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Slovak Folk Songs (1928/30)

- February 18, 2013 in Adele Keshelak, Audio, Audio: 1930s, Audio: Traditional, collections, folk, Michael Tokarick, Slovak, Slovakia

Adele Keshelak sings three pairs of traditional Rusyn folk songs from Slovakia, recorded in New York on January 30th 1930: Track 1 – “Rusadelina Fialocka” (“Forget me Not”) and “D’Irava Mi Stricha Na Stajni” (“My Pet Horse Was Stolen”); Track 2 – “Na Dolini, V Hustom L’ Is’ I Na Dubi” (“In The Valley, In The Forest”) and “D’Ivki, D’Ivki Hej D’Ivki Na Selo” (“Girls, Girls, to Maidenlane”); Track 3 – “Uz Singl’ujut Zakryvajut Kasarnu” (“They’re Fitting Out The Barracks”) and “Na Oktobra, Na Persoho” (“Joining The Army”). The accordion soloist is Pawel Ondricka. Michael Tokarick provides one of the introductory speaking voices on Track 3; below are two folk songs form his miner’s band. These two Slovak folk dances were recorded in Camden, New Jersey on May 11th 1928. “Minersville Polka” is named after Tokarick’s hometown in the coal mining region of Pennsylvania. “Zelenim Hajecku” (“In The Green Fields”) is a traditional folk tune. MP3 Download: Adele Keshelak / Michael Tokarick Internet Archive link: Adele Keshelak / Michael Tokarick DONATE NOW TO SAVE THE PUBLIC DOMAIN REVIEW! With our initial funding now come to an end, we need your support to help us continue our mission – to promote [...]

Bach’s organ works played by Albert Schweitzer (1935)

- September 21, 2012 in albert schweitzer, Audio, Audio: 1930s, Audio: Classical, bach, baroque, non-article, organ



Albert Schweitzer was a German (writing in French also) theologian, organist, philosopher, physician, and medical missionary. As well as his important theological work (he depicted Jesus as literally believing the end of the world was coming in his own lifetime), he developed various theories on music, in particular the work of J.S. Bach. He explained figures and motifs in Bach’s Chorale Preludes as painter-like tonal and rhythmic imagery illustrating themes from the words of the hymns on which they were based. They were works of devotional contemplation in which the musical design corresponded to literary ideas, conceived visually. Schweitzer’s interpretative approach greatly influenced the modern understanding of Bach’s music. His pamphlet “The Art of Organ Building and Organ Playing in Germany and France” (1906) effectively launched the 20th century Orgelbewegung, which turned away from romantic extremes and rediscovered baroque principles. In addition to his contribution to music theory, Schweiter also made many seminal recordings of Bach’s organ recitals. In mid-December 1935 he began to record for Columbia Records on the organ of All Hallows, Barking-by-the-Tower, in London – the recordings above. He developed a particular technique for recording the performances of Bach’s music known as “The Schweitzer Technique” which involved a new positioning of microphones. (Wikipedia)

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Note these recordings are in the public domain in the EU, but may not be in other jurisdictions (e.g. the US). Please check its status in your jurisdiction before re-using.










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Rae Bourbon

- April 23, 2012 in Audio, Audio: 1930s, Audio: 1940s, Audio: Pop, non-article, pansy craze, ray bourbon

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During the Pansy Craze of 1930-1933 (mainly in Manhattan), gay clubs and performers, known as “pansy performers”, experienced a huge surge in underground popularity. In 1932, Rae Bourbon was working full-time as a female impersonator at such clubs as Jimmy’s Back Yard in Hollywood and Tait’s in San Francisco. At the latter, in May 1933, police raided his “Boys Will Be Girls” review during a live radio broadcast. In the later 30s and early 40s he headlined at the Rendezvous in Los Angeles and starred in his own revue, “Don’t Call Me Madam.” Throughout the 50s and 60s Bourbon entertained at hundreds of clubs throughout the U.S. and released dozens of albums, certainly the most prolific female impersonator to have done the latter. His appearances are still fondly remembered by many who saw him when he toured in big and small towns all over the country, providing many isolated Gay men with a glimpse of the loose-knit urban Gay community of the pre-Stonewall era. His comedy was at once highbrow and lowbrow, overtly gay and covertly subversive. Despite his influence on gays, he remained vague about his own sexuality. There is evidence that he had relationships with both men and women, was married twice, and fathered at least one son. Bourbon excelled at generating numerous conflicting stories about himself. (From Wikipedia)

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