525 20 11117 https://digital.buffalolib.org/files/original/d477ecc9500877f6178f312bf6dab9e9.jpg 2ed7b342bf4a9732fb3e5d66da17b3cb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource World War I Posters Collection Description An account of the resource Posters were a very effective means of messaging throughout World War I. They were pasted onto walls and billboards everywhere to reach the widest possible audience. This form of propaganda, or “selling the war,” was used by both the Allies and the Central Powers to spark patriotism, raise funds and resources and foster hatred of the enemy. The posters were the work of the illustrators of the day – styles and techniques are as diverse as the artists and their countries. Although the United States came late to the war, it produced more WWI propaganda posters than any other country. <em>Original poster collection donated to the Grosvenor Library by Edward Michael.</em> Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 20.5 x 13.25 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Poster Number: 598 Title A name given to the resource Little Americans Do your bit Creator An entity primarily responsible for making the resource Parker, Cushman Date A point or period of time associated with an event in the lifecycle of the resource [1917-1918] Type The nature or genre of the resource Still image Format The file format, physical medium, or dimensions of the resource image/jpeg Source A related resource from which the described resource is derived World War I Posters Collection Relation A related resource Digital Collections of the B&ECPL Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Early Twentieth Century (1900-1925) Rights Information about rights held in and over the resource Digital image copyright 2017 by the Buffalo & Erie County Public Library. Images in this collection are not to be used for any commercial purposes without the expressed written permission of the Buffalo & Erie County Public Library. Users of this website are free to utilize material from this collection for non-commercial and educational purposes. Language A language of the resource eng Contributor An entity responsible for making contributions to the resource Rare Book Room of the B&ECPL (repository) https://digital.buffalolib.org/files/original/616961ee27c8824ec93a306c92c15979.jpg 49b64fb44412bb71e11b3508103a8331 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ann Montgomery's Little Harlem Description An account of the resource The Little Harlem Club/Hotel on Michigan Avenue in Buffalo was owned and operated by Ann Montgomery from the 1930s through early 1960s, during which time Count Basie, Louis Armstrong, Billie Holiday and others performed. While this club coexisted with the Colored Musicians Club and other clubs like it in its time period, Ann Montgomery was the distinguishing factor. Montgomery’s style and business sense and the fact that she was an African-American businesswoman were the rare combination then that made her and the Little Harlem unique. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Little Harlem Band Creator An entity primarily responsible for making the resource (Not identified) Subject The topic of the resource Little Harlem Band African American musicians Description An account of the resource Group shot. Front row: Tootsie, Horcal, Skeet, Bob, Bill, Linda, Duke. Back row: unlabeled, six male musicians (Jimmie Perkins's band?). Signed "To a very fine cat 'Ole Shuffle swingly yours Skeet of the Maniacs." Three men in the center are the Three Rhythm Maniacs. Skeet plays bass, Bob ukulele, Billy guitar. Publisher An entity responsible for making the resource available Buffalo & Erie County Public Library (Publisher of digital) Date A point or period of time associated with an event in the lifecycle of the resource 1930-1939 Type The nature or genre of the resource Still image Format The file format, physical medium, or dimensions of the resource image/jpeg Source A related resource from which the described resource is derived Ann Montgomery's Little Harlem Relation A related resource Digital Collections of the B&ECPL Rights Information about rights held in and over the resource Digital collection copyright 2016 by the Buffalo & Erie County Public Library. This collection or portions thereof are not to be used for any commercial purposes without the expressed written permission of the Buffalo & Erie County Public Library. Users of this website are free to utilize material from this collection for non-commercial and educational purposes. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Mid-Twentieth Century (1925-1975) Language A language of the resource eng Contributor An entity responsible for making contributions to the resource Rare Book Room of the B&ECPL (repository) Local History Music https://digital.buffalolib.org/files/original/f6b077e463c0c0d43a12e8cfe9b40227.pdf 1ca94b9ba02972cc5d38115171d934e4 PDF Text Text Little Harlem Club Collection, Rare Books Room, Buffalo/Erie County Public Library Completed October 2013 by Alison Fraser, with support from the Riverrun Foundation. Brief overview of the physical holdings: The Buffalo and Erie County Public Library acquired the Little Harlem Club Collection in 2002. It includes a 4th anniversary program for Montgomery’s Hotel (342 Curtiss St.); a 14th anniversary program for the Little Harlem Club (494-496 Michigan Ave.), which is signed by many of its employees and musicians; a small poster for the Little Harlem Club; and 27 8”x10” photographs from inside the club and of entertainers, several of which are signed. These photographs seem to date from the mid- to late-1930s. The Collection also includes approximately 125 family photos, some of which were in a photo album, potentially of the Montgomery family. These photographs seem to date from the 1920s. While many people in the photographs have been identified, many more still need to be assessed. Brief overview of the significance of the Little Harlem: The Little Harlem Club was a keystone business in the African-American community in Buffalo, as an artistic venue, social meeting place, and political hub. The Little Harlem complemented Buffalo’s place on the Chitlin’ Circuit, the nation-wide jazz route, absorbing the influx of musicians and providing the launching pad for the careers of many significant musicians including Jean Eldridge, who sang for Duke Ellington; LeRoy “Stuff” Smith, jazz violinist; and orchestra leader Jimmie Lunceford. Ann Montgomery, one of the first female African-American business leaders in Buffalo, established and ran the club. She booked talented female bandleaders like Lil Armstrong and Sherdena Walker, and producers like Florence Hill. Aside Little Harlem Club Report 1 �from being a trailblazing business in Buffalo, the Little Harlem proved its worth to the business community by being successful through the Depression. Franklin D. Roosevelt invited its manager, Harold Tyler, to a national conference on business and the country’s economic situation, where Tyler made headlines. These photographs thus provide a look into the successful club itself as well as the intimate world of its owner. Recommendations: It is recommended that the photographs be stored in a different order and in different materials. The photographs that remain in the photo album should be removed and sorted into archivalgrade, acid-free storage folders. The library should attempt to purchase copies of the Buffalo Criterion from 1925-1952, and establish an agreement with the Buffalo Historical Society and the Colored Musicians Club Museum to jointly share images and materials. Disclaimer: This report does not offer a complete picture of the Little Harlem Club, much less the jazz scene in Buffalo in the 1920s and 1930s. The information assembled here is taken primarily from research in archives, newspapers, and other scholarly sources, and does not offer personal anecdotes, reminisces, or other more important sources of the history and life of the Little Harlem. In short, there