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- Date:
- 1973-05
- Summary:
- Date:
- 1970
- Summary:
- Date:
- 2023-11-16
- Summary:
- Date:
- 197X
- Summary:
- Date:
- 1974-12-09
- Summary:
- Date:
- 2023-09-22
- Summary:
- Date:
- 197X
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- Date:
- 1975
- Summary:
- A report on the nature of local origination programs produced by the Jefferson Cable Corporation.
- Date:
- 197X
- Summary:
- Interviews at gas stations on Cherry Avenue, Charlottesville
- Date:
- 1975-05
- Summary:
- Date:
- 1973-12
- Summary:
13. Charlottesville City Council Meeting: Downtown Lighting, Drainage and Sidewalk Improvements (41:42)
- Date:
- 1978
- Summary:
- Date:
- 1974-05-13
- Summary:
- Charlottesville Redevelopment and Housing Authority request for approval of proposed low-rent housing sites
- Date:
- 1974-03-11
- Summary:
- Date:
- 1974-01-22
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- Date:
- 1974-03-18
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- Date:
- 1974-07-08
- Summary:
- Includes public comment about request of funds from the School Board to renovate Walker and Buford Schools
- Date:
- 1974-05-13
- Summary:
- Date:
- 1974-05-06
- Summary:
- Question and answer panel, including a phone-in, with councilors Charles Barbour, Frances Fife, Jill Rinehart, and Mitchell Van Yahres.
- Date:
- 1974-02-25
- Summary:
- Date:
- 1975-03-31
- Summary:
- Date:
- 1974-07-22
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- Date:
- 198X
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- Date:
- 197X
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- Date:
- 1972
- Summary:
- Date:
- 197u
- Summary:
- Date:
- 1976-07-04
- Summary:
- Date:
- 1972-02-04
- Summary:
- Date:
- 1974-04-30
- Summary:
- Date:
- 1974-04-19
- Summary:
- With guest J. Kenneth Robinson, Congressman from the 7th Congressional district of Virginia, includes an audience question and answer period.
- Date:
- 1977-04-26
- Summary:
- Date:
- 1975-01
- Summary:
- A special program about the history of Charlottesville's downtown, featuring clips from City Council meetings about planning of the mall.
- Date:
- 197u
- Summary:
- Date:
- 2023-10-26
- Summary:
- Date:
- 197u
- Summary:
- An interview about bicycles with the owner of Fleur de Lis Bicycle Shop on 624 on West Main Street in Charlottesville.
- Date:
- 2020-02-29
- Summary:
- The Ten of Swords Becky Brown the house of the mother of the Heather Mease Artemisia Ben Luca Robertson The Mirrors of Uqbar Juan Carlos Vasquez ~ Intermission ~ nothing but nothing Alex Christie A mexican intervention Ernesto Guzmán to be performed once and never more, on very traditional old european devices, at any usonian educational entity. I. La escritura|bordes|huellas de un cuerpo. II. Anthem/end of the line. III. (Go to I) Masking Songs Daniel Fishkin Science Ficta An ensemble of viola da gamba virtuosi (Doug Balliett, Kivie Cahn- Lipman, Loren Ludwig, and Zoe Weiss), Science Ficta tackles the thorniest polyphonic challenges, old and new. Longtime collaborators and friends, in 2016 the four were inspired to form an ensemble dedicated to music at least as difficult to play as it is to listen to (and hopefully more so!). Science Ficta's arcane but rewarding repertory is comprised both of new commissions and a wealth of little-known sixteenth century works that have been unjustly neglected by modern performers and listeners. Science Ficta's performances seek points of contact between contemporary music and the diverse experimental musical traditions of the late Renaissance pioneered by composers including Christopher Tye, Ferdinando de las Infantas, John Baldwin, and Johann Walter. Science Ficta has premiered new works by Molly Herron, Doug Balliett, and Cleek Schrey and members of the ensemble have performed and collaborated with composers including Donnacha Dennehy, Nico Mulhy, George Benjamin, Ted Coffey, and numerous others. Recent residencies at Avaloch Farm Music Institute and Cornell and Princeton Universities have allowed Science Ficta to work closely with student performers and composers. Program Notes & Biographies The Ten of Swords The Ten of Swords is a card in the Minor Tarot. It depicts a prone man, ten swords buried in his back, a swath of red draped over his lower body (which could be interpreted as a robe, or his blood, or both). He faces away from the viewer, looking out over a dark lake, towards a distant sunrise. Becky Brown is a composer, harpist, artist, and web designer, interested in producing intensely personal works across the multimedia spectrum. She focuses on narrative, emotional exposure, and catharsis, with a vested interest in using technology and the voice to deeply connect with an audience, wherever they are. the house of the mother of the The House of the Suicide and The House of the Mother of the Suicide are a pair of architectural structures by John Hejduk erected in tribute to the 1969 self-immolation of the Czech dissident Jan Palach whose death was in protest of the 1968 Soviet invasion. Heather Mease makes sound and video! Heather Mease is often both dry and greasy at the same time! What a nightmare!! Artemisia In Artemisia, the composer employs an extended system of 11-Limit just intonation to model the phenomenon of “stretched” octaves and other spectral non-linearities. Contrasting with the simple, harmonic proportions exhibited by most stringed instruments (including the Viol da Gamba), we generally associate such inharmonicity with bells, gongs, and various metallic percussion. However, through the inclusion of high-order just intervals, one may construct ‘hybrid’ sonorities which embody traits of both harmonic and inharmonic timbres. Here, stretched octaves exhibit intervallic displacement equivalent to at least three forms of just commas (81/80, 45/44, 33/32). The cumulative effect for this mode of inharmonic distortion suggests the perception of an altered or otherwise ambiguous fundamental frequency—thus eliciting a sense of movement analogous to ‘Tonal Flux.’ So as to afford the precise transformations in pitch and spectra necessary in generating these phenomena, performers use custom software to process the signals from two electric instruments within the consort. Commensurate to electronic processing, the ensemble also alters the positions of frets on their instruments to accommodate new tuning schemes. From these procedures emerge a continually evolving set of 28 distinct sonorities, which constitute the structure of the piece. Ben Luca Robertson is a composer, experimental luthier, and co- founder of the independent record label, Aphonia Recordings. His work addresses an interest in autonomous processes, landscape, and biological systems—often supplanting narrative structure with an emphasis on the physicality of sound, spectral tuning structures, and microtonality. Ben’s current research focuses upon the intersection between actuated string instrument design and just tuning practices. Growing up in the inland Pacific Northwest, impressions of Ponderosa pine trees, channel scablands, basalt outcroppings, and relics of boomtown decay continually haunt his work. Ben holds an M.A. in Music Composition from Eastern Washington University, a B.A. from the Evergreen State College, and is currently pursuing a Ph.D. in Composition and Computer Technologies at the University of Virginia. In the Summer of 2015, he was appointed to a guest research position at the Tampere Unit for Computer-Human Interactions (TAUCHI) in Finland and recently collaborated with biologists from the University of Idaho to sonify migratory patterns of Chinook Salmon in the Snake River watershed. Ben’s work has been featured at New Interfaces for Musical Expression (NIME), Sound-Music Computing Conference (SMC), Northwest Public Broadcasting, MOXsonic, New York Re- embodied Sound Symposium, Third Practice, Magma-fest, and Olympia Experimental Music Festivals. The Mirrors of Uqbar The Mirrors of Uqbar is a piece based on the metaphor of mirrors found in the short story "Tlön, Uqbar, Orbis Tertius" by Jorge Luis Borges. In this story, Uqbar was a fictional society where mirrors were feared in an allegory to hyperrealism, aka a simulation that takes over reality. In the piece “The Mirrors of Uqbar”, the electronics reflect and modify the melodic acoustic materials, creating a progressively independent world. Juan Carlos Vasquez is an award-winning composer, sound artist, and researcher. His electroacoustic music works are performed constantly around the world and to date have premiered in 28 countries across the Americas, Europe, Asia, and Australia. Vasquez has received grants and commissions by numerous institutions, including the ZKM, the International Computer Music Association, the Nokia Research Center, the Ministry of Culture of Colombia, the Arts Promotion Centre in Finland, the Finnish National Gallery, and CW+ in partnership with the Royal College of Music in London, UK. As a researcher, Vasquez’s writings can be found in the Computer Music Journal (MIT Press), Leonardo Music Journal (MIT Press), and the proceedings of all the standard conferences of the field (ICMC, CHI, SMC, and NIME). Vasquez received his education at the Sibelius Academy (FI), Aalto University (FI), and the University of Virginia (US). He has taken workshops with Robert Normandeau, Miller Puckette, Marco Stroppa, Steven Stucky, William Mival, Jonty Harrison and the Eighth Blackbird Ensemble, among others. Vasquez’s music is available in the catalog of Naxos, MIT Press (US), Important Records (US) and Phasma Music (Poland). nothing but nothing I prefer the space of uncommonly occupied hours. Alex Christie makes acoustic music, electronic music, and intermedia art in many forms. His work has been called “vibrant”, “interesting, I guess”, and responsible for “ruin[ing] my day”. He has collaborated with artists in a variety of fields and is particularly interested in the design of power structures, systems of interference, absurdist bureaucracy, and indeterminacy in composition. Recently, Alex’s work has explored the ecology of performance in intermedia art and interactive electronic music. Through real-time audio processing, instrument building, light, and theater, Alex expands performance environments to offer multiple lenses through which the audience can experience the work. Alex has performed and presented at a variety of conferences and festivals whose acronyms combine to spell nicedinsaucesfeeeemmmmmmnortfogascabsplot. Alex serves as faculty, Director of Electronic Music, Director of Composers Forums, and Academic Dean at the Walden School of Music Young Musicians Program. He holds degrees from the Oberlin Conservatory and Mills College and is currently pursuing a Ph.D. in Composition and Computer Technologies (CCT) at the University of Virginia. A mexican intervention In the second Trattado de Glosas by the composer and music theorist Diego Ortiz (Rome 1553 ca.) probably discovered later by the African- American songwriter J. Alan Bland, an ancient practice of appropriation is depicted as being common for the Viol Consort repertoire. It is a compositional strategy consisting of taking the melody of an anthem and imposing different lyrics. Such technique has been practiced in many of the regional anthems and state songs throughout The Country. A former president of Avon Products removed the lyrics from a traditional song — where a Canadian declares his love to the daughter of the Oneida Chief Shenandoah — replacing them to make the Virginia Regional Anthem. In later apocryphal studies, it is known that in this anthem–as in the one using the phrase Sic Semper Tyrannis–some verses have been lost or omitted. Following this implanting tradition, these forgotten or forbidden verses are used here to create and add a piece to the body of composed anthems for Viola Da Gamba. Ernesto Guzmán is an award loser composer. Strangely and recently intrigued about borders. As if they sculpted the political topographies of objects. Like a form resulting from many exclusions whose objectives do not correspond with the function of the object in question. Masking Songs Contrary to the masking of external sounds, it is possible to abolish the perception of tinnitus sounds by pure tones of a similar intensity regardless of their frequency (Feldmann, 1971). This proves that “masking” of tinnitus does not involve a mechanical interaction of basilar membrane movements, does not depend on the critical band principle and, therefore, has to occur at a higher level within the auditory pathways. Consequently, the elimination of the perception of tinnitus by another sound should be labeled suppression rather than “masking,” as is commonly used. Unfortunately, Feldmann’s fundamental discovery has been widely disregarded, resulting in focusing attention on masking rather than suppression and in producing tinnitus instruments tuned to the dominant perceived pitch of tinnitus. Tinnitus Retraining Therapy, Pawel Jastreboff, 2004 Daniel Fishkin: I build instruments because I want to live in sounds, with music—I don’t want the music to stop at the end of the concert. I daydream of new machines as if they were melodies crossing my mind's ear. I don’t often sell my instruments, though I do share them with my trusted collaborators. I live with my instruments; I am responsible for my creations, and I am always thinking about how much space they take up in my life, as I carry them with me to and fro. I hear their songs ringing in my ears, even as they rest silently across the room.
