Posts from the Reserve Film and Video Collection

In the weeks leading up to Halloween we watch scary movies and we read scary stories but are we listening to enough scary music? No, probably not! Here are some suggestions to get you in the spooky spirit.

The Sinatra: An American Icon exhibition has many wonderful media stations for visitors—songs, excerpts from television specials, films trailers and featurettes, and a juke box. But the one that is garnering the most attention is “The House I Live In,” the RKO short subject that won Sinatra his first Oscar.

Frank Sinatra is known first and foremost as a singer and recording artist; after all, before he acquired the nicknames “Chairman of the Board” or “Ol’ Blue Eyes,” he was known as “The Voice.” But his career as a movie actor earned him nearly as much fame and acclaim as did his musical career.

I love collaborative exhibitions because I learn so much about our partners. Working with Susie Tofte, the archivist of the Sesame Workshop and curator of the exhibition, I learned about the Workshop’s outreach programs for families dealing with the challenges of military service and incarceration. Now that the exhibition is available for viewing, I see that section’s impact on visitors who expected only fun, children’s content.

Visitors to the exhibition and blog channel The Great American Revue have peppered me with questions that can be summarized as: "where do you find that stuff?" Substitute artifacts for "stuff" and it becomes a request for a research guide.

The New York Public Library has been collecting performing arts content since the 1880s and online cataloging since the 1980s. Most of the material in the Revues 

The Great American Revue is coming to the end of its run at the Vincent Astor Gallery, LPA. It employed Library for the Performing Arts treasures to represent the 15 revue series on Broadway, from the first Follies in 1907 — to the Pins & Needles series in 1939. The blog channel will continue and for the next few weeks, will focus on some of the treasures that we had to edit out of the exhibition.

For plotless revues 

Pretend you’re just outside Tompkins Square Park. Enter the park on Avenue A, at 8th Street. Take the windy path through the park towards Avenue B. Okay, now sniff. What do you smell?

You smell dogs.

The Way it Is or Eurydice in the Avenues opens early morning summer in the Park. Three feckless dog walkers stand over the dead body of a girl in a polka-dot dress. Who else is going to find a dead body in Tompkins Square Park? Okay, drug-addicts, probably, but still. Dog walkers. 

Impresario Andre Charlot brought London stars and songwriters to Broadway in January 1924. That show forms a neat connection between Noel Coward and the American revue scene, so we developed a small exhibition about it for LPA's 3rd floor reading room.

The Revue, produced in New York by The Selwyns, was a compilation of new material with audience favorites from past London shows. Both Noël Coward and Ivor Novello songs were featured, as well as works by London songwriters Philip Braham, 

Permanent Vacation opens with a moving crowd of New Yorkers, still dressed '70s groovy. It might be a camera trick, but no one appears to be rushing. The music is slow, diffuse horn and bells. We meet 16-year-old Aloysious Christopher Parker, already dressed '80s rockabilly cool. His body is like a marionette's — all long limbs and loose joints. His voice is like an oboe, and his delivery is like slow air out of a tire. He dances to

Don't Shhhh me!.... NOT this time.

We are about to conclude the second season of our Lower East Side Heritage Film Series and for the closer we are ALL TALK.

Along with our now traditional send off (we can call it traditional after the second repetition, right?), the film that started this whole LESHFS, The Seward Park Branch and the Neighborhood It Serves will be projected in all its 16mm glory. I will be orating the original

Join us on Tuesday afternoon for a screening of King of Jazz (Universal, 1930) at LPA. Hollywood's Rave Revues is a film series programmed by John Calhoun in conjunction with the exhibition The Great American Revue, across the lobby in the Vincent Astor Gallery.

The film stars and is named 

I went to high school in the East Village from 1983 to 1987. This might sound kind of punk rock. Unfortunately, I totally missed out on CBGB in the late Seventies (see also: Punking Out) and early Eighties. And let's face it, I didn't go inside any real club for most of the Eighties either — I was underage, and too busy studying for the SATs. But I remember how the outsides looked. The streets and 

Design by Robert Ten Eyck Stevenson for the Greenwich Village Follies

This blog channel is inspired by the current exhibition at the Library for the Performing Arts, The Great American Revue: How Florenz Ziegfeld, George White and their Rivals Remade Broadway, which is on view through July 27, 2012. The material on display is drawn from the collections of LPA’s Research Divisions.

“Color,” our key image, is one of a 

Shhhh.... this one is silent.

One of the great things about silent film is the fact that it is, well, silent.

While this attribute certainly draws attention to body language and visual storytelling, it also provides a blank canvas. As someone who composes and arranges music, this proves a great opportunity to sharpen my skills and have a bit of fun, dropping different types of music into a set of scenes. The fun happens when music intended for one purpose magically enhances another. It is proved to be a much more laborious a task, as I am not able to rely on the timings 

Happy birthday to Charles Mingus, who would have officially become a nonagenarian this coming April 22, 2012 — a word I am certain he could have cleverly crafted into a title. And to celebrate one of the most unique and gifted voices in not just the jazz world, but, in my opinion, the whole of 20th century music, we are projecting on 16mm this wonderfully insightful film capturing Mingus at a very specific period in his life. A must see for all fans of Charles Mingus.

We are 

Martin Scorsese has had a quite a run these past two months, with 11 Oscar nominations (four wins) for his film Hugo and a Golden Globe win for the Best Director category, to name just a few. So let's raise another toast (in the spirit of the Bridesmaids' SAG award presentation) to the man who gave us so much great Lower East Side imagery by screening one of his earliest films,

Well, Yudie is not exactly a Bubbie, but I simply could not resist the alliteration. (Although, Tante and the Beats would make an excellent band name, don't you think?)

This month's Lower East Side Heritage Film Series (LESHFS) pairs the seemingly improvised storytelling of the Beat Generation with the candid and (seemingly) unrehearsed historytelling of a first generation American to Russian-Jewish parents that landed in the Lower East Side.

We are pleased to offer the following films on Tuesday evening (in the 

Werner Herzog's singular, uncompromising career in filmmaking spans over four decades and has included feature films, documentaries, and even two works (Little Dieter Needs to Fly and Rescue Dawn) that offer, respectively, a nonfiction and fictional retelling of the same event.

Regardless of genre, each of his films seems preoccupied with the place of humans 

It is the beginning of a new calendar year. A time for reflection. A time for resolution. A time for hope.

In this next installment of the Lower East Side Heritage Film Series, we celebrate and reflect on the rebirth of a derelict East Sixth Street tenement building in Alphabet City. Producer and director Josephine Hayes Dean documents the toils and tribulations of its future residents into something that would become a home for their hopes and dreams.

We are pleased to offer the following film on Tuesday, January 3, 2012 at 6:30 p.m.