{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/mp4vh5d71m/manifest","type":"Manifest","label":{"en":["Rediscovering Ted Lewis: Rare Recordings from the Ted Lewis Museum"]},"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":["Bryan Wright (Presenter)","William Schurk (Chair)","Michael Biel (Videographer)","Leah Biel (Videographer)"]}},{"label":{"en":["Date"]},"value":{"en":["2015-05-28 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Video","Audio"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eTo generations, Ted Lewis has been known for his top hat, corny clarinet playing, distinctive vocal style, and cries of “Is everybody happy?” After a successful decade with Columbia Records, in 1929, Lewis was still on top, enjoying “first position” among Columbia’s roster of artists, with his own picture label and priority in paid publicity and announcements. But several years into the Great Depression, when record buyers no longer responded to his clowning clarinet, Lewis largely bowed out and revamped his band for a series of Decca recordings in 1934 that show it to be a formidable “proto-swing” organization in the mold of the Casa Loma Orchestra. Unfortunately, the records sold poorly, and for the next four years, Lewis made no commercial records. When he finally resumed recording in mid-1938, it was with a handful of old favorites like “When My Baby Smiles at Me” and “Three O’Clock in the Morning,” suggesting that Lewis had turned his back on newer trends in popular music to ride out the next thirty-odd years peddling a nostalgic remembrance of his early successes. And yet, unique air checks of Lewis’s band housed at the Ted Lewis Museum in Circleville, Ohio reveal what his few commercial records of the late 1930s and early 1940s do not: in live performances, the Lewis band continued to adapt to changing fashions in music, reinventing itself as a first-rate swing band. With sound and images from the museum’s collection, this presentation will examine these poorly-documented years in the storied career of one of the United States’ greatest entertainers.\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\u003eTo generations, Ted Lewis has been known for his top hat, corny clarinet playing, distinctive vocal style, and cries of \u0026ldquo;Is everybody happy?\u0026rdquo; After a successful decade with Columbia Records, in 1929, Lewis was still on top, enjoying \u0026ldquo;first position\u0026rdquo; among Columbia\u0026rsquo;s roster of artists, with his own picture label and priority in paid publicity and announcements. But several years into the Great Depression, when record buyers no longer responded to his clowning clarinet, Lewis largely bowed out and revamped his band for a series of Decca recordings in 1934 that show it to be a formidable \u0026ldquo;proto-swing\u0026rdquo; organization in the mold of the Casa Loma Orchestra. Unfortunately, the records sold poorly, and for the next four years, Lewis made no commercial records. When he finally resumed recording in mid-1938, it was with a handful of old favorites like \u0026ldquo;When My Baby Smiles at Me\u0026rdquo; and \u0026ldquo;Three O\u0026rsquo;Clock in the Morning,\u0026rdquo; suggesting that Lewis had turned his back on newer trends in popular music to ride out the next thirty-odd years peddling a nostalgic remembrance of his early successes. And yet, unique air checks of Lewis\u0026rsquo;s band housed at the Ted Lewis Museum in Circleville, Ohio reveal what his few commercial records of the late 1930s and early 1940s do not: in live performances, the Lewis band continued to adapt to changing fashions in music, reinventing itself as a first-rate swing band. With sound and images from the museum\u0026rsquo;s collection, this presentation will examine these poorly-documented years in the storied career of one of the United States\u0026rsquo; greatest entertainers.\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/000/121/725/small/ARSC_conf_2015_Wright_thmb.jpg?1675379779","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1505/collection_resources/48699/file/121725","type":"Canvas","label":{"en":["Media File 1 of 2 - open-uri20210821-32762-lkhofl.mp4"]},"duration":1978.28267,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/121/725/small/ARSC_conf_2015_Wright_thmb.jpg?1675379779","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1505/collection_resources/48699/file/121725/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1505/collection_resources/48699/file/121725/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/121/725/original/open-uri20210821-32762-lkhofl.mp4?1629579329","type":"Video","format":"video/mp4","duration":1978.28267,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1505/collection_resources/48699/file/121725","metadata":[]}]}],"annotations":[]},{"id":"https://arsc.aviaryplatform.com/collections/1505/collection_resources/48699/file/255728","type":"Canvas","label":{"en":["Media File 2 of 2 - ARSC_conf_2015_Wright_audio.mp3"]},"duration":2005.56963,"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/1505/collection_resources/48699/file/255728/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1505/collection_resources/48699/file/255728/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/255/728/original/ARSC_conf_2015_Wright_audio.mp3?1730747483","type":"Audio","format":"audio/mpeg","duration":2005.56963,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1505/collection_resources/48699/file/255728","metadata":[]}]}],"annotations":[]}]}