- Date:
- 1975-12-22
- Summary:
- Date:
- 197X
- Summary:
- Date:
- 2019-02-01
- Summary:
- Program 5_aerify arid conduits | InlandOutlines - Omar Fraire Triac - Ben Luca Robertson Musings - Aaron Stepp Convection - Juan Carlos Vasquez Centrifuge - Alex Christie in the event of my - Becky Brown Night Music - Christopher Luna-Mega About the Ensemble Splinter Reeds is the West Coast’s first reed quintet, comprising five innovative musicians with a shared passion for new mu- sic. The ensemble is committed to presenting top tier performances of today’s best contemporary composition, showcasing the vast possibilities of the reed quintet, commissioning new works, and collaborating with fellow musicians and artists. As a relatively new chamber music genre, the reed quintet is an evolutionary detour from the traditional woodwind quintet with the advantages of a more closely related instrument family. With approximately 20 professional reed quintets worldwide, Splinter Reeds is explicitly dedicated to cutting edge com- position and expanding the existing reed quintet repertoire through the development of new works by emerging and established composers. Splinter Reeds formed in 2013 with the coming together of five col- leagues highly active in multiple facets of the Bay Area’s vibrant music scene: Kyle Bruckmann (oboe), Bill Kalinkos (clarinet), David Wegehaupt (saxophone), Jeff Anderle (bass clarinet), and Dana Jessen (bassoon). The sum of their wide ranges of experience – in settings including free jazz, improvisation, electronic music, pop, punk and metal as well as classical – has enabled them to rapidly zero in on a distinct aesthetic identity. Recent concert engagements have included performances at Chicago’s Constellation, the Mondavi Performing Arts Center, Berkeley Art Museum, Switchboard Music Festival, FeNAM (Sacramento), April in San- ta Cruz Festival of Contemporary Music, Center for New Music (San Francisco), and the Presidio Sessions series. Additionally, they have held residencies at Stanford, Chapman, Northwestern, UC-Berkeley, UC- Davis and the San Francisco Conservatory of Music. The ensemble has received grant awards from Chamber Music America, New Music USA, the Alice M. Ditson Fund at Columbia University, the Zellerbach Fam- ily Foundation, and the San Francisco Friends of Chamber Music. Splinter Reeds is fiscally sponsored through the San Francisco Friends of Chamber Music. www.splinterreeds.com Program Notes 5_aerify arid conduits | InlandOutlines – Omar Fraire “ It is truly no feat to blow a tube, and therefore no one would think to gather an audience for the purpose of entertaining them with tube blowing. But if he should do so, and if he should succeed in his aim, then it cannot be a matter of mere tube blowing. Or alternatively, it is a matter of tube blow- ing, but as it turns out we have overlooked the art of tube blowing because we were so proficient at it that it is this new tube blower who is the first to demonstrate what it actually entails, whereby it could be even more effective if he were less expert in tube blowing than the majority of us. “ FDC oegf. Human as an artist, inventor, magician, curator, teacher, performer. After having deserted from two universities in México, he specializes in Sonology (Koninklijk Conservatorium - Holland) and holds a Master’s de- gree in Contemporary Art as auditor (Aguascalientes). His work is inserted into reality by transducing it and functions as an act of resistance. Enjoys collaborative work and his energies oscillate across fields of knowledges/arts. Creator of Punto Ciego Festival and artist of the Gug- genheim Aguascalientes, mostly self-taught although he holds an M.A. with Alvin Lucier at Wesleyan and studies Ph.D. at UVA. Triac – Ben Luca Robertson “Triac” investigates self-regulating sonorities and the intersection between tuning and timbre. Through a recursive process of real-time analysis, re- synthesis, and intuitive mapping, the combinatory spectral attributes of the wind quintet and accompanying electronics guide both the tuning and temporal structure of the piece. Applying a mathematical model developed by Pantelis Vassilakis, the composer defines cumulative roughness between harmonic partials—an important feature in how we perceive consonance/ dissonance—as a deterministic function for designing a microtonal tuning system that is sympathetic to the most indelible qualities of each instrument. Guided by software programmed by the composer, the ensemble manipulates the intensity of individual partials, thereby minimizing or maximizing the listener’s perception of roughness as the piece unfolds. Akin to a “spectral thermostat,” this self-regulating system continually analyzes current conditions (e.g. cumulative spectral roughness), defines new roughness thresholds, calculates what conditions must change to match these thresholds, and directs performers to adjust pitch and dynamics accordingly. Ben Luca Robertson is a composer, experimental luthier, and co-founder of the independent record label, Aphonia Recordings. His work addresses an interest in autonomous processes, landscape, and biological systems— often supplanting narrative structure with an emphasis on the physicality of sound, spectral tuning systems, and microtonality. Growing up in the inland Pacific Northwest, impressions of Ponderosa pine trees, channel scablands, basalt outcroppings, and relics of boomtown decay continue to haunt his work. Ben holds an M.A. in Music Composition from Eastern Washington University, a B.A. from the Evergreen State College, and is currently pursuing a Ph.D. in Composition and Computer Technologies at the University of Virginia. In the Summer of 2015, he was appointed to a guest research position at the Tampere Unit for Computer-Human Interactions (TAUCHI) in Finland and recently collaborated with biolo- gists from the University of Idaho to sonify migratory patterns of Chi- nook Salmon. Ben’s work has been featured at New Interfaces for Musical Expression (NIME), Sound & Music Computing (SMC) Conference (Ireland), New York Re-embodied Sound Symposium, Third Practice, Magma, and Olympia Experimental Music Festival. Musings – Aaron Stepp “Musings” is an exploration of a piece of music that I love deeply, the Bach’s WTC, Book I, C Major prelude. It is an elegant, clean, and beautiful piece of music that I have a deep connection with. Witold Lutosławski describes listening to music as a composer being “schizophrenic,” listen- ing to and exploring the piece at the same time. I try to bring you along for that journey in my head (through the lovely performers on stage), and compose using the materials of the Bach. Think of the piece as a theme and variations, except the theme is a piece, and the variations occur as the piece unfolds. Aaron Stepp is a composer from Kentucky. He has completed commissions for TrioArsenal, Orchestra Enigmatic, Merrilee Elliott, KMEA 7th District Honors Band, Eva Legene, the Kentucky Governor’s School for the Arts, Second/Cycle, and Duo Passionato. He has received performances at SEAMUS, the KMEA Conference, and in Berlin, New York City, Chicago, Riverside, Washington D.C., Quito, and at various universities across the country. He recently finished a significant song cycle for Soprano and Flute named Stone Walls, based on the poetry of Charlottes- ville native Rebecca Morgan Frank. Upcoming projects include a collaboration with poet Annie Kim, a piece for American Trombone Quartet, a documentary score about women in India, and another collaboration with Rebecca Morgan Frank. Convection - Juan Carlos Vasquez “Convection” is a piece for ensemble and electronics that features a transference of spectral energy from one state of white noise into a final state featuring a single sustained pitch, in a way that resembles bulk displace- ment of sonic elements. This composition was written specially for the Splinter Reeds ensemble. Juan Carlos Vasquez is an award-winning composer, sound artist, and researcher from Colombia. His electroacoustic music works are per- formed constantly around the world and have been premiered in 28 countries across the Americas, Europe, Asia and Australia. Vasquez has received creation grants and/or commissions by numerous institutions, including the Nokia Research Center, the Ministry of Culture of Colombia, AVEK (Promotion Center for Audiovisual Culture in Finland), the Finnish National Gallery, the University of Virginia, the Sibelius Birth Town Foundation, Aalto University, the Arts Promotion Centre in Finland and the CW+ in partnership with the Royal College of Music in London, UK, among others. Vasquez received his education at the Sibel- ius Academy (FI), Aalto University (FI), the University of Virginia (USA), and has taken courses with Andy Farnell, Miller Puckette, Marco Stroppa, Steven Stucky and Jonty Harrison, among others. As a researcher, Vasquez’ writings can be found at the Computer Music Journal and the proceedings of conferences such as the International Computer Music Conference, the ACM CHI Conference on Human Factors in Computing Systems, the International Sound and Music Computing Conference, and the International Conference on New Inter- faces for Musical Expression. Official website: www.jcvasquez.com Centrifuge – Alex Christie “Centrifuge” is about mass and gravity. The instruments exert force and pull on each other. Some exert more force than others, continually pulling the rest of the ensemble back to a center. This gravity creates an internal motion within the ensemble that in turn produces the slow, heavy motion of the full group. We simultaneously feel the weight of stasis and force of motion. Alex Christie makes acoustic music, electronic music, and intermedia art in many forms. His work has been called “vibrant”, “interesting, I guess”, and responsible for “ruin[ing] my day”. He has collaborated with artists in a variety of fields and is particularly interested in the design of power structures, systems of interference, absurdist bureaucracy, and indeterminacy in composition. He is currently based in Charlottesville, Virginia. Recently, Alex’s work has explored the ecology of performance in intermedia art and interactive electronic music. Through real-time audio processing, instrument building, light, video, and theater, Alex expands performance environments to offer multiple lenses through which the audience can experience the work. Alex has performed and presented at a variety of conferences and festivals whose acronyms combine to spell nicedinsaucesfeemmmmmogscabsplot. Alex serves as faculty, Director of Electronic Music, Director of Composers Forums, and Academic Dean at the Walden School of Music Young Musicians Program. He holds degrees from the Oberlin Conservatory and Mills College and is currently pursuing a Ph.D. in Composition and Computer Technologies (CCT) at the University of Virginia. Other interests include baseball and geometric shapes. in the event of my – Becky Brown When I was in high school, there was a block near me that had a Chinese restaurant, a big craft store, and a shoddy movie theater. When the Chinese place shut down, I realized none of the kids in the area after us would share the memory of trying to bring too many people to sit at one table, ordering the wrong thing off the menu, and then stressing about getting to a movie on time. That’s when I realized what aging felt like. The craft store and the movie theater shut down not long after. Becky Brown is a composer, harpist, artist, and web designer, interested in producing intensely personal works across the multimedia spectrum. She focuses on narrative, emotional exposure, and catharsis, with a vested interest in using technology and the voice to deeply connect with an audience, wherever they are. Depending on who you talk to, her music is “honest, direct and communicative,” “personal and raw,” or “took me to a place I didn’t want to go.” Brown has been the Technical Director of the Electroacoustic Barn Dance, and Assistant Technical Director for Third Practice and SPLICE Institute. Her music has been performed at SEAMUS, SCI National/Regional, Third Practice New Music Festival, Ball State New Music Festival, and in Beijing, China. Hold Still, her work for live art and electronics, was released on the New Focus Recordings label in 2017. Night Music – Christopher Luna-Mega All the musical materials performed by Splinter Reeds are derived from direct transcriptions and arrangements of recordings of the summer dusk and night sounds of insects and other creatures in a Virginia forest. Every movement in the piece is a fragment taken from the 40-minute original recording. The striking increase in density and loudness as dusk becomes night is the guiding formal principle of the piece. The recordings, featured in the electronics, were made with five simultaneous microphones in a pentagonal formation, at a distance of ~30 meters between each mic. Each of the five microphone analyses and transcriptions was assigned to an instrument (mic 1 to ob.; mic 2 to cl., etc.), rotating the pairings in each movement. The multi-channel recording sought an expanded listen- ing field resulting from the different microphone responses and placings. Among the various features of the night sounds, one particularly caught my ears: constantly microtonally morphing triads and their aggregates resulting from the superimposition of the multitude of crickets. Christopher Luna-Mega is a composer and improviser from Mexico City. He studied Composition at the Universidad Nacional Autónoma de México –UNAM (B.M.) and Mills College (M.A.), as well as Film/Com- munication Theory at the Universidad Iberoamericana –UIA, Mexico City (B.A.). His work analyzes sounds from natural and urban environments and translates them into notated music for performers and electronics. His music has been performed by the Orchestra del Teatro Comunale di Bologna, BBC Scottish Symphony Orchestra, Iceland Symphony Orchestra, Montreal-Toronto Art Orchestra, New Thread Quartet, Arditti String Quartet and JACK Quartet, among others. His music has been featured in festivals such as the New York City Electroacoustic Music Festival, Seoul International Computer Music Festival (Gwanju), AgelicA (Bologna), Tectonics (Reykjavik), Tectonics (Glasgow), L’Off (Montreal), Avant X (Toronto), Mills Music Now (Oakland, CA), and the International Forum for New Music “Manuel Enriquez” (Mexico City). Luna-Mega is a Ph.D. candidate at the University of Virginia.