is much work still to be done on the collection and the history of the Little Harlem. It is my hope that this report will offer the scaffolding for future projects— scholarly, creative, and personal alike. Little Harlem Club Report 2 �Brief history: The history of the Little Harlem Club offers insight into the burgeoning music scene in early-twentieth-century Buffalo and across the United States, as well as race and gender relations. The Little Harlem underwent several reiterations starting in 1910, when it was an ice cream parlor. It was at various times a Chinese-American restaurant, billiards hall, and musical venue until its destruction in a fire in 1992. Until her death in 1978, Ann Montgomery ran the Little Harlem. The photographs in the Grosvenor Room at the Buffalo/Erie County Public Library illustrate a small period of the life of the Little Harlem during its most productive years in the 1930s. Scenes from floorshows as well as signed portraits of performers dominate one half of the collection. The other half contains photographs of a wealthy family in Buffalo. The Little Harlem was well known in jazz circles across the United States. A special 1935 article on the club in the Chicago Defender, “Buffalo Has Red Hot Night Club,” proclaims that “[a]bout the hottest spot in town is Anne Montgomery’s ‘Little Harlem.’ . . . Chicago has its Grand Terrace and New York its Cotton Club, but Buffalo steps up for her claim to night life fame with Miss Montgomery’s swanky rendezvous for the pleasure-seekers. ‘Little Harlem’ [has a] marvelous show, fine bar and great band.” The article’s focus on Ann herself is notable: it reports that when customers enter the club, they immediately ask, “Where’s Anne?” “Anne’s place reflects Anne,” the article confidently reports. “This night club could be of no other kind with[out] Anne at the helm. Her technique—that is her flair for giving her guests correct entertainment[—]remind you of the late Texas Guinan” (2/2/35, 8). Tippy Tee, writer for the Chicago Defender, observed that “Ann Montgomery’s Little Harlem again showed itself to be the class of all nite clubs west of New York City. . . . [T]here are few in the big city that excel it” Little Harlem Club Report 3 �(“Florence Hill” 9/26/36, 21). Also known as “The Institution” and “The finest theatre restaurant in Buffalo,” the Little Harlem enjoyed accolades from many (“Willie Mae Lane” 23). In another special article in the Chicago Defender, “Buffalo Has Plenty of Hot Night Spots,” two Montgomery establishments, the Montgomery Hotel and Little Harlem, are two of three clubs singled out for praise (the other is the Vendome Hotel). The Little Harlem is “another famous landmark of joy, owned and operated by a most capable business woman” (“NYS; Little Harlem” 8/1/42, 10). Perhaps no other journalist captures the common feeling toward the club like entertainment writer Len Reed, who, after describing the current floorshow at the Little Harlem at length, concluded: “um um um Buffalo gets the best of everything” (4/24/37). According to the Polk Business Directories, Daniel Montgomery and his wife Ann (who is sometimes referred to as Anne or Anna) operated a saloon at 158 Exchange Street, the future location of one of two Montgomery Hotels. (The directories offer an individual’s occupation and where they reside, and little else.) Ann is not listed as a Montgomery in the directories until 1922, but she and Dan appear to have been together from at least 1920, when meeting minutes from musicians’ union Local 533 call her “Mrs. Montgomery.” Ann’s sole inclusion in these minutes suggests that by the early 1920s, she was the key operator of the Little Harlem. By 1923, Anna M. Montgomery is listed as working and residing at 496 Michigan Avenue, while Daniel is listed as working and residing at 158 Exchange Street. This information points in several directions: that the Montgomerys were experiencing marital difficulties; that they were so wealthy they each could maintain a separate address; or that there was some benefit, financial or otherwise, to listing separate residences. (The two locations are a 15-minute walk apart.) The next year, Ann is not listed at all, and Dan appears to have taken over the Little Harlem Club Report 4 �billiard parlor at 494 Michigan, which is also listed as his residence. For the next six years (1925-1931, excluding 1929), Ann is listed as owning and living at 494 Michigan, and they are both listed as owning the billiards parlor at 158 Exchange. In 1930, they acquired another property, 342 Curtiss, which became the second Montgomery Hotel. In 1930, Ann acquired the property next door to 494 Michigan, where she opened up a restaurant alongside her billiards parlor. However, in 1933, the billiard parlor at 494 Michigan is listed as a restaurant owned by Joseph Green of 1101 William St. It is unclear what happened in this year, but possibly financial difficulties caused by the Great Depression (1929-1939) could be the reason for this brief change in ownership. It is only in 1941 that the Polk Business Directory lists the Little Harlem by that name, though it had been known by that moniker since the 1920s. By the 1940s, it had a seating capacity of 350 with a dancing area, making it the largest nightclub in the area. Dan Montgomery was “said to be the wealthiest” African-American in Buffalo (Campbell 7/24/37). Given their financial success, it is not surprising that Dan and Ann were taken to long driving cruises, which were frequently reported by the papers. Cars and filling stations also figure prominently in the family snapshots. In 1919, they brought out their new McLaughlin, likely a Buick H-45, the company’s most popular touring vehicle that year. The next year, they spent seven months on the road to Mexico by way of Chicago. In 1940, after their divorce, Ann was spotted driving her luxury Parkard with companions around Buffalo. The Montgomerys enjoyed sharing their success with their employees and friends. Ann hosted a picnic, possibly recorded in the photographs, on the fourth of July, 1937, for all employees of the Little Harlem. The outing, held at Como Lakes, included “canoeing, swimming, ball games” and many other events” (“July 24, 1937” 18). Ann held gatherings at her Little Harlem Club Report 5 �country estate in Wanakaha, where guests enjoyed “motor boat[ing], fishing and swimming . . . [at her] private beach” (Campbell, “Add NY” 21). Ann also spent much on the Little Harlem itself. The interior of the club was rich: tinted walls and draped ceilings were a nod to the so-called “Oriental effect” popular in the 1930s, and the “unique bandstand” that invoked “a night in Wonderland” was designed by Ann (“Mae Johnson” 8). The club was redesigned by Kampoulis in time for the eighth anniversary in 1936 (Tee, “Florence Hill” 21). In 1942, the club was redecorated again, this time with “many new ovations, including a circle bar, [a] streamlined chromium plated cocktail lounge in pastel shades and a galaxy of personable lady attendants” (“New York State; Little Harlem” Aug 1, 1942, 10). Ann and Dan were divorced by 1938, when Dan is listed as residing with a woman named Mildred. Somewhat surprisingly, there was speculation in the early 1940s that the pair would soon reunite, but the wedding ring spotted on Ann’s finger may have been that from her marriage to Paul Woodson, whom she married some time in the early 1940s, around the same period that he became manager of the Little Harlem (“NYS; Little Harlem” 8/1/42). Before he moved to Buffalo, Paul was stationed on an Army Air Force base in Tuskegee, Alabama. Ann later sat for a portrait at Tuskegee after their marriage (this photograph is located in the Buffalo Historical Society Research Library). Paul was a descendent of President Thomas Jefferson and Sally Hemings (Woodson 148). Ann died in 1978 at the age of 87. She ran the Little Harlem in some capacity for 68 years. Born in Georgia, she lived in Los Angeles and Texas before moving to Buffalo in 1910, the year she opened the ice cream