{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/bc3st7fj2b/manifest","type":"Manifest","label":{"en":["Liberace: Entertainer at the Piano"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","metadata":[{"label":{"en":["Agent"]},"value":{"en":["Dennis D. Rooney (Presenter)","Bill Schurk (Chair)","Michael Biel (Videographer)","Leah Biel (Videographer)"]}},{"label":{"en":["Date"]},"value":{"en":["2014-05-15 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Video","Audio"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eThe success of HBO's Behind the Candelabra in May 2013 was chiefly due to the \"nearly miraculous\" impersonation of Liberace by Michael Douglas, but it also generated a surge of new interest in one of the most controversial figures in postwar American popular culture. Born in West Allis, Wisconsin in 1919 of Italo-Polish descent, Wladziu Liberace was known as \"Walter\" within the family and \"Lee\" outside of it. By the forties, he was playing in lounges and supper clubs in the greater Los Angeles area, including the fledgling \"sin city\" of Las Vegas. He began appearing on local L.A. television in the early fifties, unsuccessfully moved to a network show, and ultimately began syndicating his own programs that featured his violinist brother, George, his mother and other family members in the audience, and the infamous (or iconic) candelabrum on the piano. The program's immense popularity can be gauged by recalling Al Capp's Loverboynik character in Li'l Abner and a line from The Honeymooners. When Alice tries to talk Ralph into buying a television set, she says: \"Well, I don't want to look at that stove, that refrigerator and these four walls. I want to look at Liberace In view of the simultaneous celebrity he enjoyed on television and the trenchant criticism of his alleged assaults on classical music from critics in newspapers and magazines, it seems particularly appropriate to focus on Liberace's recordings themselves, beginning when he had not attained the fame he enjoyed only a few years after making them, then contrasting his playing on them with later performances of the same repertoire to discern what changes were made as he labored to remove \"all the boring parts\" from his classical repertoire. That practice may have made him a regular target of brickbats from the musically educated, but as he used to say: \"I cried all the way to the bank.\" In addition to recordings, some video clips of his early fifties syndicated television show and increasingly flamboyant later appearances will be shown.\u003c/p\u003e"]}},{"label":{"en":["Language"]},"value":{"en":["English"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}}],"summary":{"en":["\u003cp\u003eThe success of HBO's Behind the Candelabra in May 2013 was chiefly due to the \"nearly miraculous\" impersonation of Liberace by Michael Douglas, but it also generated a surge of new interest in one of the most controversial figures in postwar American popular culture. Born in West Allis, Wisconsin in 1919 of Italo-Polish descent, Wladziu Liberace was known as \"Walter\" within the family and \"Lee\" outside of it. By the forties, he was playing in lounges and supper clubs in the greater Los Angeles area, including the fledgling \"sin city\" of Las Vegas. He began appearing on local L.A. television in the early fifties, unsuccessfully moved to a network show, and ultimately began syndicating his own programs that featured his violinist brother, George, his mother and other family members in the audience, and the infamous (or iconic) candelabrum on the piano. The program's immense popularity can be gauged by recalling Al Capp's Loverboynik character in Li'l Abner and a line from The Honeymooners. When Alice tries to talk Ralph into buying a television set, she says: \"Well, I don't want to look at that stove, that refrigerator and these four walls. I want to look at Liberace In view of the simultaneous celebrity he enjoyed on television and the trenchant criticism of his alleged assaults on classical music from critics in newspapers and magazines, it seems particularly appropriate to focus on Liberace's recordings themselves, beginning when he had not attained the fame he enjoyed only a few years after making them, then contrasting his playing on them with later performances of the same repertoire to discern what changes were made as he labored to remove \"all the boring parts\" from his classical repertoire. That practice may have made him a regular target of brickbats from the musically educated, but as he used to say: \"I cried all the way to the bank.\" In addition to recordings, some video clips of his early fifties syndicated television show and increasingly flamboyant later appearances will be shown.\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},"provider":[{"id":"https://arsc.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Association for Recorded Sound Collections"]},"homepage":[{"id":"https://arsc.aviaryplatform.com/","type":"Text","label":{"en":["Association for Recorded Sound Collections"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/174/319/small/ARSC_conf_2014_Rooney_video_thmb.jpg?1675888098","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1506/collection_resources/48852/file/174319","type":"Canvas","label":{"en":["Media File 1 of 2 - ARSC_conf_2014_Rooney_video.mp4"]},"duration":1842.58133,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/174/319/small/ARSC_conf_2014_Rooney_video_thmb.jpg?1675888098","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1506/collection_resources/48852/file/174319/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1506/collection_resources/48852/file/174319/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/174/319/original/ARSC_conf_2014_Rooney_video.mp4?1675874912","type":"Video","format":"video/mp4","duration":1842.58133,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1506/collection_resources/48852/file/174319","metadata":[]}]}],"annotations":[]},{"id":"https://arsc.aviaryplatform.com/collections/1506/collection_resources/48852/file/255575","type":"Canvas","label":{"en":["Media File 2 of 2 - ARSC_conf_2014_Rooney_audio.mp3"]},"duration":1800.37944,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1506/collection_resources/48852/file/255575/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1506/collection_resources/48852/file/255575/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/255/575/original/ARSC_conf_2014_Rooney_audio.mp3?1730665293","type":"Audio","format":"audio/mpeg","duration":1800.37944,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1506/collection_resources/48852/file/255575","metadata":[]}]}],"annotations":[]}]}