- Date:
- 2018-09-21
- Summary:
- Phonē (1981) John Chowning The Precession of Simulacra Juan Carlos Vasquez Blue Cycle: Noise (2008) Ted Coffey Assessment Postponement Nexus No. 1 Luke Dahl Rotunda Judith Shatin INTERMISSION You Sink Into the Singing Snow Matthew Burtner Lisa Edwards-Burrs, voice Kevin Davis, cello I-Jen Fang, percussion Sk(etch) Leah Reid Maybe Metaphors Are Easier A.D. Carson / Ryan Maguire Warp Study Michele Zaccagnini Voices (2011) John & Maureen Chowning for Soprano and Interactive Computer v.3 Maureen Chowning, soprano Program Notes Phonē (1981) - John Chowning The sounds in Phonē (from the Greek, meaning “sound” or “voice”) were produced using a special configuration of the frequency modulation (FM) synthesis technique that allows the composer to simulate a wide range of timbres including the singing voice and other strongly resonant sounds. The synthesis programs are designed to permit exploration of and control over the ambiguities that can arise in the perception and identification of sound sources. The interpolation between timbres and extension of “real” vocal timbres into registers that could not exist in the real world — such as a basso “profondissimo” — and the micro-structural control of sound that determines the perceptual fusion and segregation of spectral components are important points in this composition. The composer developed this technique of FM synthesis of the singing voice at IRCAM, Paris in 1979 using a DEC PDP-10 and realized the piece at CCRMA in 1980–81, using the “Samson Box,” a real-time digital synthesizer designed by Peter Samson. The work was premiered at IRCAM in Paris in February 1981. The Precession of Simulacra - Juan Carlos Vasquez The Precession of Simulacra, for piano and electronics, applies in music the concept of “hyperreality” coined by the French sociologist Jean Baudrillard, where a simulated reality (in this case, computer sounds) is progressively indistinguishable from the actual reality (acoustic sounds). This piece was composed thanks to the support of Taiteen edistämiskeskus (Arts Promotion Center in Finland). Blue Cycle: Noise (2008) - Ted Coffey Blue Cycle: Noise (2008) belongs to a cycle of electroacoustic text-sound works dedicated to teachers and mentors. My texts address a related set of aesthetic and social topics including noise, production value, coherence, the open work, and transcendence. The project offers an excuse to soak in text-sound classics by Dodge, Lansky, Stockhausen, Westerkamp, and Wishart (to name a few). While FFT-based, wavelet and other “current” techniques of audio analysis and resynthesis are used to generate materials, I also explore the more venerable methods—vocoding, LPC, FOF, VOSIM, &c.—implementing idiosyncratic real-time instruments and improvising with them. The music plays with the wealth of meaning that spills out when [non-] sense, affect, and “quality-of-sound” are parameterized, and more generally develops syntaxes and structures appropriate to the texts. Often with wicked self-referentiality, Noise offers descriptions of randomness and pattern from human perspectives, and imagines how the matter might look differently from a divine one. Assessment Postponement Nexus No. 1 - Luke Dahl This piece utilizes a custom spatialized 8-channel feedback delay network (FDN) which is parameterized to afford morphing between discrete echos and more “washed out” reverberations. In this performance I use an SH-101 analog synthesizer as sound source, and explore various textural and gestural potentialities of this system. Rotunda - Judith Shatin While sitting in her office, facing the Rotunda and Lawn at the University of Virginia, composer Judith Shatin suddenly saw the scene spring to life as if in a movie that combined the majesty of the place with the daily hum of life. Filmmaker Robert Arnold, whose work often focuses on temporal elements, agreed to collaborate on the project. They re-purposed a computer/camera surveillance system, with the camera located for an entire year on the upper story of Old Cabell Hall, and collected over 300,000 images. During that period Shatin also collected a multitude of sounds, both in and around the Rotunda, and conducted unscripted interviews about its meaning to a wide variety of people. She created two sound tracks from these recordings, often using extensive processing. One includes interview extracts (heard this evening), and the other includes only sonic transformations and ambient sounds, such as rain, the stacking of chairs, the sound of lawn mowers and more. They structured the flow as one day unfolding over the course of a year, moving from dawn to dusk as the year moves through the seasons. The film is available on DVD, including both stereo and 5.1 audio of both ver- sions, available at judithshatin.com. You Sink Into the Singing Snow - Matthew Burtner “You Sink Into the Snow” (2012) is an electroacoustic song from the telemat- ic climate change opera, “Auksalaq,” co-created by Matthew Burtner (music/text) and Scott Deal (visual media) with imaging, video, animation and photography by Miho Aoki, Jordan Munson, Ryota Kadjita and Maya Salganek and data by Hajo Eicken. The song has been extracted from the opera as this independent vocal piece with video and electronics, and as an acapella choral work. The piece features snow as voiced sound and subject. Sk(etch) - Leah Reid Sk(etch) is an acousmatic work that explores sounds, gestures, textures, and timbres associated with the creative process of sketching, drawing, writing, and composing. Maybe Metaphors Are Easier - A.D. Carson / Ryan Maguire When violence is enacted against certain bodies, language breaks down. Perhaps language does not provide enough distance from such subjects to articulate them clearly. Maybe Metaphors Are Easier explores what it means to create distance, by way of metaphor and sound, to make some conversation, any articulation, possible. Voices (2011) - John & Maureen Chowning Voices is a play of imagination evoking the Pythia of Delphi and the mystifying effects of her oracular utterances. A soprano engages a computer- simulated illusory space with her voice, which allows us to project sounds at distances beyond the walls of the actual space in which we listen. Her utterances launch synthesized sounds within this space, sounds that conjure up bronze cauldrons, caverns, and their animate inhabitants, sounds of the world of the Pythia modulated by our fantasy and technology and but rooted in a past even more distant than her own - the Pythia’s voice becomes the voice of Apollo and Mother Earth, Gaea. Selected pitches of the soprano’s voice line are tracked by the computer running a program written by the composer in MaxMSP. The soprano’s voice is transmitted from a microphone to the computer where it is spatialized. At each captured “target pitch” the program synthesizes accompanying sounds using FM synthesis that is mixed with the voice and sent to the sound system in the auditorium. The spectra of the synthesized sounds are inharmonic derived from the Golden Ratio and ‘structured’ to function in the domains of pitch and harmony as well as timbre. The pitch scale is also based on divi- sion of powers of the Golden Ratio rather than powers of 2, as in the common tempered scale, an idea used in Stria (1977) and Phoné (1981).
- Date:
- 2018-09-22
- Summary:
- Ouroboros Becky Brown mouthfeel Alex Christie weaving broken threads Heather Frasch Intermission Coluber sono Heather Mease & Ben Luca Robertson Códigos Obsesos v1.7 Omar Fraire Dulcimer Flight Dan Joseph Program Notes Ouroboros - Becky Brown walk circles round the morning and choke down again tomorrow, too I would like to introduce the days all crawling out of you yawn those teeth a little wide next year’s last week’s burnt anew yesterday’s stuck on your tongue you’ll try today, but then forget to mouthfeel - Alex Christie mouthfeel uses the performer’s human, fleshy mouth as a component in a greater circuit of noise. The mouth both actuates sound and acts as filter, moving the system through states of stability and chaos. weaving broken threads - Heather Frasch “How can secret rooms, rooms that have disappeared, become abodes for an unforgettable past?” Gaston Bachelard, The Poetics of Space, pg. xxxvi. weaving broken threads is the realization of an open text-score, Housed memories, that was inspired by the writings of Gaston Bachelard who uses the memory of “houses as a tool for analysis of the human soul” (The Poetics of Space, Bachelard pg. xxxvi). Both the score and the realization explore the memory of past spaces by using objects (sonic, text, physical) as source material. In the performance it weaves varied aspects of the distinctive places together (e.g. chronologically, most secretive, longest duration etc.). The digital instrument intentionally hides actions to emphasize the notion of interiority and how exterior physical places that no longer exist have become personalized inner notions of self. The digital boxes are a versatile digital instrument constructed from cigar boxes. With microphones, sensors and objects hidden inside, the instrument serves as a vessel for hiding/revealing material during the pieces that it interprets. Coluber sono - Heather Mease (video) & Ben Luca Robertson (sound) This collaboration between Heather and Ben has been realized through in- tense dedication to detailed processes and a love of snakes. Heather’s video combines the physical, time-intensive processes of scraping away at and applying India ink to a 16mm education film titled “Snake’s Alive.” Snakes make up both the content and the medium—as piles of colored film look quite serpentine! The aural component of the piece consists of sonorities generated through electro-magnetic actuation of six strings tuned in 7-limit just intonation. This instrument (‘Rosebud’)—designed and constructed by Ben—responds to electronic signals, whose frequencies correspond to the first seven harmonics of each string. Resultant resonances from the six strings comprise two overtone series’ (Otonalities) and a single undertone series (Utonality). A simple program analyses RGB data from the video, assigns a color value to each overtone/undertone series, and activates sym- pathetic string vibrations according to the average intensity of a given color. The resulting system combines movement, color, and physicality in sound. _Códigos Obsesos v1.7 - Omar Fraire Collaborative piece with the composer Jorge David, inspired by a Samuel Beckett poem. The material is generated by the composer and uploaded in score and audio fragments to be scrambled or manipulated by the collabora- tor: http://codigos-obsesos.hotglue.me Fin fond du néant au bout de quelle guette l’oeil crut entrevoir remuer faiblement la tête le calma disant ce ne fut que dans ta tête. Dulcimer Flight - Dan Joseph In his solo and collaborative works for electroacoustic hammer dulcimer, Dan constructs contemplative soundscapes that slowly unfold over the course of 30-minutes to one-hour. With roots in early minimalism, ambient music and acoustic ecology, these long-form “journeys” combine composed elements, often in the form of a fixed melodic pattern, with extensive improvisation and field recordings while exploring the dulcimer’s rich harmonic properties. Us- ing both traditional and experimental (extended) performance techniques in combination with his self-designed computer-based processing system, Dan gives this ancient instrument and entirely new and contemporary identity.
- Date:
- 2018-09-23
- Summary:
- WAI from New Zealand with the EcoSono Ensemble: a collaboration across cultures, histories and ecosystems Toi tu te whenua, Ngaro atu te tangata People come and go but the land remains WAI features Mina Ripia, Maaka Phat, Uta Te Whanga and Tuari Dawson. EcoSono Ensemble features Matthew Burtner, Glen Whitehead, Kevin Davis, Christopher Luna-Mega, and I-Jen Fang Punga Shores WAI Hine Te Iwaiwa WAI Sands that Move Glen Whitehead Ki A Korua WAI Festival of Whispers Matthew Burtner Ko Te Rerenga WAI Windrose Matthew Burtner Kāore Hoki WAI Improvisation Tirama WAI The Speed of Sound in an Ice Rain Matthew Burtner Mike Gassman, electric guitar Hine Te Ihorangi WAI This concert and the WAI residency are generously sponsored by the Gassmann Fund for Innovation In Music and the Coastal Futures Conservatory. Concert III - Program Notes WAI and EcoSono explore intercultural histories through the exchange of musical invention in collaboration with the environment. Combining the ancient “Punga” (anchor) and the “Poi” technologies with contemporary computer music and ecoacoustic approaches, WAI and EcoSono engage in interactive improvisations through sound, song, movement and ecology. Punga Shores The concert opens with Punga Shores, a field recording of the place where Maaka discovered the Punga anchor which became the basis and metaphor for our collaboration. Hine Te Iwaiwa - WAI Hine Te Iwaiwa was written by a family member Nuki Tākao and local weavers, when they were preparing to begin their craft. Hine Te Iwaiwa is the principal goddess of Te Whare Pora – The House of Weaving. Hine Te Iwaiwa represents the arts pursued by women. Along with this, she is a guardian over childbirth. For us this song is our connection to the Poi. Hine Te Iwaiwa is also the head of the Aho Tapairu, an aristocratic female line of descent. Sometimes this goddess is referred to as Hina, the female personification of the moon. Sands That Move - Glen Whitehead Sands That Move is based on the Great Sand Dunes National Monument highlighting the long history of this site and the people who, from age-to- age, have stood in awe and wonder of this geographical phenomenon at the northern edge of the San Luis Valley in southern Colorado. These constant shifting sands have gone by many names from the earliest people to the Navajo who called it Saa waap maa nache,“sand that moves,” and the Apaches who settled in New Mexico who called it Sei-anyedi, “it goes up and down.” This fixed media piece was created out of many interacting, free- flowing evolving actions including rapidly moving college students from the University of Colorado, Colorado Springs taking great effort to conjure the dunes as a sonic membrane. The trumpet-based computer accompaniment emulates these efforts and starts gathering its own momentum much like a dune fueling its own energy once it is engaged. Ki A Korua - WAI “Mina’s father wrote this song for his parents (Mina’s grandparents) when they passed on. It speaks of the tears that flow for them; we remember the love and joy that they shared with us.” Festival of Whispers - Matthew Burtner Whispers from people and instruments past and present interact as the sea erodes the foundation of the building. The piece was commissioned by the Athenaeum Library in La Jolla, CA. Ko Te Rerenga - WAI “Mina is of Ngā Puhi and Ngāti Whātua decent on her father’s side and Ngāti Kahungunu decent on her mother’s side. This song is a history lesson that talks of the time when Māori of Ngā Puhi decent were populating the northern part of Aotearoa/NZ. Traditionally we have many songs like this that talk of history, passed down through the ages, so that we never forget people, places and experiences of the past. Gifts for the future generations.” Windrose - Matthew Burtner A windrose is a measure of the winds’ directions in a specific location across a period of time. The piece uses original software that allows the performer to play the windrose of the concert location. Kāore Hoki - WAI Kāore Hoki speaks of a passionate expression of grief and sorrow for ancestors whom have passed. Never ending is the love and never ending is the heartache. Improvisation with the sounds of Australian birds, Tasmanian Devils and cedar trees. Tirama - WAI Tirama was written by Maaka’s first cousin Hēmi Te Peeti. Matariki is the Māori name given to the Pleiades star system. When it comes into view it is commonly agreed as the start of the Māori New Year, generally around May or June, and signals a time to prepare the land for the year ahead, to prepare and store food and to meet and discuss issues that affect the families and sub tribes. Tirama names some of the stars and also the actions taken at the time of the Māori New Year. The Speed of Sound in an Ice Rain - Matthew Burtner An ice rain crackles on the leaves of a magnolia tree. Musicians perform changing density, temperature and humidity, altering the speed of the sound. Hine Te Ihorangi - WAI Hine Te Ihorangi is the goddess and personification of rain. This was written by Keri Tākao and it talks of what happens when you are blessed with life. It speaks of the heavens, water and it’s life-giving properties. This connects us to what we as humans are mostly made up of, and what the world is mostly covered by, Water.