parlor. Her sister, Mamie Ellis, also moved to Buffalo and operated the jazz club the Gallant Fox until her death in December 1956. She had lived in Buffalo since the 1920s, when she moved here from Los Angeles. Her residence at time of death Little Harlem Club Report 6 �is listed at Lake Shore Road in Wanakah, Ann’s summer residence. Surviving family at the time lived in California and Georgia; Ann was the only one from Buffalo. Relationship with Local 533: In order to understand the Little Harlem’s contribution to the local cultural scene, it is important to discuss Local 533, the African-American musicians’ union in Buffalo. Local 533 required each black musician to sign in upon arrival in Buffalo and served as the liaison between musicians and venues. Local 533, the only local for African-Americans, was particularly successful in comparison to other locals in New York State, even during the Depression. While musicians traditionally had secured work playing in movie theaters as the musical score, the invention of talkies with film scores was making this line of work obsolete. Nevertheless, at the New York State Musicians Conference held on September 24, 1933, Local 533 was nearly alone in its positive report of its status: “membership hold[s] steady,” the report reads, and the “Finances of [the] Local [are] good. Doing fairly good business” (2). More typical accounts from other locals reported that “business [is] quiet” or that they have experienced a “seventy-five percent drop in membership” and the “Depression [is] felt much” (NYS Musicians Conf. 3). Speakeasies like the Little Harlem that operated during Prohibition opened up new avenues of work for musicians and helped contribute to the Local’s unique success. While there were conflicts between the Local and the club, both establishments enjoyed a mutually beneficial relationship, and in 1938 the Local held their annual banquet at the Little Harlem. The Buffalo 1920s labor movement “was small and, for the most part, unenthusiastic about black membership” (Watkins 93). (It is not incidental that Buffalo’s KKK chapter was established during the same period.) Music was the exception, and this trend predated the 1920s. Little Harlem Club Report 7 �In Buffalo, the African-American population was less than 1% of the total population in 1917 (Lee and Lee 5). Additionally, very few businesses were owned by African-Americans: for instance, in 1905 only 11 African-American women (2% of the African-American population) were successful business owners; in 1915—after Ann Montgomery began her business venture in 1910—this number increased to 23 (3.3%) (Williams, “Development” 161, 162). As Charles S. Johnson, Director of Research for the National Urban League, put it in 1923, opportunities for African-American women “are ridiculously low” (54). An early 1923 article in Opportunity: A Journal of Negro Life (a journal that Johnson edited), “Opportunities for the Educated Colored Woman,” written by Eva D. Bowles, elucidates on Johnson’s pronouncement: The World War bridged over many years in woman’s economic development and along with all women the Negro woman was given a chance and she made good. This fact has given her courage and strength to take no backward steps, but go on thru the doors already open and with the creative power with which she is so richly endowed, press on into other realms [besides teaching]. She will have the wisdom to minimize her handicaps, by thorough preparation, with the cultivation of a pleasing personality, with the developing power to think straight, by an appreciation of true values and with the power of adaptability. Thru rich experience and growing patience will come poise, balance and charm of ideal woman leadership. (10) However, by 1925, 13% of African-American women owned their own businesses (Williams, “Development” 173). As Ann was not only a major entrepreneur but also a trailblazer in the African-American community, it would not be unfair to suggest that her success contributed to the rising number of African-American women business owners in the mid-1920s. In the early Little Harlem Club Report 8 �1940s, Ann was first rumored to have sold the business to Dan, and then limited floorshows to the weekend, but the Little Harlem never went out of business under her leadership (“Late Stage” Nov. 4, 1939, 20; “New York State; Little Harlem” 10). Legal Battles: The Little Harlem had occasional brushes with the law, including in the ongoing war between mobsters and the police in the 1930s. Perhaps the most notorious event involved Joe DiCarlo, Jr., Buffalo’s Public Enemy No. 1, and a Buffalo Police captain, Daniel G. Regan, who “was suspended and fired in May 1938 for ‘soliciting business for Joe DiCarlo’ when he was caught trying to get a DiCarlo vending machine into the Little Harlem restaurant” (Rizzo 24). On the basis of testimony given by Little Harlem manager Harold Tyler, Commission McClellan convicted Regan of asking Tyler to “place a DiCarlo controlled coin phonograph in the establishment” (“Buffalo Police Official” 24). The Little Harlem and its proprietors were not seen by the Buffalo Police as at fault for the DiCarlo incident, but it did experience police conflicts over liquor: Prohibition (1920-1933) forced the saloon owners to turn to selling non-alcoholic soft drinks, at least officially. Prohibition Officers raided the Little Harlem several times in 1930. One raid on New Year’s Eve netted a “small quantity of gin and whisky” (“Dry Men Make Score” 1/1/30, 7). Ann was cited, along with two bartenders, George Todd and William Harris. Little Harlem clientele were characterized, according to popular reports of the time, as a “crowd of whoopee makers,” among whom included “a number of the city’s so-called elite, out ‘slumming.’” Another raid two weeks later included the seizure by federal agents of “furniture and fixtures valued at more than $20,000 [$279,755 today]” (“Little Harlem to Ask” 1/16/30, 4). Ann was arrested and released Little Harlem Club Report 9 �on bail; a Buffalo Courier-Express article gives her occupation as “housewife” (“Dry Agents Dismantle” 1/13/30, 13). Maynard Johnson, a waiter, and Harris were also arrested. The raid was suspiciously carried out: while federal agents had a search warrant, based on the allegation that whisky had been purchased in the club, they did not find any alcohol. However, they divested the club of its furnishings, including “the silk drapes and the frosted panels and the glittering piano and all the rest of the furnishings of the downstairs.” This piano is pictured in many of the collection’s photographs, and is noted in Ann’s obituary as being the most expensive bought in Buffalo. Musicians of the Little Harlem: Jazz violinist LeRoy “Stuff” Smith managed first the Little Harlem, then the Montgomery Hotel at 342 Curtiss from at least 1935-1937, and was intimately involved with the Montgomery chain of hotels and restaurants. Originally hired to play during radio broadcasts, Smith was “later hired steady” (Meeting Minutes, 15 Nov. 1930). While engaged to play at the Little Harlem, Stuff Smith met his future wife, Miriam Harris (“Duke and Cab”). He and his wife appear in the frontispiece of the 4th anniversary program of the Montgomery Hotel. Local 533 had a sometimes-tempestuous relationship with “Stuff” Smith, who found himself in the middle of a battle between hired musicians at the Little Harlem and Ann Montgomery. In 1930, orchestra leader Mathew Harlon complained that he “was continually annoy[ed] with instructions from both bosses of Little Harlem how to manage the orchestra” (13 Nov. 1930). Harlon had been asked by one boss, Willis Harris, to fire the tenor saxophonist Milton Stubbs, but had refused to do so. The minutes end ominously: “Since conditions at Little Little Harlem Club Report 10 �Harlem appeared to be so bad the Board decided to have members of the former band and present leader of the band now there appear for questioning” (13 Nov. 1930). At the meeting two days later, members of the local came