praise their Creator, and the cemeteries where sleep the ashes of their dead—are as deserving of the consideration of this party as any people in this country.

“It is for these that we speak. We do not come as aggressors. Our war is not a war of conquest. We are fighting in the defense of our homes, our families, and posterity. We have petitioned, and our petitions have been scorned. We have entreated, and our entreaties have been disregarded. We have begged, and they have mocked when our calamity came.

“We beg no longer; we entreat no more; we petition no more. We defy them!”

He aligned himself with populism, that great uprising at the end of the 19th century that pitted the farmers and the labor movement against bank, railroads, monopolies, and the bigwigs of high finance. This progressive and socially responsible outline of action would be co-opted by the major parties and become a significant thread in American political thinking.

“There are two ideas of government. There are those who believe that if you just legislate to make the well-to-do prosperous, that their prosperity will leak through on those below. The Democratic idea has been that if you legislate to make the masses prosperous their prosperity will find its way up and through every class that rests upon it.

“You come to us and tell us that the great cities are in favor of the gold standard. I tell you that the great cities rest upon these broad and fertile prairies. Burn down your cities and leave our farms, and your cities will spring up again as if by magic. But destroy our farms and the grass will grow in the streets of every city in the country.”

Finally, Bryan wound up with a killer finish. Gesturing dramatically, he concluded with, “. . . you shall not press down upon the brow of labor this crown of thorns. You shall not crucify mankind upon a cross of gold.”

The convention went wild, applauding and parading Bryan on their shoulders for 25 minutes. “The Silver Knight of the West” won his party’s nomination, but lost to McKinley.


Bryan was a large political figure, but never an effective leader. He was a great candidate (he invented the election strategy of canvassing the country, speechmaking incessantly as he went to rally his supporters) but he was destined to be an ever-more-marginal player. Finally, he wound up as a kind of “fundamentalist pope” (according to H.L. Mencken) who fought the teaching of science in schools, most notably in connection with the Scopes trial of 1925.

Still, he articulated the feelings of a large mass of the American public. More than that, he worked a kind of rhetorical magic. In the days before media’s rise (in fact, this recording is a 1921 recreation by Bryan of his epic speech), the compelling individual had to prove their mettle live, in public, in front of hundreds or thousands. This kind of magnetism can only be hinted at in Bryan’s recorded commemoration.

The National Recording Registry Project tracks one writer’s expedition through all the recordings in the National Recording Registry in chronological order. Up next: Fanny Brice sings ‘My Man/Second Hand Rose.’


Thursday, August 3, 2017

The NRR Project #39: The Bubble Books (1917 – 1922)

The Bubble Book
Written by Ralph Mayhew and Burges Johnson; illustrated by Rhoda Chase
Singer: unknown; perhaps Henry Burr
14 iterations, 1917 -- 1922

Multimedia. It’s ubiquitous now, but this was one of the first attempts to combine sound and image – a quite successful attempt that helped entrain young imaginations. But was it progressive or pathetic? Allow me to go on a tangential ramble . . .

I will not insult your intelligence by doing other than pointing to Cary O’Dell’s comprehensive and eloquent essay on the subject, which you should now pause and read immediately here. (Even more great information here at Little Wonder Records & Bubble Books.)

For our purposes, they were carefully crafted, sturdy little artifacts, little books containing “three 5 ½-inch discs to accompany the three nursery rhymes printed in the books.” The authors were Ralph Mayhew and Burges Johnson; Rhoda Chase did the beautiful illustrations. It is thought that the popular Henry Burr recorded the songs.


They sold millions of copies. Kids loved them. Parents loved them. Remember, until electrical motors were introduced, all gramophones were spring-driven and required cranking. Gramophone needles were cheap; they came in boxes and their frequent replacement was encouraged. This is known in parenting circles as “giving the kids something to do.” It was a welcome distraction.

There’s no doubt it was an educational aid as well. The tradition of early attempts to plow through more and more complex words by “sounding it out” is made much easier when your infant eye can match the incomprehensible spelling of a familiar word. The tricks of phonetic language, the paths phrases follow, the cadences at the base of the language, and the vast eccentricities of English, were never more well-served.

Other people might argue that it was just another step into unreality, dwelling in the metaphoric media world instead of staying grounded in direct, literally unmediated everydayness.

I don’t know. I never ran across these, but of course my generation of children had picture books wed to two-sided, 45-rpm records that told the story and made a beeping sound when it was time to turn the page. Later, Disney and many other companies made long-playing records on the same principle, and so it unfolds as each new step in technology carries it forward in some iteration.

Which makes me think it’s ubiquitous and needed. We hunger for stories, no matter the form. I crammed myself into corners, bowed with books, reading my way out from under. We played and sang along to our childhood story-records; poignant, maybe, but not pathetic.

In contrast, certain child-friending devices come off today as rather frightening. Who remembers Teddy Ruxpin? A frightening doll that could talk and had limited eye motion, a resident of the Uncanny Valley. Powered by large batteries shoved up its backside. It “read” stories on interchangeable cassettes, and it remains something I still suspect Stephen King conjured up as a practical joke.



But I digress. Hypnotized now by our digital lives, it’s educational to peruse these quaintly analog ancestors. Part of the mission of the “Harper Columbia Book that Sings” was to create a new generation of customers. It worked.