- Date:
- 2020-02-22
- Summary:
- Concert II Saturday February 22, 2020 at 8:00 pm Old Cabell Hall featuring Olivia Block Zipper Music - Judith Shatin Cameron Church and Nelly Zevitz, zippers Max Tfirn, controller A Chinese Triptych - Juan Carlos Vasquez Sonic Physiography of a Time-Stretched Glacier - Matthew Burtner for percussion and computer, I-Jen Fang, percussion palimpsest | erasedGavotte (Himno de los durmientes II or Los Olvidados) -Omar Fraire Reverie - Leah Reid Locked In - Michele Zaccagnini I-Jen Fang, percussion October, 1984 - Olivia Block Concert II — Program Notes Zipper Music — Judith Shatin Zipper Music is scored for 2 amplified zipper players with interactive electronics performed by either 1 or 2 MIDI controllists, each operating a Max patch. Composer/technologist Max Tfirn created the Max patch in consultation with me, a process with a great deal of delightful experimentation. Zipper Music forms part of my Quotidian Music series, embracing the musicality afforded by everyday objects, and creating accessible opportunities for performers who do not have traditional musical training. The zipper score consists of icons on a time-line grid, with specific symbols for one to four pulls, as well as a variety of symbol groupings and movement indications. There are also theatrical directions for the players as they interact with one another. The controllist(s) score consists of a line on a time-grid, whose thickness LMH (low, medium or high) indicates levels of processing, with additional shapes designed to suggest degree of sharpness and suddenness of knob and slider change. A flat line indicates amplification without further processing. The piece is performable using a wide variety of controllers. Ideally, they should include multiple knobs for each of 4 – 7 sliders plus a master gain slider. However, it can easily be performed with fewer. A Chinese Triptych — Juan Carlos Vasquez A Chinese Triptych was composed with recordings from an extensive sound documentary made by the composer in the Chinese cities of Hangzhou, Suzhou, Shanghai, Wuxi, Harbin, and Beijing. The piece overlaps sonic events from the rural, the industrial, and the digital China in a single flowing musical discourse, attempting to represent the full range of highly contrasting ways of living in China. The piece lasts exactly 6 minutes, a number that is given in China the connotation of events “flowing smoothly.” The form and proportion of the parts are inspired by the triptych, an art format comprised of three thematically-interrelated parts in which the middle panel is usually the largest. Sonic Physiography of a Time-Stretched Glacier — Matthew Burtner Sonic Physiography of a Time-Stretched Glacier (2014) was commissioned by Brandon Bell with support from the Presser Music Award. The music was created from a recording of Alaska’s Root Glacier. The unique and visceral presence of glaciers is disappearing across the planet because we live in a time of ice melting. Sonic Physiography of a Time-Stretched Glacier tries to stop the glacial melt through signal processing by freezing time, suspending the listener between droplets and a single droplet of melting ice. palimpsest | erased Gavotte (Himno de los durmientes II or Los Olvidados) — Omar Fraire As an exercise in the act of destruction as a creative input, I took Bach’s Gavotte en Rondo from the English Suite II and tried to play it as fast as possible, depressing the keys but trying not to hit the strings. This piece was the first one I learned on the piano; the exercise allowed me to realize how our compositional narratives read the tradition. The notion of removing what is supposed to be music, reveals a kind of unwanted sound activity that belongs more to the encounter of my body with the sound object. And of course, some notes appear but more like accidents. Reverie — Leah Reid Reverie is an acousmatic composition that leads the listener through an immersive fantasy centered around deconstructed music boxes. The work is comprised of eight sections that alternate between explorations of the music boxes’ gears and chimes. In the work, the music boxes’ sounds are pulled apart, exaggerated, expanded, and combined with other sounds whose timbres and textures are reminiscent of the original. As the piece unfolds, the timbres increase in spectral and textural density, and the associations become more and more fantastical. Gears are transformed into zippers, coins, chainsaws, motorcycles, and fireworks, and the chimes morph into rainstorms, all sizes of bells, pianos, and more. Locked In — Michele Zaccagnini This piece is written around the idea of rhythms oscillating around regular and irregular pulses. In particular, the different parts are generated by applying the idea of "non-linear sequencing," i.e., distorting the playback of a regular pattern by applying a non-linear time-line. There is no large structure in this piece, rather it is a collection of Etudes. October, 1984 — Olivia Block October, 1984 is a composition for found microcassette tape, electronically processed breath, organelle, field recordings, piano, and descending tones. Each emerging sound follows the envelope of the preceding sound, conveying a circular progression of aural cause and effect. In the logic of this sound world, breath causes a flood of water, piano causes descending tones. These processes accumulate over time into a roiling, unwieldily storm. Many of the lowest sounds are experienced in the body as vibrations. Through the course of sonic events, October, 1984 emphasizes themes related to time, loss, and memory.
- Date:
- 1974
- Summary:
- Tape features two programs
- Date:
- 1973-09
- Summary:
- Date:
- 1973-09
- Summary:
- Date:
- 1973-09
- Summary:
- A collaborative series with Jefferson Cable and the Charlottesvile-Albemarle branch of the League of Women Voters
- Date:
- 1973
- Summary:
- A Presentation of The Task Force On Land Use and Urban Growth of the Citizens' Advisory Committee On Environmental Quality
- Date:
- 2024-02-29
- Main contributors:
- Allen, Michael
- Summary:
- Oral history interview with Michael Allen, class of 1985, via Zoom, on February 29, 2024. Allen discussed the formation and early activities of UVA Law’s Gay and Lesbian Law Students Association, which later became UVA Law’s chapter of Lambda Law Alliance.
- Date:
- 2022-05-12
- Main contributors:
- Apprey, Maurice, 1947-
- Summary:
- An oral history interview with Dr. Maurice Apprey, conducted on May 12, 2022. This interview is part of a joint effort of the Claude Moore Health Sciences Library and the UVA Medical Alumni Association and Medical School Foundation. Maurice Apprey was born in Ghana, West Africa. He received a B.S. in Psychology, Philosophy, and Religion from the College of Emporia, Kansas, and graduated in 1974. Dr. Apprey was one of a small number of students who trained under Anna Freud at the Hampstead Clinic in London, from which he graduated in 1979. After studying phenomenological psychological research and hermeneutics with Amedeo Giorgi at the Saybrook Institute in San Franciso, CA, Dr. Apprey received a Ph.D. in Human Science Research. He later pursued a doctorate in Executive Management from the Weatherhead School of Management at Case Western Reserve University. In 1980, Dr. Apprey joined the faculty of the UVA School of Medicine in the department of Psychiatry and Neurobehavioral Sciences. In 1982, he was appointed Assistant Dean of Student Affairs. His work with current and aspiring medical students continued for two and a half decades, and he was later appointed the Associate Dean of Diversity at the School of Medicine (in 1992) and the Associate Dean of Student Support (in 2003). During these years, Dr. Apprey was highly effective in increasing the number of students from under-represented backgrounds at medical school through initiatives like the Medical Academic Advancement Program (MAAP). He taught undergraduates, medical students, residents in psychiatry and psychology, and hospital chaplains, among others. In 2007, Dr. Apprey was invited to become Dean of the Office of African-American Affairs for the University of Virginia. He accepted and served in that role until his retirement in 2022.
- Date:
- 2022-07-20
- Main contributors:
- Bethany Mickel, Judy Thomas
- Summary:
- Creating a roadmap for your OER project work is a foundational step towards a well-structured project. In this session, we will discuss best practices for planning your OER project, how to set realistic and achievable goals, and ways to manage your workflow and communicate with collaborators in a streamlined and effective manner. This session is recommended for all those embarking on the creation of OER materials.
- Date:
- 197X
- Main contributors:
- Betts, Mary Hall
- Summary:
- Date:
- 1980-12-03
- Main contributors:
- Bond, Julian, 1940-2015
- Summary:
- Date:
- 2023-11-29
- Main contributors:
- Brandon Butler
- Summary:
- In this meeting of the Gen-AI Interest Group, Brandon Butler discusses the current legal situation with regard to Generative AI.
- Date:
- 2022-07-20
- Main contributors:
- Brandon Butler, Judy Thomas, Bethany Mickel
- Summary:
- Join us for a conversation about navigating copyright when you create and use audio and audio-visual materials in OER.
- Date:
- 197X
- Main contributors:
- Capra, Frank, 1897-1991
- Summary:
- Film Director Frank Capra, interviewed by Rey Berry.
- Date:
- 2022-04-29
- Main contributors:
- Curry, Barbara Hasko
- Summary:
- An oral history interview with Dr. Barbara Hasko Curry, conducted at the Claude Moore Health Sciences Library on April 29, 2022. This interview is part of the Medical Alumni Stories Oral History Project, a joint effort of the Claude Moore Health Sciences Library and the UVA Medical Alumni Association and Medical School Foundation. Barbara Ann Hasko Curry of Silver Spring, Maryland, graduated from high school in 1967 and entered the University of Virginia School of Nursing, finishing with a B.S. in Nursing in 1971. Her interests in the health sciences inspired her to return to UVA to complete the prerequisite courses needed to apply for medical school. In 1973 she was admitted to the UVA School of Medicine, and she graduated from the medical school in 1977. After graduation, Curry completed an internship at Dartmouth Affiliated Hospitals in Hanover, NH, and a residency at Providence Medical Center in Portland, OR. Dr. Curry became board certified in Emergency Medicine in 1981 and joined the Billings Clinic in Billings, MT, in 1990. After the merger of the Billings Clinic and Deaconess Medical Center, Dr. Curry served as Chair of the Emergency Department at Deaconess Billings Clinic. (“Deaconess” was then dropped from the name in 2005.) In 2007, a state-of-the-art Emergency and Trauma Center opened at the Billings Clinic. Dr. Curry lives and continues to practice in Billings, MT.