forward to testify. Harlon testified that Ann had agreed to let him give Stubbs another chance, although he would not be paid for the probationary period. However, Harlon explained, Ann had arranged for James Bell to take over for Stubbs, since she “wanted the pick of the best players in town and did not like the use of tuxedos” (15 Nov. 1930). When questioned by the band, Ann explained, “Red [Roscoe Simmons] was the Leader and she did the hiring and firing and that the leader was more of a medium” (15 Nov. 1930). With the former band out of the way, LeRoy Smith’s “were to stay, and . . . he did not think he was taking the job in violation of any laws.” Further, Smith “stated that he knew certain men were to get thru [sic] but didn’t think it his duty to let them know, and that he was working for Anna and not Harlon and was hired by Anna” (15 Nov. 1930). Two days later, the Board ruled against LeRoy Smith for his maleficence. Lil Hardin Armstrong, who was married to trumpeter Louis Armstrong, is credited creating with his name by first insisting that he become a solo act and then promoting his talent. Lil was a respected musician and bandleader in her own right, and developed her orchestra at the Little Harlem after her separation from Louis. Before her Little Harlem orchestra, she led two all-female groups. Eventually she took over “Stuff” Smith’s orchestra at the Little Harlem (c. 1933-1935). This takeover happened through an agent, who asked Stuff Smith’s band if they would like to leave him for Lil. According to an interview with jazz historian Sally Plackson, George Clarke, tenor saxophonist, succinctly explained the event: “Well, the whole band quit Little Harlem Club Report 11 �Stuff and went with Lil” (61). The band played together, as is pictured in one of the photographs in the collection, until Lil left to return to Chicago as a solo artist in 1935. Aside from a signed portrait of Lil, there is a performance shot of her with her orchestra and other members of the show in the Little Harlem Club Collection. The signed headshot is dated from 1935, which suggests that the performance picture with the band is also from this year. The entire band, along with Lil in her signature outfit of a top hat, white silk dress, baton, and curled hair, can be seen in this photograph. Trombonist Milt Robinson, drummer Johnny Washington, bassist Sylvester Turpin, and pianist Jimmy Sherman can be seen from left to right in the top row. Trumpeters Jonah Jones, Sleepy Tomlin, and Henry Clay, guitarist Luke Stewart, and saxophonists Al Williams, Al Gibson, Teddy McRae, and George Clarke can be seen in the front row. It could be argued that Jimmie Lunceford’s career was launched at the Little Harlem, even though he had played all over the United States before his arrival in Buffalo. But it was here that he formed the orchestra that he hit it big with. Lunceford moved to the city in 1931 (McRae 48). As Lunceford explains in 1934 during his first interview, Buffalo was the turning point in my story. While in Buffalo I ran across a few of the men who were in my first band. The idea hit us all at the same time, for within three weeks we had contacted the other fellows and we had formed another band. We tried out in Buffalo and seemed to go pretty big. We avoided as much as possible the old type band which played nothing but “Tiger Rag” and featured a clarinet that pierced your ear-drums. I was out for something different. (Tucker 8-9) Little Harlem Club Report 12 �In 1934, the thirteen-piece band went on tour (Ellis, “Orchestra”). A few months later, in 1935, Lunceford added two men and traded out another, so the photo in triplicate in the collection must date from 1934 (“Under Radio”). Two are signed, one to the Check Room attendant and sometime-dancer Lena Bell Thomas (who is pictured in another photograph in the collection holding a doll), the other to someone named Humphrey. (Lena was also sometimes featured as a matinee dancer [Campbell, “Buffalo” 2/11/39]). The third is unsigned. Pictured in the photograph, in the front row, left to right, are: trumpeters Sy Oliver, Eddie Tompkins, and Thomas Stevenson (order not yet determined); pianist Edward Wilcox; saxophonist and leader Jimmie Lunceford (standing); alto saxophonist William (Willie) Smith; saxophonists Joe Thomas and Earl Carruthers (order not yet determined). In the back row, from left to right, are: trombonists Russell Bowles and Henry Willis (order not yet determined); drummer James Crawford; guitarist Al Norris; and bassist Mose Allen (Ellis, “The Orchestra” 8). There is a fourth portrait of Jimmie Lunceford’s orchestra, also signed, but this one contains only four members. None of the men in the photo are holding a saxophone, Lunceford’s instrument, and none wear a black necktie with the orchestra’s uniform white necktie, as Lunceford does in the three group photos. Bassist Mose Allen, guitarist Al Norris, and pianist Edward Wilcox can be positively identified; drummer James Crawford, despite his washed-out face in this photograph, seems to appear as well. The photograph is signed from Jimmie Lunceford and dated to 1934, but underneath reads another inscription in different ink: “To my old Pal.” The rest of the signature is illegible. Among other high-profile engagements, the orchestra was selected to play on the same bill as Guy Lombardo and His Royal Canadians at the 1931 Navy Ball at Cornell University (“Lunceford” 5/16/31, 5). In 1935, the orchestra swapped Little Harlem Club Report 13 �out two players and added two others, suggesting that the photographs in the collection must be from before 1935 (“Jimmie Lunceford’s Band” 1/19/35, 8). One of the most striking photographs in the collection shows a scene on a desert island: a woman painted in gold steps out of a box, while a sailor holding back a bulldog reaches for her in desire and fear. They are flanked by six Harlemnette dancers and Jimmy Perkins and his orchestra. A description of the scene appeared in the Chicago Defender in 1937: The middle number featuring Abdeen Ali and Ravida is so dramatic and aweinspiring that one wonders if the magic hand of Cecile De Mille [sic] has not been waved over its production. The poignant story of a shipwrecked sailor on a deserted island meeting island girls after being on the island for months alone moves with a finesse to a dramatic finish to a death scene that the master Eugene O’Neil [sic] could not have portrayed in a finer fashion. (“Willie Mae Lane” 23) Invoking the great film director and producer Cecil B. DeMille to illustrate the scene, the Defender journalist points to the flamboyance and showiness characteristic of his films— something that comes through even in this still shot. The reference to Eugene O’Neill suggests the tragic and perhaps pessimistic ending, but this is not apparent in this photograph. Journalist Tippy Tee wrote in the Defender a month later of the revue, noting the visit by famed singer, composer, and saxophonist Rudy Vallée to the Little Harlem. Vallée is known for his rendition “Life Is Just a Bowl of Cherries” and, in Maine at least, for composing “The Stein Song,” otherwise known as the University of Maine fighting song. Tee compares Ravida’s daring entrance from the box to Sophie Tucker, known for her risqué songs: Little Harlem Club Report 14 �Rudy must have thought we had bronzed Sophie Tucker for this occasion. This four star special should go far. Abdeen Ali, Ravidi, Jean Eldridge and those beautiful Harlemnettes complete a revue that is so powerfully good that it would have stopped the Ohio river during the flood era. Sherdena Walker’s band moves out this week after a six months’ engagement. . . . You have the finest show band in the business today. This girl has kept her band working steadily for the past three years. She is a real leader. (Tee, “Shelton Brooks” 20) Tee’s article helps explain why it is Jimmy Perkins’s orchestra in the photo, rather than Sherdena Walker’s, who opened the show’s run, since the photo must have been taken after she departed. Her