{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/kp7tm7344m/manifest","type":"Manifest","label":{"en":["Dwight Fiske and the Birth of the Party Record"]},"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":["David N. (\"Uncle Dave\") Lewis (Presenter)","Joseph Patrych (Videographer)","James Wu (Editor)"]}},{"label":{"en":["Date"]},"value":{"en":["2018-06-21 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Video"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eFor many collectors, the legacy of the 1930s-1950s Party Record is a mixed one; in their era, these under-the-counter novelties enlivened many a dull evening with a sudden shock of scurrilousness through phonographic misbehavior, raising the eyebrows of unsuspecting prudes and bringing a new level of hilarity to go with one's cocktail. Despite their age, Party Records can still shock through their crudity and sexual candor, yet today they are often viewed as the kitschy by-products of a repressed society and the fastest way that a phonograph can drag oneÕs mind down into the gutter. However, the father of the Party Record, Dwight Fiske (1892-1959), was anything but lowbrow; he was a ferociously talented pianist and aspiring modernist composer who had set himself along the same course taken by Cole Porter and Aaron Copland. Yet Fiske abandoned this course once he began to entertain expatriate Americans with smutty tales of amoral royals and high class citizens in the saloons and nightclubs of between-the-wars Paris. The Party Record industry happened because Dwight Fiske had the nerve to go forward in recording his naughty routines despite the threat of censorship. Nevertheless, in just two decades he was a relic, his contribution forgotten in the rush towards a revolution in American comedy. Three decades of research went into the paper on Fiske published in the fall 2017 issue of the ARSC Journal by David Diehl and David Neal Lewis, and in this presentation \"Uncle Dave\" will expand on the research, sharing examples of Fiske's recordings and excerpts from his early compositions.\u003c/p\u003e\r\n\u003cp\u003eDavid N. \"Uncle Dave\" Lewis is a native of Cincinnati, Ohio and a recognized expert on its media history. He is also a writer, composer and musicologist now based in Virginia. In the 1980s he was one of the figureheads of an underground music movement in Cincinnati and co-host of the pioneering avant-garde radio show \"Art Damage\" and ran the Hospital Records label. Based in Los Angeles in the 1990s he worked as a classical buyer for the Tower Records and Virgin Megastore chains, but saw the writing on the wall with the arrival of the internet. From 2001-2010 he was an in-house editor for the All Music Guide, and since then has worked for the UCSB Libraries' Discography of American Historical Recordings project and at the Library of Congress. The summer of 2018 finds him back in the record business, working at Switz-Mix Records in Luray, Virginia and freelancing on articles and CD liner notes.\u003c/p\u003e"]}},{"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\u003eFor many collectors, the legacy of the 1930s-1950s Party Record is a mixed one; in their era, these under-the-counter novelties enlivened many a dull evening with a sudden shock of scurrilousness through phonographic misbehavior, raising the eyebrows of unsuspecting prudes and bringing a new level of hilarity to go with one's cocktail. Despite their age, Party Records can still shock through their crudity and sexual candor, yet today they are often viewed as the kitschy by-products of a repressed society and the fastest way that a phonograph can drag one\u0026Otilde;s mind down into the gutter. However, the father of the Party Record, Dwight Fiske (1892-1959), was anything but lowbrow; he was a ferociously talented pianist and aspiring modernist composer who had set himself along the same course taken by Cole Porter and Aaron Copland. Yet Fiske abandoned this course once he began to entertain expatriate Americans with smutty tales of amoral royals and high class citizens in the saloons and nightclubs of between-the-wars Paris. The Party Record industry happened because Dwight Fiske had the nerve to go forward in recording his naughty routines despite the threat of censorship. Nevertheless, in just two decades he was a relic, his contribution forgotten in the rush towards a revolution in American comedy. Three decades of research went into the paper on Fiske published in the fall 2017 issue of the ARSC Journal by David Diehl and David Neal Lewis, and in this presentation \"Uncle Dave\" will expand on the research, sharing examples of Fiske's recordings and excerpts from his early compositions.\u003c/p\u003e\r\n\u003cp\u003eDavid N. \"Uncle Dave\" Lewis is a native of Cincinnati, Ohio and a recognized expert on its media history. He is also a writer, composer and musicologist now based in Virginia. In the 1980s he was one of the figureheads of an underground music movement in Cincinnati and co-host of the pioneering avant-garde radio show \"Art Damage\" and ran the Hospital Records label. Based in Los Angeles in the 1990s he worked as a classical buyer for the Tower Records and Virgin Megastore chains, but saw the writing on the wall with the arrival of the internet. From 2001-2010 he was an in-house editor for the All Music Guide, and since then has worked for the UCSB Libraries' Discography of American Historical Recordings project and at the Library of Congress. The summer of 2018 finds him back in the record business, working at Switz-Mix Records in Luray, Virginia and freelancing on articles and CD liner notes.\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/000/175/323/small/ARSCNY_20180621_Lewis.png?1677731808","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/2105/collection_resources/86999/file/175323","type":"Canvas","label":{"en":["Media File 1 of 1 - open-uri20230301-3119137-bm651x.mp4"]},"duration":5100.71467,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/175/323/small/ARSCNY_20180621_Lewis.png?1677731808","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/2105/collection_resources/86999/file/175323/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/2105/collection_resources/86999/file/175323/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/175/323/original/open-uri20230301-3119137-bm651x.mp4?1677648784","type":"Video","format":"video/mp4","duration":5100.71467,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/2105/collection_resources/86999/file/175323","metadata":[]}]}],"annotations":[]}]}