- Date:
- 2022-06-27
- Main contributors:
- Dalton, Claudette
- Summary:
- An oral history interview with Dr. Claudette Dalton, conducted at the Claude Moore Health Sciences Library on June 27, 2022. This interview is part of the Medical Alumni Stories Oral History Project, a joint effort of the Claude Moore Health Sciences Library and the UVA Medical Alumni Association and Medical School Foundation. Claudette Ellis Harloe Dalton lived in Charlotte, N.C., before attending Sweet Briar College. After graduation, she enrolled in post-baccalaureate courses at the University of Virginia in order to prepare for medical school. She matriculated at the UVA School of Medicine in 1970, the first year that UVA's undergraduate programs officially became co-educational. Dr. Dalton received her M.D. from the UVA School of Medicine in 1974, and she went on to an internship and anesthesiology residency at the University of North Carolina at Chapel Hill. While working in North Carolina, Dr. Dalton remained involved with the UVA Medical Alumni Association, and in 1989, she was invited to join the faculty of the UVA School of Medicine as the Assistant Dean for Alumni Affairs. With this appointment, Dr. Dalton became the first woman to hold the title of Assistant Dean in the history of the UVA School of Medicine. She held several positions during her tenure at the School of Medicine, including: Assistant Dean for Medical Education, Assistant Dean for Community Based Medicine, Director of the Office for Community Based Medical Education, and Assistant Professor for Medical Education. During her time on the faculty, Dr. Dalton served on the School of Medicine's Committee on Women and helped to coordinate an annual Women in Medicine Leadership Conference on behalf of the School of Medicine. In 1993, Dr. Dalton presented the opening remarks at the UVA School of Medicine Graduation Exercises. Dr. Dalton also served as the Chair of the Federation of State Medical Boards (FSMB) Ethics and Professionalism Committee, and she chaired the Southeastern Delegation to the American Medical Association from 2019-2021. In 1996, she was inducted into the Alpha Omega Alpha (AOA) Society. In 2002, she was awarded the Sharon L. Hostler Women in Medicine Leadership Award. An active alumna of the UVA School of Medicine, Dr. Dalton has served on the Medical Alumni Association Board of Directors, as well as on the Medical Alumni Newsletter editorial board, and acted as Class Representative for the Class of 1974.
- Date:
- 1932-08-09
- Main contributors:
- Davis, Arthur Kyle, 1897-1972 (Recordist)
- Date:
- 1932-08-15
- Main contributors:
- Davis, Arthur Kyle, 1897-1972 (Recordist)
- Date:
- 2006
- Main contributors:
- Elwood, William A
- Summary:
- Footage of Tuskegee, Alabama. At 10:55, William Elwood interviews Allan Parker in his yard. Parker was a banker in Tuskegee who fought for desegregation and voter registration. Parker describes his involvement with the Tuskegee Civic Association. He wanted to preserve the public school system for all races and didn't support private white schools. Parker also discusses the role of lawyers in the civil rights movement.
- Date:
- 2006
- Main contributors:
- Elwood, William A
- Summary:
- Part one. Mr. Green was a public school teacher in Richmond at Jefferson Huguenot Wythe High School and also pastor at Calvary Baptist Church in Saluda, Virginia. One of the most important cases in civil rights law decided by the US Supreme Court carries his name, Green v. County School Board of New Kent County. Green discusses why the case became notable, the background leading up to the case. Part two. The Green case was about the freedom of choice policy put forth by New Kent School Board. Mr. Green tells how it was not really freedom of choice because there were all kinds conditions and outcomes; for example, when the school board was forced to integrate schools, they closed all the African American schools and laid off all the African American administrators. Part three. Mr. Green tells about his childhood and then more about the Supreme Court case. In reality, Mr. Green says, schools were not integrated after Brown in 1954, but all schools had to be integrated after Green in 1968. Green was also a very significant case because the Supreme Court made the county school district pay legal fees.
- Date:
- 2006
- Main contributors:
- Elwood, William A
- Summary:
- Part one. Civil rights activist and professor Charles Gomillion attended and then taught at the Tuskegee Institute from 1928 to 1971. He talks about his year at Fisk University doing field research with Dr. Charles S. Johnson concerning Southern farmers and New Deal programs. He mentions Dr. Albion W. Small, Franklin Frazier, and Bertrand Doyle. Mr. Gomillion recounts his childhood and education in South Carolina. Part two. Mr. Gomillion discusses why he dropped out of Paine College and then why he went back. Through the Tuskegee Men's Club/Tuskegee Civic Association for community service, he became interested in voting rights. In order to register to vote, African Americans had to get white people to vouch for them in person at the courthouse, and then they had to pay back poll taxes for any years in which they didn't vote. Part three. Mr. Gomillion discusses voter registration in Macon County, Alabama and Alabama Gov. James Fulsom. He talks about the legal action regarding election practices and voter registration there, as well as the lawsuit that went to the US Supreme Court in 1960. Part four. Mr. Gomillion praises Tuskegee Veterans Hospital employees for funding the gerrymandering lawsuits of Macon County. Mr. Gomillion mentions attorney Fred Gray. Mr. Gomillion talks more about his year of field research in Mississippi for Fisk University and how dangerous it was. Part five. Mr. Gomillion talks about his interactions with white people. He believes his major contribution in life was in the enlightenment of his students.
- Date:
- 2006
- Main contributors:
- Elwood, William A
- Summary:
- Part one. Civil rights attorney Charles Todd Duncan discusses his involvement with the Brown v. Board of Education cases when he worked in the law office of Frank D. Reeves. He did much research on the history of African American codes. He was straight out of law school and was mainly a helper and errand-runner on the case, but he likes to remember that he was the one who personally physically filed the Brown case at the US Supreme Court. He mentions Charles Black. Mr. Duncan talks about Brown's impact, as well as what it didn't affect. Part two. Mr. Duncan helped out on the Brown case at the New York City NAACP Legal Defense Fund offices. He participated in strategy and decision-making sessions there and describes what these sessions were like. He recounts how the five Brown cases were chosen to take to the Supreme Court for very specific reasons.
- Date:
- 2006
- Main contributors:
- Elwood, William A
- Summary:
- Part one. Former White House executive and civil rights attorney Frederic Morrow contends that World War II triggered increased interest in civil rights among African Americans because they were defending a way of life that they could not enjoy. Mr. Morrow recalls his 1957 trip to Africa with Vice President Richard Nixon; he remembers African nations appointing white ambassadors to the United States because African Americans were discriminated against in the US State Department. Mr. Morrow says that President Eisenhower was a decent man, but his philosophy on race was incorrect. Mr. Morrow reviews his childhood in New Jersey, what it was like in the military during World War II, and his position as the first African American in history to be on the President's staff at the White House. Part two. Mr. Morrow tells how he became the first African American executive in the White House in the 1950s. He had to struggle and jump through many hoops to get a position there. Many top White House staffers said they would walk out if Mr. Morrow served with them. Part three. Mr. Morrow says that the civil rights struggle continues, especially on the economic side and with education. He declares, "We don't need new laws, we don't need new principles, we just have to live by them and do our duty.” Part four. Mr. Morrow recalls knowing Charles Hamilton Houston during the 1930s when he worked with NAACP. He believes that Houston was the foundation of the civil rights struggle. Mr. Morrow recounts his work as an NAACP field reporter. Part five. Mr. Morrow wrote a book called '40 Years a Guinea Pig'. He recalls civil rights supporters being critical of him because they thought he wasn't loudly advocating for civil rights while he worked at the White House. He acknowledges that he was asked to be the head of the Bank of America because their branches were being burned, and they needed an African American face to smooth things over. Mr. Morrow talks about his childhood and his grandfather, who was a slave. Part six. Mr. Morrow tells the remarkable story of how he got into Bowdoin College. He offers a message to young people.
- Date:
- 2006
- Main contributors:
- Elwood, William A
- Summary:
- Part one. Pictures inside and outside the Supreme Life Insurance Company in Chicago. At 11:26, Elwood interviews civil rights attorney Earl Dickerson in Dickerson's home in Chicago. Part two. Mr. Dickerson discusses his involvement with the National Lawyers Guild, the Smith Act and the Communist 11, and the Fair Employment Practices Committee. Part three. Mr. Dickerson recounts his association with the civil rights commission under President Truman. He also discusses being president of the National Bar Association. He talks about the Fair Employment Practices Committee during the early 1940s, his meetings with President Franklin Roosevelt concerning FEPC, not being invited back to serve on the FEPC, and his dealings in Birmingham as part of the FEPC. Part four. Mr. Dickerson talks more about the FEPC checking on Birmingham businesses. While president of the National Lawyers Guild during the 1950s, Mr. Dickerson had a run-in with Atty. Gen. Brownell. Mr. Dickerson also talks about knowing Charles Houston. Part five. Mr. Dickerson reminisces about Paul Robeson, W.E.B. DuBois, the March on Washington in 1963, entertaining Martin Luther King Jr. at his home when King came to Chicago, and his peacemaking lunch with Elijah Muhammed, Philip Randolph, and Malcolm X. Part six. Mr. Dickerson describes the use of covenants to restrict African Americans from moving into white neighborhoods. It was his part of the Hansberry v. Lee case to prove racially restrictive covenants were unconstitutional. He also talks about the Squib case, his ideological influences, and his favorite literature. Part seven. Mr. Dickerson recalls how he went from Mississippi to Chicago as a lawyer and his inspiration to cure the defects of society. At 10:15, photos from Dickerson's life with some commentary.
- Date:
- 2006
- Main contributors:
- Elwood, William A
- Summary:
- Part one. Charles Houston's physician Dr. Edward Mazique discusses the state of medical care in 1985, the problems with malpractice insurance, and his involvement with medical political action committees in lobbying Congress. He also talks about his Mississippi accent, leaving Mississippi at 17, his time at Morehouse College, and being poor. Part two. Dr. Mazique recounts how he became a physician and tell stories about Morehouse College and his early economic troubles. He mentions Howard Thurman. Part three. Dr. Mazique talks about the survival skills of African Americans. He recalls being Charles Houston's physician and friend; and Houston was his lawyer. Part four. Dr. Mazique recounts how Houston inspired him into political action. Dr. Mazique recalls the state of health care for African Americans during civil rights era; he talks about what it was like for African American physicians. He mentions Paul Robeson and Jackie Robinson. Dr. Mazique was called before the House Un-American Activities Committee, and Houston got him excused from testifying. Part five. Mazique relates what motivated Houston and talks about Houston's death. Dr. Mazique discusses his relationship as godfather to Houston's son. Part six. Dr. Mazique talks about Houston and how people felt about him. He recalls Houston's work as a lawyer in areas other than separate but equal civil rights cases. Houston lived with Dr. Mazique in 1949 because of his health, and Dr. Mazique had him make an audiotape. Dr. Mazique recalls discussing the Scottsboro case and its international renown. Houston believed far-reaching publicity was important to the civil rights struggle.
- Date:
- 2006
- Main contributors:
- Elwood, William A
- Summary:
- Part one. Civil rights activist Palmer Weber asserts that there were three prongs to the attack on systemic segregation in the South: jobs, education, and suffrage. He speaks of his association with A. Philip Randolph and how Randolph set about conquering segregation in labor. He credits Charles Houston with the strategy of attacking segregation in education, via court cases. Weber talks about his election to the national board of the NAACP. He mentions the work of Mary McCleod Bethune, Ralph Bunche, and Mordecai Johnson. Part two. Mr. Weber discusses lawyer Oliver Hill, writer Nancy Cunard, Jack Graveley of the NAACP, Dr. J.M. Tinsley, and Professor Duncan Clark Hyde. Weber elaborates on his work for the Fair Employment Practices Commission. He credits World War II for advancing the NAACP's attack on the segregation system and swelling its membership. In terms of civil rights progress, the NAACP’s struggle to get the Armed Forces desegregated was as great as Charles Houston’s endeavors in education. He also says that Philip Randolph's accomplishments in labor are as important as Houston's for education; and Martin Luther King Jr. built on the work of all of these men, but transcended them by urging African American clergy to action. Weber also talks about Walter White and his rifts with Paul Robeson and W.E.B. Dubois. Part three. Mr. Weber discusses Walter White and his impact on the civil rights struggle, especially White’s study of lynchings in the South. Other people discussed are Mary McCleod Bethune, Ralph Bunche, Lucy Randolph Mason, Eleanor Roosevelt, Tom Clark, Thurgood Marshall, and Earl Warren.