The National Recording Registry Project tracks one writer’s expedition through all the recordings in the National Recording Registry in chronological order. Up next: ‘Listen to the Lambs.’


Friday, June 24, 2016

The NRR Project #14: Mapleson cylinder recordings of the Metropolitan Opera

Lionel Mapleson and his enormous recording horn, used to record Metropolitan Opera excerpts live from the catwalks above the stage.
Cylinder recordings of the Metropolitan Opera
Lionel Mapleson
1900-1903
135 cylinders
  
On March 21, 1900, Metropolitan Opera librarian Lionel Mapleson purchased a gramophone for his personal use. Being an intelligent and curious man, he soon started using it to record operatic performance. The result is the first “live from the Met” recordings, long before the live Saturday radio matinees from thence started in 1931.

Opera was seen as the most legitimate form of high culture at the time. This led to incredible snobbishness at the opera house, in contrast to the art form's former status as a populist entertainment over the course of the 19th century. The explosion of vernacular culture, and the technology to spread it, meant that the designation of value by a cultural elite was no longer needed, or heeded. Soon opera became a bugbear, something to be mocked by comedians. Opera in America wouldd not enjoy an upswing again until the 1980s.

Over three frenzied years, from 1901 through 1903, Mapleson experimented with recording techniques. Initial recordings were made from the prompter’s box downstage center, but Mapleson soon crafted an enormous recording horn to more efficiently gather the sound, and began recording from above, in the theater’s fly space.

The results range from pretty fair to nearly incomprehensible, and include performances from key opera singers such as Emma Calve, Nellie Melba, Jean and Edouard De Reszke, Fritzi Scheff, Pol Plancon, and Ernestine Schumann-Heink. These were names that inspired the same kind of fervent fan-worship today’s opera greats do, and the excerpts are invaluable in terms of getting a sense of the weight and timbre of these historic voices.




There recordings don’t shed much new light on the art form itself – opera has maintained a consistency of approach that makes many productions ever-current (or ever-outdated, if you prefer). But there’s something a little livelier about these cylinders – instead of the close-confined acoustics of the recording studio of the day, and the tinny accompaniment of a few instruments, the listener can hear and feel the broader resonance of the stage and the increased weight and texture of the orchestra’s contributions.

Plus, there is something about working live that adds a soupcon of vivacity to the enterprise. Recordings could be made over and over again until they were “right,” but these on-the-fly snatches have much more immediacy.

These recordings can be found her and there online, and there are some recordings which excerpt the collection. The definitive assembly of tracks, with copious notes, can be found at the Rodgers and Hammerstein Collection of Recorded Sound at the Lincoln Center Library – see the program notes here.

The National Recording Registry Project tracks one writer’s expedition through all the recordings in the National Recording Registry in chronological order. Up next: Scott Joplin’s ragtime piano rolls.


Friday, March 4, 2016

Joyful noise: The National Recording Registry Project

The National Recording Registry Project tracks one avid listener and writer’s expedition through all the recordings in the National Recording Registry in chronological order.

INTRODUCTION

What sounds do we want to remember?

For many years, the National Film Registry has drawn attention to its annually-expanding list of movies deemed culturally, historically, or aesthetically significant. A few years ago, in addition to all the other writing I’ve done, mostly about the arts, I began what I thought was a unique pursuit – to find, see, and review every film on the list in chronological order. As of 2015, 675 films are on that list.

Of course, in my research I found Daniel Eagan’s admirable and comprehensive 2009 book “America’s Film Legacy,” which is precisely that. His monumental effort notwithstanding, however, I decided to press on. Just cussed, I guess. I am still forging ahead – you can track my progress at Film Patrol, through my NFR Project. If nothing else, it’s providing me with quite an education and a lot of food for thought.

The National Film Registry began in 1989. Little-known, though, the National Recording Registry has been pursuing the same path since 2002. Each year, it selects 25 recordings for its list, with input from the public, just as the National Film Registry does. They “showcase the range and diversity of American recorded sound heritage in order to increase preservation awareness.”

What better way to do that than wade through them, in order, as with the National Film Registry? The recordings are well-documented by the Library of Congress, and each is given a brief but insightful description by a scholar – an excellently curated project.

So why continue? Just cussed, I guess. I think that this kind of journey through time will be another enlightening one. I haven’t looked through the list extensively. I don’t know what I’ll find, or what I’ll think of it. What will I hear? Why is it there? What does it mean?

More practically – where can we find these recordings, if at all? Why are they not compiled and collected in a public digital space so that everyone can learn about them, exchange ideas about them, and let them inspire new work?

The fact that the Film Registry gets all the press begs the question as to whether we are primarily a visual culture or not. Film has its own universal language of sign and gesture, but what about sound? Does it resonate with us as deeply as image?
  
Let’s listen and find out.


 Tune in Fridays at noon for new chapters. Up first: Haunting phonautograms from 1860.

NRR Project: Brother Bones plays 'Sweet Georgia Brown' (1949)

  NRR Project: “Sweet Georgia Brown” Music by Maceo Pinkard and Ben Bernie; lyrics by Kenneth Casey Performed by Brother Bones and His S...