Female composers getting the short shrift is certainly nothing new, and is by no means limited to classical music. But as an admittedly casual fan of atonality, dissonance, modernism and serialism, I was surprised in February of this year to, for the first time, stumble across Middlewestern composer Ruth Crawford Seeger's unique, innovative musical voice. She immediately became a featured artist on The Lunatic Asylum and I became interested in her story.
Ruth Porter Crawford was born on July 3, 1901 in East Liverpool, Ohio, supposedly the "World Capital of Pottery." Her father was an itinerant minister. Her mother began her musical education with piano lessons when she was 11. Upon graduation from high school, she entered Foster's School of Musical Art in Jacksonville, Florida. In 1921, when it relocated to Miami, Crawford enrolled at the American Conservatory of Music in Chicago, where she studied with Madame Valborg Collett, Polish-born Henriot Levy and Louise Robyn. By 24, with the completion of her earliest work, she already displayed a unique modernist voice.
In Chicago, she met Djane Lavoie Herz, who in turn introduced her to the music of sometime-serialist Russian composer Alexander Scriabin. Through Lavoie Herz, she met and fell in with transpersonal astrologer/composer Dane Rudhyar, theorist/composer Henry Cowell and pianist Richard Bühlig. Cowell was an early supporter of her work and arranged for performances of her compositions in New York, where her folkish take on avant-garde drew comparisons to the work of Charles Ives and Aaron Copland.
Ruth Porter Crawford was born on July 3, 1901 in East Liverpool, Ohio, supposedly the "World Capital of Pottery." Her father was an itinerant minister. Her mother began her musical education with piano lessons when she was 11. Upon graduation from high school, she entered Foster's School of Musical Art in Jacksonville, Florida. In 1921, when it relocated to Miami, Crawford enrolled at the American Conservatory of Music in Chicago, where she studied with Madame Valborg Collett, Polish-born Henriot Levy and Louise Robyn. By 24, with the completion of her earliest work, she already displayed a unique modernist voice.
In Chicago, she met Djane Lavoie Herz, who in turn introduced her to the music of sometime-serialist Russian composer Alexander Scriabin. Through Lavoie Herz, she met and fell in with transpersonal astrologer/composer Dane Rudhyar, theorist/composer Henry Cowell and pianist Richard Bühlig. Cowell was an early supporter of her work and arranged for performances of her compositions in New York, where her folkish take on avant-garde drew comparisons to the work of Charles Ives and Aaron Copland.
The End of the Golden Age
On this day (September 30) in 1962 CBS radio broadcast the final episodes of Suspense and Yours Truly, Johnny Dollar and the Golden Age of Radio came to a close.
Beginnings
Radio Drama (also frequently referred to as Old Time Radio or OTR) really began in the 1920s. Before that, there was audio theater which consisted of plays performed for radio broadcast. It wasn't until August 3, 1922 at the Schenectady, New York station WGY that the in-house actors, The WGY Players, broadcast a performance that augmented the drama with music and sound effects, creating a vivid aural tapestry. The result was a worldwide explosion in what was an instantly popular new art form. Within months there were radio dramas being produced across the USA, as well as in Canada, Ceylon, France, Germany, India, Japan, and the UK.
Radio Drama's Adolescence
In 1934, the anthology series Lights Out debuted and exploited many of radio's unique qualities to massive success. The program was penned by Wyllis Cooper and aired at midnight. Cooper employed stream of conscious monologues, multiple first-person narrators and internal monologues which were at odds with the characters' spoken dialog. It's most often remembered, however, for its gruesome and explicit sound effects which attempted to suggest joints being ripped from sockets, skin being eviscerated, heads being decapitated and other depictions of violence that would still be pushing the envelope, even on modern cable television programs.
Walter Tetley, who died today back in 1975, was a renowned child impersonator from radio's golden age. He featured regularly on the Great Gildersleeve and the Phil Harris-Alice Faye Show --two programs unlikely to result in even a flicker of recognition from anyone younger than 60, but very popular in their day. He also appeared on Fibber McGee and Molly, The Jell-O Program starring Jack Benny, The Pepsodent Show with Bob Hope, Suspense, The Burns & Allen Show and other radio programs.
The details of Walter's personal life are obscure and mostly drawn from one biography (For Corn's Sake), which was primarily based on his thorough scrapbooks. Walter was born Walter Tetzlaff June 2, 1915 in New York City. His career began as an actual child --appearing on The Mickey Mouse Theater of the Air in the 1930s. By the 1940s he was the most prolific child actor on the radio. His tone and cadence are immediately recognizable and helped to define the mid-20th century stereotype of a young boy. Although radio requires the listener to imagine the appearance of the players, Walter Tetley's characters, with their mixture of adult cynicism and smart-alecky childspeak invariably conjure up (in my mind, at least) images of overall-wearing, slingshot-toting, bath-hating, cowlick-sporting lil' brats.
When the popularity of TV began to overtake radio, Tetley still found work by doing voiceover work, most recognizably as the Nerdy Sherman on the Mr. Peabody cartoons. He was 44 years old at the time. He also recorded a children's record for Capitol and commercials for Sunsweet Prunes.
The details of Walter's personal life are obscure and mostly drawn from one biography (For Corn's Sake), which was primarily based on his thorough scrapbooks. Walter was born Walter Tetzlaff June 2, 1915 in New York City. His career began as an actual child --appearing on The Mickey Mouse Theater of the Air in the 1930s. By the 1940s he was the most prolific child actor on the radio. His tone and cadence are immediately recognizable and helped to define the mid-20th century stereotype of a young boy. Although radio requires the listener to imagine the appearance of the players, Walter Tetley's characters, with their mixture of adult cynicism and smart-alecky childspeak invariably conjure up (in my mind, at least) images of overall-wearing, slingshot-toting, bath-hating, cowlick-sporting lil' brats.
When the popularity of TV began to overtake radio, Tetley still found work by doing voiceover work, most recognizably as the Nerdy Sherman on the Mr. Peabody cartoons. He was 44 years old at the time. He also recorded a children's record for Capitol and commercials for Sunsweet Prunes.