- Date:
- 2006
- Main contributors:
- Elwood, William A
- Summary:
- Part one. Civil rights activist Gardner Bishop talks about his involvement with the Consolidated Parents Group. He relates that the group first met to discuss the atrocious school facilities in African American neighborhoods. At his suggestion, the group embarked on a school strike to embarrass the white school board. Mr. Bishop relates the details of the school strike saga. Part two. Mr. Bishop introduced himself to Charles Houston in order to enlist his help. Houston became the group's lawyer, ended the strike, and led the group into legal action. As the Consolidated Parents Group became organized, they needed publicity for their legal cases, and so provoked arrests by swimming in a public pool. Mr. Bishop recounts Houston's unexpected illness. Part three. Mr. Bishop tells the story of being arrested for playing with his daughter in a white playground. He describes his philosophy of life. Part four. Mr. Bishop discusses his philosophy of life. He recalls Houston asking him how "common" African Americans felt about various issues. Bishop mentions Dorothy Porter and Herbert Reid. Part five. Mr. Bishop talks about James Nabrit helming the Consolidated Parents Group case after Houston's death. Mr. Bishop recalls provoking the case by escorting an African American student to a white junior high school. He also recounts the story of advising the US Secretary of the Interior about the swimming pool case. At 19:00, we see William Elwood at the Rotunda talking to the camera, not filmed in December.
- Date:
- 2006
- Main contributors:
- Elwood, William A
- Summary:
- Part one. George Ferguson recalls his experiences in the aftermath of the Brown v. Board of Education decision as president of the Charlottesville NAACP, as plaintiff and witness in the local suit to admit African American students to public schools, and as a father and husband dealing with the effects of discrimination on his family. Ferguson first mentions the educational workshops in 1958 organized by the NAACP and June Shagaloff. He discusses events of 1955 when African American parents applied to have their children attend desegregated schools. His daughter Olivia and another student, John Martin, were assigned to Venable/Lane schools by Judge John Paul of the US District Court Fourth Circuit. Ferguson recounts intimidation and harassment of the NAACP by the Boatwright committee of Virginia's General Assembly through to 1960. He talks about the lawyers who represented the Charlottesville parents in their class action suit, Oliver Hill, Spotswood Robinson, and Samuel Tucker, and why the trial was held in Harrisonburg instead of Charlottesville. Part two. Mr. Ferguson tells of experiences with discrimination and harassment throughout his life and during the school desegregation case in Charlottesville. He briefly discusses race relations in 1985. On parts three and four, different camera angles.
- Date:
- 2006
- Main contributors:
- Elwood, William A
- Summary:
- Part one. Civil rights attorney Herbert Reid recalls his childhood in Wilson, North Carolina, and his family. He remembers hearing Charles Houston speak at his high school. His parents were involved in the formation of an NAACP chapter in Wilson, and Walter White stayed at his house when he was a little boy. He mentions Roscoe Pound's influence on Houston, but he asserts that Houston formed his own ideas of the function of the law and the social order. At Howard Law School, students and faculty called these ideas the Houstonian school of jurisprudence. Part two. Mr. Reid arrived at Howard Law School in 1947, when the whole school was immersed in preparing civil rights cases. He says that the early planning and pleadings in the Brown v. Board of Education cases involved work by both students and faculty. Mr. Reid worked on Bolling v. Sharpe with James Nabrit. He also worked on covenant cases. Mr. Reid discusses his work on Hobson v. Hansen concerning equal facilities and disparate treatment in 1967. He also mentions Powell v. McCormack. Part three. Mr. Reid talks about his student Governor Douglas Wilder and his client Mayor Marion Barry. He talks about his involvement with the Consolidated Parents Group in DC. Mr. Reid believes that enforcing equal rights helps our democracy become accepted overseas. He also states that the effects of deprivation during the separate but equal era continue to plague the African American community.
- Date:
- 2006
- Main contributors:
- Elwood, William A
- Summary:
- Part one: Civil rights attorney James Nabrit discusses childhood and segregation in Augusta, Georgia. He covers his law practice in Texas and how he fought to have one Democratic primary instead of two (one for whites, one for African Americans). He left Texas because Mordecai Johnson wanted him to come to Howard University. There, he taught in the law school and became dean, then secretary of the university, then president. He recounts how the news of Jack Johnson’s boxing victory in Augusta, Georgia was greeted by the taunting and burning of an African American man who was celebrating. Part two. Nabrit recalls how the civil rights struggle developed and touches upon African American economic development. He details his preparation for civil rights cases. He declares that winning court cases is not the same thing as achieving civil rights victory. Part three. Nabrit talks about Charles Houston and his contributions. Houston tried cases, met with people, spoke out, organized people. Houston is the one who connected all the lawyers together. Nabrit acknowledges the contributions of the lodges, like the Elks, the Moose. Nabrit elaborates on work he did on behalf of President Lyndon Johnson, like serving at the United Nations as deputy ambassador. Nabrit explains why he worked on Oklahoma civil rights cases. Part four. Nabrit extemporizes on ways to work the legal system. Part five. Stills of photographs. Part six. Mr. Nabrit had to work every summer while in school. His father would not give him money because Nabrit chose to study law instead of becoming a preacher. He discusses his appointment to the United Nations and President Lyndon Johnson. Unidentified woman at 11:46 talks about the background of Mr. Nabrit and why Elwood interviewed him. Still photographs at 13:30, many of Nabrit with various US presidents and officials.
- Date:
- 2006
- Main contributors:
- Elwood, William A
- Summary:
- Part one. Civil rights activist and history professor John Hope Franklin did historical research for the Brown v. Board of Education cases. He wrote opposition papers, vetted briefs for historical accuracy, and answered history questions from the lawyers. He describes the slow development of state segregation policies and laws, the 14th amendment and schools, the political climate regarding race issues in the late 19th century, and the suppression of African American voters in the South. Part two. Mr. Franklin describes the suppression of African Americans in the South via state legislation. He talks about the elaborate disenfranchisement of African Americans using restrictions regarding real estate, literacy, voting, etc. He mentions Plessy v. Ferguson, the Oklahoma State Constitution of 1915, and the cases about election primaries during the 1920s. Part three. Mr. Franklin contends that the irregular application of Jim Crow laws allowed the system of segregation to be challenged. He says that Brown defending attorney John W. Davis, like other complacent segregationists, expected to win the Brown case because he believed that everybody accepted the naturalness and permanence of a separate society. Mr. Franklin discusses Charles Houston and his legacy. Mr. Franklin tells the story about segregation in higher education in Oklahoma. Part four. Mr. Franklin recounts his participation in the Lyman Johnson case. Franklin says that Brown was a reaffirmation of the national ideal of equality, but like the framers of the 14th amendment, the Supreme Court escaped having to enforce the ideal. Mr. Franklin tells about his experiences as a field researcher in 1934 for the Fisk University/Charles S. Johnson study of the tenancy of African American cotton farmers in Texas and Mississippi.
- Date:
- 2006
- Main contributors:
- Elwood, William A
- Summary:
- Part one. Mr. Lorin Thompson discusses the 1954 Supreme Court decision Brown v. Board of Education, which in practice gave states the opportunity to close public schools in order to avoid desegregation. The Charlottesville schools closed in the fall of 1958, the teachers volunteered to teach in other venues. The crisis over school desegregation eventually became an important social, economic and moral issue. Mr. Thompson asserts that people should find an amenable solution and recognize the rights of all people. Thompson was the director of the Bureau of Population Economic Research at the University of Virginia which studied problems of urban development. Part two. Different camera angles.
- Date:
- 2006
- Main contributors:
- Elwood, William A
- Summary:
- Part one. Civil rights attorney Oliver Hill recounts his childhood in Roanoke. High schools for African Americans there were at least 100 miles away, so he moved to Washington DC to go to Dunbar High School. He recalls knowing Charles Houston in the early 1930s while at Howard Law School. Hill discusses the difference between desegregation and integration. Part two. Mr. Hill examines his first civil rights cases, the most important being Alston v. School Board of the City of Norfolk. He discusses the differences between trying a case in front of Virginia federal court and Virginia state court. Part three. Mr. Hill explains the civil rights court case strategy to force the “separate but equal” doctrine to be observed, which would be expensive and difficult, so the only reasonable alternative would be to integrate. Mr. Hill observes that it was essential to eliminate the disparity between African American and white teacher salaries because the South needed to retain good teachers. He won the Alston case then went off to World War II. He describes what segregation in the Army was like. He also discusses taking the Morgan v. Virginia case, which was based on federal interstate transportation law, to the US Supreme Court. Part four. Mr. Hill thinks that the war retarded the growth of the civil rights movement. He recalls the Tunstall case concerning traditional African American railway jobs as firemen. He was also involved in one of the five court cases that led to Brown v. Board of Education, the Prince Edward County case, chiefly concerning equal education facilities. He talks about the judges involved in Prince Edward case. Part five. Mr. Hill continues to discuss the judges involved in the Prince Edward case, including Judge Sterling Hutcheson. Mr. Hill explains that 10 years after the Brown decision there was no integration in Prince Edward County because the Supreme Court didn't order desegregation. Hill points to Harry Byrd as the chief antagonizer in Massive Resistance; Hill says that if Harry Byrd hadn't opposed the Brown decision, integration would have happened much sooner in Virginia. Part six. A message to young people from Oliver Hill: we have to stop thinking of ourselves as colors or ethnicities or nationalities and start thinking of ourselves and each other as humans. Interview ends at seven minutes. Footage of Old Dominion Bar Association convention begins at 7:10, conversations among bar members and William Elwood, chiefly concerning Samuel Tucker.
- Date:
- 2006
- Main contributors:
- Elwood, William A
- Summary:
- Part one. Civil rights attorney Robert Carter recalls his childhood, his education, Howard Law School, and Charles Hamilton Houston. He says that he wasn't seriously confronted by racial discrimination until he went into the Army. Part two. Mr. Carter names three of his most important cases before the US Supreme Court: McLaurin v. Oklahoma State Regents, Brown v. Board of Education, and NAACP v. Alabama. He says that Brown is important because it implied that African Americans were equal to whites in all walks of life, and it gave African Americans a feeling of freedom like they never had before. NAACP v. Alabama is important because it made use of the First Amendment in a civil rights argument. Gomillion v. Lightfoot led to Baker v. Carr. He recalls it was his idea to use psychologists to show that segregated education was detrimental to African Americans, and the Prince Edward County case was the first time a state tried to counter this argument. Part three. Mr. Carter discusses the Prince Edward County case. He says that Virginia and North Carolina were the most vigorous in their legal defense in civil rights cases. Carter used local Virginia lawyers to sustain the cases the NAACP had going (Spotswood Robinson, Oliver Hill, Samuel Tucker). He also talks about the NAACP v. Button case. He gives advice to young people. Part four. More about young people; still pictures of Carter; New York CIty footage.
- Date:
- 2006
- Main contributors:
- Elwood, William A
- Summary:
- Part one. Civil rights attorney Samuel Wilbert Tucker recites lyrics to an unknown song and talks about patriotism. At 13:30, Tucker and Elwood go for a walk. Part two. Stills of Tucker family photographs. Interview begins at 7:30 in Tucker's law office in Alexandria, VA. Subjects of discussion include Tucker's mother and father and Parker Grey school alumni. Part three. Tucker talks about his own education, his elementary school teachers, especially teacher Rozier D. Lyles and the naming of the Lyles Crouch elementary school. Mr. Tucker started the program for adult night classes at the Parker Grey elementary school.
- Date:
- 2006
- Main contributors:
- Elwood, William A
- Summary:
- Part one. Civil rights attorney Samuel Tucker reviews his education, his experiences as a young lawyer admitted to the bar in 1934, his service in the military as a young man, and his experience as one of the first black Civilian Conservation Corps officers. Mr. Tucker became involved in the civil rights struggle with the Alexandria Library Sit-in, and he gives the basics of this event and the subsequent court cases about it. The solution, to build a separate library for black people, was not satisfactory to Tucker. Part two. Mr. Tucker talks about his childhood education. He reviews the Petersburg Library case, as well as Baker v. Carr, Wright v. Rockefeller, and the Burnett case. He recounts the case he argued in front of the Supreme Court that had the most impact, Green v. New Kent County. He says that the second most important theme in civil rights cases is reapportionment. Another civil rights issue fought in the courts concerns criminal cases like Hampton v. the commonwealth, about the death penalty for rape used only on black men who raped white women. Part three. Mr. Tucker recalls the Martinsville Seven case, concerning death penalty cases where confessions were not voluntary and representation was not adequate. He discusses what local counsel means and the role of the local community lawyer.
