In June 1874, music lovers in Northern New York were excited. For the second time in three years, Blind Tom, the world-renowned black pianist and entertainer and arguably the first black superstar to perform in the U.S., was coming to Malone. For years after the Civil War, he had been wowing audiences throughout the U.S., Great Britain, Canada, continental Europe, and South America with his one-man show which was part vaudeville and part classical piano music.
Tom had many talents including the ability to: play the piano, coronet, French horn and flute- sing and recite speeches of well-known politicians in Greek, Latin, German and French- mimic any music a member of the audience might offer for him to hear- and use his voice to make the sounds of locomotives, bagpipes, banjos and music boxes. While singing one song, he could play a second with his right hand, and a third with the left. Continue reading
This is a story about a fat guy. In this politically correct and hyper-sensitive world, some of you might already be reaching for your keyboards to send me a nasty message for being so thoughtless. But without referring to him as fat, I couldn’t have written this piece. I’m pretty sure he knew he was obese, as did anyone who met him. But if there was ever any doubt, one could always refer to his professional name: Phat Boy. (Imagine … a name like that, 150 years before the birth of Rap music.)
His given name was Edward Frederick Babbage, the son of John and Frances Babbage, who emigrated from England in the early 1800s and settled in Rochester, New York. Among their five children was a pair of twins, Edward Frederick and Edwin Francis, born about 20 miles west of the city in 1841. Early on, Edward exhibited a propensity for gaining weight. He was considered large at age six, and weighed 200 pounds when he was fourteen. Continue reading
What follows is a guest essay by J.R. Teeter, the founding artistic director of Bread &- Water Theatre. Since 2000 Bread &- Water Theatre has had as its purpose the development of new dramatic works and affordable arts programming for the public. This essay first appeared on the site Preservation News.
Rochester, New York has fallen on hard times, not unlike many of the cities across the nation. The Erie Canal, once a major shipping route, is now considered obsolete. The city’s biggest employer, Kodak, is now bankrupt. Major businesses have either downsized, moved out of town, or both. When a new company takes an interest in the city, the red carpet is rolled out and tax breaks are doled out, sometimes at the cost of the city’s legacy. Continue reading
Three organizations – Colton Historical Society, Grasse River Players and Colton-Pierrepont Central School – have announced new collaborative work for 2013 following the successful production of Sunday Rock—The Folk Musical in 2012. Last year, when they first combined their historical, theatrical and educational interests to produce the show along with author and Colton resident Evelyn Riehl and her family, they received lots of support and encouragement to continue.
The partnership has now committed to presenting a theatrical performance addressing a dimension of history each July around the time Colton celebrates its history. Over the winter plans were made to produce The 1940’s Radio Hour and to also pursue an oral history project in conjunction with it focusing on World War II. Continue reading
A four-gallon stoneware jug manufactured by Fulper Bros. in Flemington, New Jersey during the 1880s is now part of the New York State Museum’s Weitsman Collection of American Stoneware. Now on display at the State Museum, the historically significant piece of stoneware was recently acquired for the Museum by stoneware collector and benefactor, Adam Weitsman.
According to an announcement release to the press today, “The acrobat jug, a sought-after example of decorated American stoneware, has been breaking stoneware record prices at auction for decades and Weitsman had wanted the piece for over thirty years.” Weitsman recently purchased the jug from Allen Katz Americana the statement says. Continue reading
The Met is offering a wide range events in conjunction with their recently opened exhibition, Photography and the American Civil War.
A Civil War Dialogue will take place this evening, Wednesday, April 10, at 6:00 PM ($25). Novelist Geraldine Brooks and historian Tony Horwitz have both written about the Civil War-and are married to one another. They will discuss their work as well as their different approaches to the Civil War and the writing of history. The discussion will be moderated by Bill Goldstein, book critic for NBC’s Weekend Today in New York. Continue reading
Few villages in New York State can lay claim to as rich a heritage as Rouses Point, and like the oft-used real-estate axiom says, there are three primary reasons—location, location, location.
As New York’s northeasternmost village, Rouses Point can be found at the north end of Lake Champlain. Bordering on Canada to the north and Vermont to the east, for decades it was a shipping and transportation crossroads, serving both water and rail traffic. Continue reading
We are a story-telling species. We tell stories through various media which have changed over time as our technologies have changed. In ancient times the common modes of expression included the verbal story, art, dance, and music. These forms still are in use today. New forms have been developed and the ways of communication for millennia have evolved at a speed that is both wondrous and frightening to behold. Continue reading
On New Year’s Eve the cigar smoke was thick on the sidewalk in front of the famed jazz club, the Lenox Lounge. Men in tuxes and women in clingy gowns stepped out of white stretch limos, three deep on Malcolm X Avenue, a.k.a Lenox Avenue in Harlem, as blue notes popped from the chromed doorway.
A huge bejeweled crowd could be glimpsed dancing and drinking through the wide octogon window. Continue reading
Richard Whitby’s career in music had blossomed, and after years of hard work, he was offered Second Chair Trombone in John Philip Sousa’s band, and First Chair upon the lead trombonist’s imminent retirement. It was a tremendous honor, and highly regarded confirmation of his great talent, but there was a problem: Richard was still under contract to Carl Edouarde, who had no intentions of releasing him from a prominent run at New York’s Palace Theater. Continue reading