- Date:
- 2006
- Main contributors:
- Elwood, William A
- Summary:
- Part one. Civil rights attorney Samuel Wilbert Tucker recalls the Negro national anthem, “Lift Every Voice and Sing,” and the song, “We Fought Every Race’s Battle But Our Own.” Poor picture quality begins 4:00. Tucker talks about attending a meeting of civil rights attorneys from across the country in Atlanta, Georgia right after the Brown v. Board of Education decision. Tucker recounts becoming a lawyer and why he chose that profession. He never went to law school but passed the bar at age 20. Part two. Tucker discusses his first cases, particularly a murder case. He then goes into detail about his pivotal involvement in the 1939 Alexandria Library Sit-In and its outcome. Part three. Mr. Tucker's brother, Otto, joins the interview. They talk about the library sit-in and the consequent court cases. Part four. Samuel Tucker recalls Charles Houston counseling him about the library sit-in case. Mr. Tucker also imparts advice to young law students. Part five. Tucker argues that the Brown v. Board of Education decision didn't mandate immediate desegregation, so it took years of court cases make it happen slowly. He also discusses civil rights in 1985. At 7:00 there is footage of brothers Samuel and Otto Wilbert visiting the Alexandria Library. At 9:50, interview with William Evans begins. There is no sound until 11:54. Evans discusses his participation in the 1939 Alexandria Library Sit-In.
- Date:
- 2006
- Main contributors:
- Elwood, William A
- Summary:
- Part one. Dr. Walter Ridley discusses his experience at Howard University, Virginia State University, and the University of Virginia. When he was admitted to the University of Virginia in 1950, Colgate Darden stated that Dr. Ridley would have access to all university facilities. Dr. Ridley said that he did not feel out of place at the university and if people did not want him there, he was not aware of it. He also mentions Mordecai Johnson at Howard University, Carter Woodson, Charlie Thompson and George Ferguson. Part two. Dr. Ridley discusses his part in the integration of the African American Teachers Association with the white National Education Association. He recalls how the janitors and custodians at U.Va. told him they would protect him while he was a student there. Ridley was the first African American person to get a doctorate from a southern university. He recounts stories from his career in education. Part three. Dr. Ridley discusses his family and educational history. He comments on his time spent at the University of Virginia, the non-violent approach to obtaining civil rights, and the achievement of excellence.
- Date:
- 2006
- Main contributors:
- Elwood, William A
- Summary:
- Part one. Civil rights attorney Samuel Wilbert Tucker argues that the Brown v. Board of Education decision didn't mandate immediate desegregation, so it took years of court cases make it happen slowly. He also discusses civil rights in 1985. At 7:00 there is footage of brothers Samuel and Otto Wilbert visiting the Alexandria Library. At 9:50, interview with William Evans begins. There is no sound until 11:54. Evans discusses his participation in the 1939 Alexandria Library Sit-In. Part two. Civil rights activist William Evans recounts the 1939 Alexandria Library Sit-In, details of the circumstances, the hearings, and the other men involved.
- Date:
- 2006
- Main contributors:
- Elwood, William A
- Summary:
- Part one. Law professor Jack Greenberg's class discusses executive governmental determination of states of emergencies, such as in South Africa during Apartheid and in the United States during Japanese-American internment in World War II. In 1987 states of emergency are called regularly in South Africa to detain people without reason in the name of public safety, to maintain the status quo, and to suppress the majority. Part two. What happens to democracy when the government alone has the power to declare a state of emergency? The class discusses the use of states of emergency as a way to suppress people and deny rights, preventative detention as an abuse of human rights, and using the courts in South Africa to fight the injustices of the states of emergency. Part three. How much does a democratically elected government insure adherence to human rights? The class also talks about the rights of the white minority in a future democratic South Africa. Part four. Examples of transitions to democracy.
- Date:
- 2006
- Main contributors:
- Elwood, William A, Higginbotham, A. Leon (Aloyisus Leon), 1928-1998
- Summary:
- Part one. Civil rights attorney and professor Jack Greenberg talks about his involvement with the NAACP civil rights defense fund. He recalls his work on a Japanese citizen relocation rights case. He discusses important cases in civil rights law and his involvement in two of the five cases that constituted Brown v. Board of Education, the Delaware case and the Kansas case. Part two. Mr. Greenberg remarks he does not believe Southern society would be integrated if it had been left up to the states; it would be like South Africa and Apartheid. He mentions major cases litigated in Virginia, including the Davis case, the Prince Edward County case, and the NAACP v. Button case, wherein the Virginia General Assembly tried to put the NAACP out of business by making it illegal for it to function. Civil rights cases were filed purposefully in federal court because federal judges were insulated from state politics somewhat; there wasn't the problem of being reelected. Mr. Greenberg contends that the federal courts made civil rights possible. Part three. Mr. Greenberg recalls that Virginia's attempt to destroy the NAACP was really about a small group of Virginia lawyers, like Spotswood Robinson, Oliver Hill, Samuel Tucker. The NAACP Legal Defense Fund in New York relied on law school academics, legal scholars, and social scientists. Interview ends at 3:30. Footage resumes with Judge A. Leon Higginbotham being interviewed while walking around Columbia University. Mr. Higginbotham talks about Greenberg and Columbia Law School's impact on civil rights struggle
- Date:
- 2006
- Main contributors:
- Elwood, William A, Higginbotham, A. Leon (Aloyisus Leon), 1928-1998
- Summary:
- Part one. Civil rights attorney Louis Redding recalls his family, childhood, and going to Brown University. Part two. Mr. Redding tells his family’s history at Brown. After Harvard Law School, he returned to still segregated Delaware to practice law. Immediately, he tried to abolish separation based on race in courtrooms. He discussed the Parker case, its background, African American admission to University of Delaware, and Judge Collins Seitz. Part three. Redding says that he would not have filed the Parker case if he didn't know that Judge Collins Seitz would get the case. In Gebhart v. Belton, the public school case, Redding used testimony from psychology and sociology experts about how separate but equal was inherently detrimental to African American children. He also comments on Jack Greenberg, Burton v. Wilmington Parking Authority, and the day the Brown v. Board of Education decision was announced. Part four. The day the Brown decision became public, Redding heard the news on the radio while driving and crashed into the car in front of him. Mr. Redding discusses the Burton case, Charles Hamilton Houston, Thurgood Marshall, William Hastie, William Robert Ming. He also tells how John W. Davis, the lawyer defending separate but equal, wept during arguments in front of the Supreme Court in the Brown case. Part five. Charles Hamilton Houston. Advice to young lawyers. At 9:00 until end, still photos.
- Date:
- 2006
- Main contributors:
- Elwood, William A, Kulish, Mykola
- Summary:
- Part one. Judge Higginbotham asserts that the United States Constitution was not revelant to African Americans when it was written except to further enslave them. Judge Higginbotham offers a legal history of the colonies and slavery. Slavery was not codified until 1660, Virginia was the mother of slavery, and Virginia law in the early 1800s made it illegal to teach African Americans to read and write. Judge Higginbotham talks about Charles Coatsworth Pinckney, Judge Ruffin, and how America's success was only possible via slave labor. Part two. Judge Higginbotham's history lesson continues. The 14th amendment was intended to take racism out of American society via due process, but it became the primary instrument to help corporations and everyone else but African Americans. Plessy v. Ferguson codified the separate but equal doctrine, which extended discrimination from trains to just about everywhere else, as the Supreme Court had said it was “reasonable” to do so. The warped interpretation of the 14th amendment impacted women as well. The US Constitution was also originally meaningless to women. Higginbotham discusses Justice Harlan's dissent in Plessy. Part three. Judge Higginbotham explains that Brown v. Board of Education was brought about by earlier cases. Brown was the ninth inning victory compared to all the work that had gone before in civil rights, including Gaines v. Missouri, Sweatt v. Painter, and McLaurin v. Oklahoma. Higginbotham discusses Collins Seitz, first state judge to order desegregation of a school. He also talks about Charles Hamilton Houston, William Hastie, Thurgood Marshall, and Howard University Law School. Part four. Judge Higginbotham recalls the Marian Anderson incident in Philadelphia in 1939. He also discusses the extension of legal strategy in civil rights cases beyond education into employment and voting rights, as in Smith v. Allwright. Higginbotham details the extensive pattern of violence in the South and the manipulation of the voter registration process. For example, registrars would ask African Americans for absurd qualification information, such as the number of gallons of water in the ocean. Judge Higginbotham recalls cases about labor unions, railways, housing rights, restrictive covenants in the 1940s, and fair housing in 1968. Part five. Judge Higginbotham's advice to young people: don't try to save the entire world, try to save the people next to you. Higginbotham discusses Powell v. Alabama, the Scottsboro case, Brown v. Mississippi, and John W. Davis.
- Date:
- 2006
- Main contributors:
- Elwood, William A, Kulish, Mykola
- Summary:
- Part one. Alice Jackson Stuart recounts her experiences as the first African American student to apply to the University of Virginia. When Donald Gaines Murray applied to University of Maryland School of Law, Ms. Stuart (who already had a bachelor's degree from Virginia Union University in 1933) spoke with family friend and Murray's lawyer Charles Hamilton Houston about helping to advance integration of higher education by provoking a legal case via her application to the University of Virginia graduate school of education. Part two. Ms. Stuart recalls different events that occurred during litigation of her case during 1935 and 1936. She explains that when the Virginia General Assembly passed a bill awarding scholarships and living expenses to minority students to attend out-of-state schools, she applied to and then attended Columbia University for her master's degree. She talks about other important Virginians who benefited from the bill, including Spotswood Robinson. She also discusses her teaching career. Part three. Ms. Stuart talks about witnessing a lynch mob, which ended in the killing of African American taxi driver Lee Snell, at Bethune-Cookman University where she taught. She also discusses teaching at Howard University, the Richmond public school system, Rutgers University, and Middlesex County College in New Jersey, among other career accomplishments.
- Date:
- 2006
- Main contributors:
- Elwood, William A, Kulish, Mykola
- Summary:
- Part one. J. Clay Smith talks about Charles Hamilton Houston as the architect of the modern civil rights movement. From 3:50 to 10:40, footage of Houston and William Hastie portraits. From 10:40 to end, Alvin J. Bronstein interviewed in his office. As a young lawyer Mr. Bronstein traveled south in 1964 for Freedom Summer. He was sent to St. Augustine, Florida to work on a law suit that would force hotels to serve African Americans. He then went to Mississippi and stayed for five years as a trial lawyer in Macomb where there had been 37 church bombings. He set up offices around the South as part of the Lawyers Constitutional Defense Committee funded by the ACLU. In 1968, civil rights cases in Mississippi had changed from defense of African Americans to cases advocating for rights. Part two. After Mississippi Mr. Bronstein went to Harvard for three years, then down to New Orleans, where he set up a training program for young African American lawyers. In 1972, he started the ACLU National Prison Project after the Attica prison riot. Mr. Bronstein describes what happened at Attica State Prison in New York. He explains the connection between civil rights and prisoner rights movements. He discusses what prisoner rights are or should be, the state of prisoner rights law in the mid-1980s, the death penalty, and incarceration rates. He says that poor people and people of color make up the prison population, and incarceration is not cost-effective. Part three. Mr. Bronstein recalls Judge Harold Cox in Mississippi referring to African Americans as chimpanzees while in court; the same judge presided over the trial of law enforcement officers for killing Chaney, Schwerner, Goodman in Mississippi in 1967, and he expressed outrage at the defendants and said the guilty verdict rendered was the proudest moment of his career. Lolis Elie, Nils Douglas, and Robert Collins were lawyers who practiced together but couldn't take the same taxi or eat in the same restaurant; now, these lawyers are highly placed judges in Mississippi. Mr. Bronstein says that Scandinavian countries have the best example of an incarceration system and that allowing prisoners to maintain contact with families is an important part of rehabilitation. Mr. Bronstein discusses a famous case called Battle v. Anderson.
- Date:
- 2006
- Main contributors:
- Elwood, William A, Kulish, Mykola
- Summary:
- Part one. Attorney Oliver Hill reviews Virginia's policy of Massive Resistance, the General Assembly's Boatwright committee and Thompson committee, Virginia courts and judges, and the people placement board. At 11:20, Anne Hobson Freeman talks about her new book on the law firm of Hunton and Williams in Richmond. The firm represented the school board of Prince Edward County in 1951 when students there sued the district for integration. Part two. Freeman relates the history of the Hunton and Williams Law firm in Richmond, Virginia, especially pertaining to the 1951 Prince Edward County integration case and Richmond integration cases. She states that the firm employed lawyers whose opinions fell on both sides of the integration issue. She also discusses several of the firm's lawyers individually.
- Date:
- 2006
- Main contributors:
- Elwood, William A, Kulish, Mykola
- Summary:
- Part one. Professor Beulah Johnson reviews being a teacher in Tuskegee, Alabama, living in a segregated society, what the "black" part of town was like, voter registration, her involvement with the NAACP, what the New South is, the Reagan Administration, and teaching history properly. Part two. Mrs. Johnson details the Tuskegee Civic Association, gerrymandering, the importance of economic power, William P. Mitchell, and community involvement meetings. She also recalls the African American boycott of businesses in Tuskegee when whites refused to vouch for potential African American voters. Part three. Shots of Beulah Johnson's Tuskegee house and neighborhood. At 3:40 change to William Elwood interviewing Mayor Johnny Ford outside Tuskegee municipal building about the impact of the Voting Rights Act, Gomillion v. Lightfoot case, Fred Gray, and being mayor for 15 years. At 12:05 change to Elwood interviewing civil rights attorney Solomon S. Seay, Jr., in Montgomery about Seay's background and education, his military service experience, and watching the top Brown v. Board of Education lawyers practice the case at Howard Law School.
- Date:
- 2006
- Main contributors:
- Elwood, William A, Kulish, Mykola
- Summary:
- Part one. Civil rights attorney Charles Morgan remembers Freedom Summer of 1964 and recalls hearing when Chaney, Schwerner, and Goodman were missing. Mr. Morgan says that the system of justice in the South did not work against African American individuals, it worked against all African Americans as a group. He explains how all parts of justice system work together and how public interest lawyers succeeded in changing the law on jury cases in the South. Part two. Mr. Morgan believes that you must integrate colors, creeds, cultures etc., or change and understanding will never happen. Mr. Morgan points out that there were no African American prisons in the South before the Civil War because all African Americans were imprisoned [by slavery]. The civil rights movement was a revolution in the sense that it changed the entire structure of law and altered much of American life. Voter registration wasn't the law until around 1900, and America still hasn't recovered from the fact that fewer people vote because of it. Part three. Mr. Morgan reviews the history of the impact of slavery, segregation, and population centers. Southern legislatures around 1900 were not based on population, and cities were underrepresented. Mr. Morgan talks about Baker v. Carr, Reynolds v. Sims, Gray v. Sanders. Sims was about reapportioning the Alabama state legislature, and Sanders was about reapportioning the congressional districts, where the phrase "one person, one vote" was first used. Television helped to confront all Americans with the problems of the South. Part four. Morgan quotes Congressman John Lewis, "Whatever happened to the civil rights movement? It got elected." Lewis suffered 40 arrests and multiple skull fractures. At 2:48, footage of Washington, DC.
- Date:
- 2006
- Main contributors:
- Elwood, William A, Kulish, Mykola
- Summary:
- Part one. Judge Constance Baker Motley recalls her childhood and education, including her first experience with Jim Crow. The Gaines case in 1938 influenced her to become a lawyer. Clarence Blakeslee, a white philanthropist in Connecticut, paid for her law school tuition. She joined the NAACP Legal Defense Fund in 1945 as a clerk. She discusses the legal strategy to target southern graduate schools with enforcement of the Gaines decision. Part two. Judge Motley recalls the NAACP Legal Defense Fund campaign to address the lack of adequate graduate and professional schools for African American students in the South. She discusses the background of several higher education cases, including the 1946 Sweatt case in Texas and the Sipuel case in Oklahoma. The next step in the strategy was to bring suits in elementary and secondary education. Five of these cases culminated in the Brown v. Board of Education decision. She also reviews the immediate history of civil rights following the Brown decision. Part three. Motley describes the grassroots revolution for civil rights after the Brown decision as a surprise to the legal strategists at the NAACP. New laws on the state level reasserting discrimination were also an obstacle for Motley and her NAACP colleagues. In 1961 she represented James Meredith in his fight to enter the University of Mississippi; she also represented Charlayne Hunter Gault and Hamilton Holmes in their fights to enter the University of Georgia. She recalls the first case she ever tried in 1949 in Mississippi. Part four. The judge shares her memories of the early days of the NAACP Legal Defense Fund, especially hearing stories by Thurgood Marshall about Charles Hamilton Houston and William Hastie. She heard Houston and Marshall argue the restrictive covenant cases at the US Supreme Court. During this visit to Washington DC, she and her African American comrades were not allowed to stay in DC hotels. She recalls the important cases devised or tried by Houston. Part five. Judge Motley lists the many changes since the Brown decision.
- Date:
- 2006
- Main contributors:
- Elwood, William A, Kulish, Mykola
- Summary:
- Part one. Footage of Montgomery, Alabama. At 8:00, Judge Dolores R. Boyd interview begins at her home in Montgomery. Part two. Judge Boyd offers opinions on the so-called New South, desegregation versus integration, the still-unrealized aspects of the Brown v. Board of Education ruling, and accessing the civil rights movement via churches. Part three. Judge Boyd discusses her childhood role models, her school experiences, and the need for appreciation of African American culture. Part four. Ms. Boyd believes African Americans are struggling to keep what they have earned over past few decades. She says there is racism, especially because of economic disparity, and the law is critical to determining society's values. At 9:28, footage of Boyd at her office.
- Date:
- 2006
- Main contributors:
- Elwood, William A, Kulish, Mykola
- Summary:
- Part one. Civil rights attorney Donald Watkins talks about Montgomery’s challenges, like the Confederate Flag flying on the Alabama Capitol. He also covers George Wallace, the continuing fight for civil rights, the teacher accreditation exam case, and achieving parity in society via the law. He remembers an African American custodian at the University of Alabama law school, Remus Rhodes, who taught the first African American students there how to use the library and how to form study groups. Part two. Watkins continues discussing Remus Rhodes, the custodian who became mentor to the first African American students at University of Alabama law school, as well as civil rights law history. At 11:30 minutes, footage of rural road and neighborhood.
- Date:
- 2006
- Main contributors:
- Elwood, William A, Kulish, Mykola
- Summary:
- Drewary Brown talks about social and economic life in Charlottesville during the civil rights era and in 1987. Mr. Brown walks down the Mall in Charlottesville. At 12:37, interview with Florence Bryant in front of Jefferson School in Charlottesville. Ms. Bryant discusses the work of the NAACP on behalf of teachers. She mentions J. Rupert Picott, Aline Black, and Melvin Austin as instrumental in helping African American teachers get equal pay in Virginia in 1940. See also reports her involvement in desegregating schools in Charlottesville. She regards Charlottesville as a leader in desegregation.
- Date:
- 2006
- Main contributors:
- Elwood, William A, Kulish, Mykola
- Summary:
- Florence Bryant advocates the teaching of African American history. She tells about her own life. At 7:49 interview with Mr. Williams begins. Mr. Williams discusses the historical importance of the Charlottesville street on which he stands during the interview. He offers his views on public housing and his promotion of scattered housing for low income families.
- Date:
- 2006
- Main contributors:
- Elwood, William A, Kulish, Mykola
- Summary:
- Part one. Drewary Brown talks about social and economic life in Charlottesville during the civil rights era and in 1987. Mr. Brown walks down the Mall in Charlottesville. At 12:37, interview with Florence Bryant in front of Jefferson School in Charlottesville. Ms. Bryant discusses the work of the NAACP on behalf of teachers. She mentions J. Rupert Picott, Aline Black, and Melvin Austin as instrumental in helping African American teachers get equal pay in Virginia in 1940. See also reports her involvement in desegregating schools in Charlottesville. She regards Charlottesville as a leader in desegregation. Part two. Ms. Bryant advocates the teaching of African American history. She tells about her own life. At 7:49 interview with Mr. Williams begins. Mr. Williams discusses the historical importance of the Charlottesville street on which he stands during the interview. He offers his views on public housing and his promotion of scattered housing for low income families.
- Date:
- 2006
- Main contributors:
- Elwood, William A, Kulish, Mykola
- Summary:
- Part one. Footage of Charlottesville house at 407 Ridge Street. At 1:00, interview with Frances Brand in her art gallery in Charlottesville. She describes her series of paintings, called "Firsts," as a tribute to important individuals within the Charlottesville community, especially people she considered exemplars of civil rights advocacy. She remembers her subjects and their achievements. At 13:30, discussion with three Charlottesville city school board members. One, Henry Mitchell, was a part of the NAACP's 1956 lawsuit to desegregate Charlottesville schools. He describes the aftermath of the desegregation ruling and the commonwealth's policy of Massive Resistance. Part two. Three members of the Charlottesville city school board, including Grace Tinsley, Henry Mitchell, and Clifford Bennett, discuss present day (1987) problems in Charlottesville city schools, especially concerning African American student self-image. At 15:10, footage of paintings of Charlottesville notables by Frances Brand. Part three. Grace Tinsley, Henry Mitchell, and Clifford Bennett recall the history of the Charlottesville city school board and the changes in race relations over the years.
- Date:
- 2006
- Main contributors:
- Elwood, William A, Kulish, Mykola
- Summary:
- Part one. Footage of exteriors of houses (and William Elwood) until 8:55. Then civil rights attorney Fred Gray discusses Alabama lawyers, Arthur Shores, and becaming a lawyer in order to try civil rights cases. Gray had to go to law school outside of Alabama as African American schools in Alabama didn't offer what he wanted. He taught himself Alabama state law while in Ohio. Gray describes developing strategies for his civil rights cases. He also talks about the Montgomery bus boycott. Part two. Mr. Gray recalls his 1954 defense of an African American juvenile arrested on Montgomery bus (before the Rosa Parks arrest). Gray talked to Rosa the day before she was arrested and represented her in court. Mr. Gray remarks that Montgomery bus cases like Browder v. Gayle were the first major application of Brown's meaning. Gray describes the difficulty of registering African American voters because registrars would go missing, even after the courts ordered them to register African Americans. To avoid the impact of African American voters, Alabama redrew Tuskegee boundaries to include only white people. Mr. Gray explains Tuskegee gerrymandering and Gomillion v. Lightfoot. Part three. Mr. Gray goes over details of Gomillion v. Lightfoot, recalls how Tuskegee Institute was no longer within the city of Tuskegee because of the new boundaries. Mr. Gray discusses Lee v. Macon County Board of Education, a school discrimination case that managed to include all public schooling in Alabama. Gray explains how litigating the rights of students in order to end segregation also meant dealing with the rights of teachers. Although the Alabama African American teachers associations weren't part of the original suit, they joined the case. Part four. Mr. Gray acknowledges the Bicentennial of the Constitution in 1987, and he discusses how the Constitution was not written to include African Americans. It is the 13th, 14th, and 15th amendments and various civil rights acts that make the Constitution a living document for African Americans. Gray talks about the Tuskegee Civic Association and gives a lot of credit to local banker Allan Parker. Mr. Gray also covers rehearsing the Gomillion case and the immediate result of Gomillion.
- Date:
- 2006
- Main contributors:
- Elwood, William A, Kulish, Mykola
- Summary:
- Part one. Civil rights activist Gardner Bishop talks about meeting with Charles Hamilton Houston to get money for a lawyer to represent the Consolidated Parents Group. Houston sent a letter on the group's behalf to newspapers, then offered to take the case himself for free. Mr. Bishop talks about the case, how Houston became ill and asked James Nabrit to take over for him. Houston asked Mr. Bishop to visit him in the hospital just before he died. Mr. Bishop talks about hosting Consolidated Parents Group meetings in his basement. Part two. Mr. Bishop recalls meeting James Nabrit, who changed case to include enrolling black students in an all-white school. Mr. Bishop speaks of his amazement at the wonderful condition and facilities of the school in the white neighborhood. He also visited a school in a black neighborhood, and it was crowded and dilapidated. Mr. Bishop remembers visiting the Supreme Court to hear the Consolidated Parents Group case. He was one of the pallbearers for Houston.