mention here is notable for other reasons, particularly Tee’s emphasis on Walker’s skill as a leader who has kept her band together and profitable during the Depression. Several years later, Abdeen Ali and Ravida made the papers again, but instead of receiving praise, they were charged with indecency, possibly for a largely similar act. Brought before Judge S. Dougherty in Chicago, the pair appeared before his honor on a charge of indecent exhibition made by Jessie Buford of the Crime Prevention Bureau. The dancers were arrested . . . in the wee hours of October 5 at Club DeLisa where they are featured. Judge Dougherty, after hearing the complaint against the dancers, related that the previous night he had attended a local theatre and had seen women from a far eastern island with the upper part of their bodies exposed and he saw no reason for condemning the Beachcombers act. (“Dance Act” Oct 18, 1941) Little Harlem Club Report 15 �Many more musicians, dancers, producers, and other performers graced the Little Harlem, and several of them are pictured in the Little Harlem Collection. Gladdess Ellis, billed as a Virgin Island shake dancer, is pictured in at least one of the photographs in the collection. She signed the picture sometime in the 1930s (the year is unclear), which was taken in the lobby of the club. From Chicago’s Swingland Café, Gladdess was a star dancer (“At Ann’s” 19). MC Lovin’ Sam Theard wrote the song “Rascal You,” which became a Louis Armstrong hit (Hayes 6/9/34). Hertell Collins, “shapely hipstress,” had previously appeared at Skoller’s Swingland Café in Chicago, and is featured in the fourteenth anniversary program (“S.H. Dudley” 10/9/37, 11). Helen Carter, whose autographed headshot is in the collection, wrote to Bob Hayes letting him know “that she can again see the sidewalks of Buffalo” (Hayes 4/6/40, 21). While it cannot be proven that the following incident happened at the Little Harlem, it did involve players associated with the club, and bears telling. Sometime in the 1940s at the “leading theatre in Buffalo,” Duke Ellington’s orchestra was playing a show “when suddenly the audience’s attention [w]as diverted”: A short, sturdily built man, so boyish-looking that an estimate of his age would be difficult, came out of the wings, walking with his shoulders erect, his hat on his head, a topcoat folded neatly over his arm. Obviously, the newcomer was not part of the scheduled act. He moved quietly behind the musicians, carefully laid his coat on an empty chair, took off his hat, placed it on top of the coat, sat down in another empty chair on the bandstand and calmly went to sleep. A wave of curious amazement went through the audience. There was no curiosity or amazement on the part of Maestro Ellington or his musicians. Little Harlem Club Report 16 �After one glance at the little man they all continued as if nothing had happened. Throughout the ninety minute show, Billy Strayhorn sat on the stage, sleeping peacefully as a baby. (Duckett 7) Strayhorn, a long-trusted confidante and collaborator of Ellington’s, composed “A Train,” “Lush Life,” “Day Dream,” and “Something to Live For.” George Arthur thinks this scene occurred at Shea’s Buffalo, given the duration of the show. Strayhorn was gay, and Ellington shielded him from the homophobia prevalent at the time. The Little Harlem itself was welcoming to lesbians, as well as many other nightclubs in the Jazz Triangle, as recorded by Elizabeth Kennedy and Madeline Davis. One frequent patron Kennedy and Davis interviewed, named only as Arden, explained that “it was free and open and there was no pretense” (36). Arden had fond memories of Ann, who would toss mail out the window and ask her to take it to the post box. In thanks, Ann would tell Arden, “Go into the bar and ask George [the bartender] to give you what you want.” “Ann Montgomery was a dynamic woman with a colorful reputation. One night she even referred publically to Arden as a lesbian,” as Arden recounts: “There was a whole slew of people at the bar and Ann came in and told the bartender to give everyone a drink. . . . The bartender hesitated when he got to me and Ann said, ‘Yes, give that lesbian a drink too.’ I nearly died” (37). Jean Eldridge was launched to larger fame at the Little Harlem and under the personal direction of the manager, Harold Tyler. A reporter prophetically announced that Eldridge is a “singing sensation that is bound to reach Broadway” (“At ‘Lil Harlem’” 19). Eldridge was discovered in Buffalo by Duke Ellington in 1938; by the end of August, she had signed with him for radio performances and recordings. Ellington proclaimed her “as one of the finest voices he Little Harlem Club Report 17 �has ever come across” (“The Duke” 8/27/38, 18). Eldridge, “thrush-voiced singer,” has a “heartwarming personality” that makes her “the foremost singing star of the day.” Not “just another singer, [Eldridge is] an artist with secure knowledge of an ability to paint a graphic picture with words and music” (“Jimmie Perkins” 6/4/38, 19). Little Harlem and the national stage: Harold Tyler, manager of the Little Harlem throughout the 1930s, was invited by the Secretary of Commerce Daniel C. Roper to participate in the Small Business Men’s Conference “at which 600 ‘small business men’ were asked to tell what they thought was wrong with the country”—one of two businessmen from Buffalo asked to attend. Tyler was also president of the popular men’s club, the Adelphos Breakfast Club, and the Café Owner’s Protective Association, which covered Cleveland, Detroit, Pittsburg, and Buffalo and was based out of Buffalo (Campbell “Buffalo” 8). At the Small Business Men’s Conference, Tyler “gave an impressive talk. He urged the fixing of tax and wage scales to fit the individual’s business instead of the present methods,” and the Chicago Defender speculated that he “[m]ay talk with FDR.” After the conference session, it was anticipated that twelve men from the conference would be selected to present their findings to FDR. Tyler had strong critiques of the administration. “‘The government,’ [Tyler] explained to Secretary Roper, ‘uses the same yardstick for both the big and the small businessman. For instance, our wages are based on the seating capacity of our club. Small businessmen should not be taxed on the basis of comparison made in larger restaurants or industries. Small businessmen are not interested in the undistributed profits tax because most small businessmen haven’t made any profit. Wage scales should be fixed on the present condition of an individual’s business rather than on a nation-wide scale.’” Little Harlem Club Report 18 �(“Night Club Head” 4). Tyler’s remarks earned him nationwide attention and even acknowledgement from President Roosevelt, who was reported to have commented, “That fellow from Buffalo must be pretty smooth.” The conference had decided not “to submit a minority report to the president”; Tyler, disagreeing with this report, wrote his own and gave it to FDR’s butler, who passed it on to the president. “Questioned about his success in getting his views before the chief executive, Tyler smiled. Evidently pleased at the compliment paid him by President Roosevelt, Tyler said, ‘The President’s always right, isn’t he? I don’t want to disagree with the President.’ Tyler’s report, it has been learned, differed slightly from the second minority report the President received because it included some recommendations regarding Race business. Chief among Mr. Tyler’s suggestions were development of Race industry; unemployment; wage and hour improvement for Race workers; solution of the Race’s housing problem; and control of installment buying” (“Tyler’s Views” 7). Little Harlem Club Report 19 �Works Cited Arthur, George. Interview. Nash House, Buffalo, NY. 9 Sept. 2013. “At Ann’s.” Chicago Defender 22 Oct. 1938: 19. “At ‘Lil Harlem.’” Chicago Defender 30 April 1938: 19. Bowles, Eva D. “Opportunities for the Educated Colored Woman.” Opportunity: A Journal of Negro Life 1.3 (Mar. 1923): 8-10. “Buffalo.” Chicago Defender 21 June 1919. “Buffalo Has Plenty Hot Night Spots.” Chicago Defender 30 April 1938: 18. “Buffalo Has Red Hot Night Club.” Chicago Defender 2 Feb. 1935: 8. “Buffalo Police Official Fined and Transferred.” The Niagara Falls Gazette 9 May 1938: 24. Campbell, William. “Add NY 5 Star.” Chicago Defender 19 Sept. 1953: 21. --. “Buffalo.” Chicago Defender 11 Feb. 1939. --. “New York, Buffalo.” Chicago Defender 24 Oct. 1936: 8. --. “New York State News.” Chicago Defender 24 July 1937: 18. “Dance Act Not Indecent Says Judge.” Chicago Defender 18 Oct. 1941. “Dry Agents Dismantle Little Harlem Resort.” Buffalo Courier-Express 13 Jan. 1930: 13. Duckett, Alfred. “Duke Ellington Employs a ‘Stray Horn’ Not as Instrument—As an Arranger; Billy, The Kid With Odd Name, Big Help to Band.” Chicago Defender 21 Aug. 1954: 7. “Duke and Cab Have Rival; His Name Is ‘Stuff’ Smith.” Chicago Defender 29 Feb. 1936: 8. “The Duke with a New Vocalist.” Chicago Defender 27 Aug. 1938: 18. Ellis, Jack. “The Orchestra.” Chicago Defender 13 Oct. 1934: 8. Hayes, Bob. “Here and There.” Chicago Defender 9 June 1934: 8. --. “Here and There.” Chicago Defender 6 April 1940: 21. Little Harlem Club Report 20 �“Jimmie Lunceford’s Band To Tour Under Radio Chain.” Chicago Defender 19 Jan. 1935: 8. “Jimmie Lunceford’s Band Will Start Tour; Fights with Mills.” Chicago Defender 8 Dec. 1934: 8. “Jimmie Perkins and Jean Eldridge Praised by Fans.” Chicago Defender 4 June 1938: 19. Johnson, Charles S. The Negro in Buffalo: A Social Survey with Special Emphasis upon Industrial Relations. Buffalo, NY: 1927. “July 24, 1937.” Chicago Defender 24 July 1937: 18. Kennedy, Elizabeth Lapovsky and Madeline D. Davis. “‘I Could Hardly Wait to Get Back to that Bar: Lesbian Bar Culture in Buffalo in the 1930s and 1940s.” Creating a Place for Ourselves: Lesbian, Gay, and Bisexual Community Histories. Ed. Brett Beemyn. New York: Routledge, 1997. 27-72. “Late Stage.” Chicago Defender 4 Nov. 1939: 20 Lee, Patti Meyer and Gary. Don’t Bother Knockin’ . . . This Town’s a Rockin’. Buffalo, NY: Buffalo Sounds Press, 2001. “Little Harlem to Ask Return of Furnishings.” Buffalo Courier-Express 16 Jan. 1930: 4. “Lunceford to Be With Lombardo at Cornell Univ.” Chicago Defender 16 May 1931: 5. “Mae Johnson Goes Great In Buffalo.” Chicago Defender 16 Feb. 1935: 8. McRae, Richard Kenneth. “Musicians Associated Local 533.” Thesis. Buffalo State University, 1993. Meeting Minutes. Local 533 13 Nov. 1930. Buffalo State University Special Collections. --. Local 533 15 Nov. 1930. Buffalo State University Special Collections. --. Local 533 17 Nov. 1930. Buffalo State University Special Collections. “Mr. and Mrs. Montgomery in City.” Chicago Defender 21 Feb. 1920. Little Harlem Club Report 21 �“Mrs. Mamie Ellis Passes Away.” Buffalo Criterion 22 Dec. 1956. “New York State; Little Harlem.” Chicago Defender 1 Aug. 1942: 10. “Night Club Head Tells What’s Wrong with Us.” Chicago Defender 5 Feb. 1938: 4. “S.H. Dudley Is Little Harlem Hit Producer; New Show Lauded By Press and Patrons As Being Spot’s Best.” Chicago Defender 9 Oct. 1937: 11. Tee, Tippy. “Florence Hill Presents Gala Show at Little Harlem Nitery in Buffalo, N.Y.” Chicago Defender 26 Sept. 1936: 21. --. “Shelton Brooks Stars At Nan’s Buffalo Nitery; Rudy Vallee Was Composer’s Guest Last Week.” Chicago Defender 27 Feb. 1937: 20. Plackson, Sally. American Women in Jazz: 1900 to the Present. New York: Seaview Books, 1982. Polk Business Directories. 1910, 1914-1916, 1918-1928, 1930-1942. Reed, Ren. “‘Drums Of Haiti’ Was Well Acted By Roxane Players Declaires ‘Lucky Len’ Reed; Leon Smith was the Star, and Good, Says Len.” Chicago Defender 24 April 1937. Rizzo, Michael F. Gangsters and Organized Crime in Buffalo: History, Hits and Headquarters. Charleston, SC: The History Press, 2012. Tucker, Edith. “Jimmie Lunceford, Ex-Fisk Grad Ace Captures Harlem.” Chicago Defender 23 June 1934: 8-9. “Tyler’s Views on Business Given to F.D.; Uses President’s Butler to Present Report for the Race.” 12 Feb. 1938: 7. Watkins, Ralph Richard. “Black Buffalo 1920-1927.” Diss. University at Buffalo, 1978. Williams, Lillian Serece. “The Development of a Black Community: Buffalo, NY, 1900-1940.” Diss. University at Buffalo, 1979. Little Harlem Club Report 22 �“Willie Mae Lane Stars in Buffalo’s Little Harlem.” Chicago Defender 30 Jan. 1937: 23. Woodson, Byron W. Sr. A President in the Family: Thomas Jefferson, Sally Hemings, and Thomas Woodson. Westport, CT: Praeger, 2001. Little Harlem Club Report 23 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ann Montgomery's Little Harlem Description An account of the resource The Little Harlem Club/Hotel on Michigan Avenue in Buffalo was owned and operated by Ann Montgomery from the 1930s through early 1960s, during which time Count Basie, Louis Armstrong, Billie Holiday and others performed. While this club coexisted with the Colored Musicians Club and other clubs like it in its time period, Ann Montgomery was the distinguishing factor. Montgomery’s style and business sense and the fact that she was an African-American businesswoman were the rare combination then that made her and the Little Harlem unique. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Little Harlem Club Collection : Rare Books Room, Buffalo & Erie County Public Library Creator An entity primarily responsible for making the resource Fraser, Alison (Author) Description An account of the resource Report researched and presented by 2013 Riverrun Foundation intern Alison Fraser. Date A point or period of time associated with an event in the lifecycle of the resource 10-2013 Subject The topic of the resource Little Harlem Club (Buffalo, N.Y.) Little Harlem Band Little Harlemettes Montgomery, Ann. Source A related resource from which the described resource is derived Ann Montgomery's Little Harlem Publisher An entity responsible for making the resource available Buffalo & Erie County Public Library (Publisher of digital) Contributor An entity responsible for making contributions to the resource Riverrun Foundation Relation A related resource Digital Collections of the B&ECPL Format The file format, physical medium, or dimensions of the resource Text/pdf Type The nature or genre of the resource Text Rights Information about rights held in and over the resource Digital collection copyright 2016 by the Buffalo & Erie County Public Library. This collection or portions thereof are not to be used for any commercial purposes without the expressed written permission of the Buffalo & Erie County Public Library. Users of this website are free to utilize material from this collection for non-commercial and educational purposes. Language A language of the resource eng Local History Music https://digital.buffalolib.org/files/original/f0b9bc52e35db998f8cecfe0687bb7ce.jpg 3b19a207102380caf451ad64d48780d1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ann Montgomery's Little Harlem Description An account of the resource The Little Harlem Club/Hotel on Michigan Avenue in Buffalo was owned and operated by Ann Montgomery from the 1930s through early 1960s, during which time Count Basie, Louis Armstrong, Billie Holiday and others performed. While this club coexisted with the Colored Musicians Club and other clubs like it in its time period, Ann Montgomery was the distinguishing factor. Montgomery’s style and business sense and the fact that she was an African-American businesswoman were the rare combination then that made her and the Little Harlem unique. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Little Harlem group performance shot Creator An entity primarily responsible for making the resource J.N. Erhart (Photographer) Subject The topic of the resource Little Harlem Band Little Harlemettes African American musicians Women dancers African American dancers Description An account of the resource Group performance picture. Six female dancers, two male. Two couples. Seven piece band. Taken by J. N. Erhart, Commercial Photographer. Gladdess (first dancer from the left). Jean Eldridge, woman in black dress. Eugene Adams, pianist; Wendel Arter, bass (second from right); Jimmie Perkins, drums (first from right). Front Row (left to right): Two dancers, possibly Teddy and Bobby Drinkard. Middle Row: Three dancers; possibly Emory Evans; Jean Eldridge, singer; unknown couple; three dancers. Back Row: Jimmie Perkins and His New Yorkers. Buster Harding?, Marvin Gill, Lee Hilliard, saxophone; Henry Clay, trumpet; Eugene Adams, piano; Wendel Arter, bass; Jimmie Perkins, drums. Publisher An entity responsible for making the resource available Buffalo & Erie County Public Library (Publisher of digital) Date A point or period of time associated with an event in the lifecycle of the resource 1930-1939 Type The nature or genre of the resource Still image Format The file format, physical medium, or dimensions of the resource image/jpeg Source A related resource from which the described resource is derived Ann Montgomery's Little Harlem Relation A related resource Digital Collections of the B&ECPL Rights Information about rights held in and over the resource Digital collection copyright 2016 by the Buffalo & Erie County Public Library. This collection or portions thereof are not to be used for any commercial purposes without the expressed written permission of the Buffalo & Erie County Public Library. Users of this website are free to utilize material from this collection for non-commercial and educational purposes. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Mid-Twentieth Century (1925-1975) Language A language of the resource eng Contributor An entity responsible for making contributions to the resource Rare Book Room of the B&ECPL (repository) Local History Music https://digital.buffalolib.org/files/original/63aa1348ef336579f10affa6ed87b8e0.jpg 9718e5f57e4f58c72167f110ada4dbc5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ann Montgomery's Little Harlem Description An account of the resource The Little Harlem Club/Hotel on Michigan Avenue in Buffalo was owned and operated by Ann Montgomery from the 1930s through early 1960s, during which time Count Basie, Louis Armstrong, Billie Holiday and others performed. While this club coexisted with the Colored Musicians Club and other clubs like it in its time period, Ann Montgomery was the distinguishing factor. Montgomery’s style and business sense and the fact that she was an African-American businesswoman were the rare combination then that made her and the Little Harlem unique. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Little Harlem professional performance shot Creator An entity primarily responsible for making the resource J.N. Erhart (Photographer) Subject The topic of the resource Little Harlem Band Little Harlemettes African American musicians Women dancers African American dancers Description An account of the resource Professional performance shot. Seven female dancers (one nude, coming out of a box), one male dancer holding a bulldog. Seven piece band. Front Row: Abdeen Ali, Ravida [possibly]. Middle Row: Six Little Harlem Club dancers; Gladdess (first dancer from the right). Back Row: Jimmie Perkins and His New Yorkers. Buster Harding (?), Marvin Gill, Lee Hilliard, saxophone; Henry Clay, trumpet; Eugene Adams, piano; Wendel Arter, bass; Jimmie Perkins, drums. Taken by J. N. Erhart, Commercial Photographer. Publisher An entity responsible for making the resource available Buffalo & Erie County Public Library (Publisher of digital) Date A point or period of time associated with an event in the lifecycle of the resource 1930-1939 Type The nature or genre of the resource Still image Format The file format, physical medium, or dimensions of the resource image/jpeg Source A related resource from which the described resource is derived Ann Montgomery's Little Harlem Relation A related resource Digital Collections of the B&ECPL Rights Information about rights held in and over the resource Digital collection copyright 2016 by the Buffalo & Erie County Public Library. This collection or portions thereof are not to be used for any commercial purposes without the expressed written permission of the Buffalo & Erie County Public Library. Users of this website are free to utilize material from this collection for non-commercial and educational purposes. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Mid-Twentieth Century (1925-1975) Language A language of the resource eng Contributor An entity responsible for making contributions to the resource Rare Book Room of the B&ECPL (repository) Local History Music https://digital.buffalolib.org/files/original/87139e08bac1e50696cb59f657732073.jpg 6eb1846aae62ef6963e2318b3666cce7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ann Montgomery's Little Harlem Description An account of the resource The Little Harlem Club/Hotel on Michigan Avenue in Buffalo was owned and operated by Ann Montgomery from the 1930s through early 1960s, during which time Count Basie, Louis Armstrong, Billie Holiday and others performed. While this club coexisted with the Colored Musicians Club and other clubs like it in its time period, Ann Montgomery was the distinguishing factor. Montgomery’s style and business sense and the fact that she was an African-American businesswoman were the rare combination then that made her and the Little Harlem unique. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Little Harlemettes Creator An entity primarily responsible for making the resource J.N. Erhart (Photographer) Subject The topic of the resource Little Harlemettes Women dancers African American dancers Description An account of the resource Group performance picture. Six female performers, one male. Taken by J. N. Erhart, Commercial Photographer. Backdrop is painted like downtown Buffalo with Mayfair Hotel and advertisements for Eddie's Auto Service, Century Cab, Burns Bros. Suits 449 Main St., "Visit Little Harlem Buffalo's Fun Center," Sam Cleaners 166 Clinton, New York Restaurant: A Good Place to Eat 437 Michigan Ave., Levine's Sales Credit Jewelry, Talkies, Roger and Smith Drug Co.musicians and dancers"). Gladdess (first dancer from left). Unidentified man. Publisher An entity responsible for making the resource available Buffalo & Erie County Public Library (Publisher of digital) Date A point or period of time associated with an event in the lifecycle of the resource 1937 Type The nature or genre of the resource Still image Format The file format, physical medium, or dimensions of the resource image/jpeg Source A related resource from which the described resource is derived Ann Montgomery's Little Harlem Relation A related resource Digital Collections of the B&ECPL Rights Information about rights held in and over the resource Digital collection copyright 2016 by the Buffalo & Erie County Public Library. This collection or portions thereof are not to be used for any commercial purposes without the expressed written permission of the Buffalo & Erie County Public Library. Users of this website are free to utilize material from this collection for non-commercial and educational purposes. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Mid-Twentieth Century (1925-1975) Language A language of the resource eng Contributor An entity responsible for making contributions to the resource Rare Book Room of the B&ECPL (repository) Local History Music https://digital.buffalolib.org/files/original/a44df931b01360dab531988754f1c1b1.jpg c052d5e66b1cf9394b9dc48454c826a0 https://digital.buffalolib.org/files/original/590e60d064eeb32dd91ba80d05553726.jpg e6232dde0e70bb699083e857bb19f27f https://digital.buffalolib.org/files/original/8a9bfca97c86dacaf755f25a427b8398.jpg bb2d4d5869f604e0dc2e06bd66e5c535 https://digital.buffalolib.org/files/original/0a7543ab4a10b07345537f25a20c63c6.jpg 997a7ae258934c73c81b9e4b4efb33dd https://digital.buffalolib.org/files/original/996b4e2118fd0105e237cc78dfb59bc4.jpg 8400317a4bd463d03fe38ee15ab68299 https://digital.buffalolib.org/files/original/72c3943df0c129ef9f156b78f0a974df.jpg da88f3e0e7fb20aa012701ae1f6e7c1f https://digital.buffalolib.org/files/original/2fcde3fdd93be5f549599881b63143af.jpg 56fa46dcc516bccdd52d572d8fdb2fa9 https://digital.buffalolib.org/files/original/713c284dfb73a299cee9d6f010dedf5c.jpg 490901be7fb2e29999e3c32e20a46f21 https://digital.buffalolib.org/files/original/43b8ae8d98f62ee931d2944b16e30dc2.jpg 6b74881f6faf806bcc6acd6e25eecb65 https://digital.buffalolib.org/files/original/3199393bd6544626b7387c238307f1bc.jpg 13feb2d1ffafdca91a2c02f2ef697cdc https://digital.buffalolib.org/files/original/128f03d44e82f617398a88cd3393609a.jpg 8774d6fb555d7393ce8da98a94483d31 https://digital.buffalolib.org/files/original/a429c690c8b998a67cb29f0852e4467d.jpg e585a572071df7b8e940180315908125 https://digital.buffalolib.org/files/original/b5e81582cdfef6b07b13290790919b43.jpg 366bf0aed2a961dc32b5a8bfa1b9985a https://digital.buffalolib.org/files/original/c07d884f0f7411b25881df9a53cb5dea.jpg 9b67e9f68cc3277a0fe4cf8e80dcecbe https://digital.buffalolib.org/files/original/d7857f85a4882f8306bad8f221d5b894.jpg 6de2b62359b088ed44ac6c8e416f6f2b https://digital.buffalolib.org/files/original/cb22d607c0f4d14044d4be93b49ebcf3.jpg 8ad5ccb05ea1231ce065e85b856d4620 https://digital.buffalolib.org/files/original/0146aab0342cf24d5d136bfb61a1495d.jpg 7b04328cf1e167b9da47ab326e4c6271 https://digital.buffalolib.org/files/original/e3715039bd077c9dc3b3b1d247a7dec3.jpg eb00f81f7596ff634bb69fdb438d127d https://digital.buffalolib.org/files/original/2fb59919f8e1cd79537b1c20057044c8.jpg 8150e9250406869cb8708b9f57bbacb4 https://digital.buffalolib.org/files/original/40a1b368cd35e10afb2567e46db0709c.jpg 961b246b7aa94b9de3ca908762a74c4e https://digital.buffalolib.org/files/original/3ba22b67b2beac6f6a46d1aa5f51db26.jpg 9e8890c9e7c15e4bd5fc710e669f3055 https://digital.buffalolib.org/files/original/fdf32c26e20c5173fe75ad1508e12f5f.jpg 4239225b3abffab2670f76b33d2fe440 https://digital.buffalolib.org/files/original/b280d8955ad20a11eba702d25fcb08df.jpg db64f0862a81f5b9e73de9d371bb8390 https://digital.buffalolib.org/files/original/3a7426ed6d201c63d8810a727cafe8ac.jpg 9204f06b5900cd58ce1ba5fc6979f2f8 https://digital.buffalolib.org/files/original/5cc7c2e469ccb0af95b6e34440c89ded.jpg 144ef10b996bd8a7438c806947486745 https://digital.buffalolib.org/files/original/f7a061b58be8a24cf27a7d0ee0b09204.jpg c016b623db7bd1b0b482acbbc8e1d4e1 https://digital.buffalolib.org/files/original/dc0c720dbc306666529aae6c7ac494d4.jpg 14a5efa172c6ac4f144d84ee8bb20d83 https://digital.buffalolib.org/files/original/b5d64634ad7d72ba76086b97328f1d97.jpg 8ff7b4a9b8002ddd4580cf3153d312b1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Historic Buffalo Theater and Music Programs Description An account of the resource <p>Fifty selected programs from the Grosvenor Room’s performing arts collections, featuring theatre, music, and dance productions. These programs are a representative sample of the entertainment available to Buffalo audiences from 1816 to 1951, and include local talent as well as internationally renowned performers. The featured items are from the following two collections:</p> <p><span style="text-decoration:underline;">Theater Programs, 1816 - current</span></p> <p>Programs, playbills, and cast lists from theatrical venues in Buffalo, NY and vicinity. The bulk of the collection is from 1890 to 1950 and includes drama, comedy, vaudeville, minstrel, and musical theater productions held at more than 70 theaters. Traveling productions featured famous performers of every era, such as Edwin Booth, Maude Adams, John Barrymore, Rosalind Russell, Orson Welles, and Katharine Hepburn. Local ensembles and theater companies also document a vibrant entertainment community in Buffalo, including homegrown talent Katharine Cornell, dubbed "The First Lady of the Theatre” during her illustrious career.</p> <p><span style="text-decoration:underline;">Music &amp; Dance Programs, 1847 - current</span></p> <p>Programs, playbills, and cast lists of music and dance performances in Buffalo, NY and vicinity. The bulk of the collection is from 1860 to 1930 and includes performances of dance, opera, musical comedy, orchestras, chamber music, choirs, and instrumental ensembles. The majority of the programs are from music performances, and many venues hosted famous musicians and composers including Ignacy Jan Paderewski, Jenny Lind, Geraldine Farrar, Maurice Ravel, Walter Damrosch, Gustave Mahler, Lily Pons, and Serge Rachmaninoff. Buffalo also hosted opera companies, orchestras, and symphonies from New York City, Boston, Chicago, and Pittsburgh. Early Buffalo orchestras and singing societies, including the Buffalo Orpheus and Chromatic Club, are documented in this collection, as are the music halls, theatres, social clubs, museums, and other venues that hosted national and international performers.</p> <p> </p> Subject The topic of the resource Theater programs -- New York (State) -- Buffalo. Concert programs -- New York (State) -- Buffalo. Contributor An entity responsible for making contributions to the resource Grosvenor Room of the B&ECPL Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Little Women Creator An entity primarily responsible for making the resource Teck Theater (Buffalo, N.Y.) Description An account of the resource Buffalo drama critic Marian de Forest wrote the first stage play of the novel <span style="text-decoration:underline;">Little Women</span>. She and Jessie Bonstelle, an actress and theatre manager, received permission from Louisa May Alcott's family to write and stage the story. <br /><br />This production opened to rave reviews and became the hit of the 1912 Broadway season.  <br /><br /><span>The Teck Theatre, also known as the Schubert-Teck, was located at 760 Main Street from 1900 to 1934.</span> Contributor An entity responsible for making contributions to the resource Alcott, Louisa May, 1832-1888 De Forest, Marian, 1864-1935 Hammond, Lynn Berkeley, Gertrude Brady, Alice, 1892-1939 Pavey, Marie Hulette, Gladys Brady, William A., 1863-1950 Bonstelle, Jessie Harrison, Bertram Date A point or period of time associated with an event in the lifecycle of the resource 1912-01-22 Publisher An entity responsible for making the resource available Buffalo & Erie County Public Library (Publisher of digital) Rights Information about rights held in and over the resource Digital image copyright 2019 by the Buffalo & Erie County Public Library. Images in this collection are not to be used for any commercial purposes without the expressed written permission of the Buffalo & Erie County Public Library. Users of this website are free to utilize material from this collection for non-commercial and educational purposes. Relation A related resource Digital Collections of the B&ECPL Type The nature or genre of the resource Text Source A related resource from which the described resource is derived Buffalo Theater and Music Program Collection Subject The topic of the resource Theater programs -- New York (State) -- Buffalo. 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Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document Log book of the Sketch Club transcription test Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Log Book of the Sketch Club, org. : Aug. 3rd 1910 Creator An entity primarily responsible for making the resource Lankes, Julius J., 1884-1960 Subject The topic of the resource Lankes, Julius J., 1884-1960 Wood-engraving, American -- 20th century Etching, American -- 20th century Clubs--New York (State)--Buffalo (Buffalo (N.Y.)--Societies and clubs Description An account of the resource Log book of the Sketch Club, a group of …. That met at …. To discuss …. . Part of the J. J. Lankes collection, 1905-1962, which contains a wide variety of items relating to the life and career of Julius J. Lankes, wood-engraver and painter. Publisher An entity responsible for making the resource available Buffalo & Erie County Public Library (Publisher of digital) Date A point or period of time associated with an event in the lifecycle of the resource 1910 1911 Type The nature or genre of the resource Text Format The file format, physical medium, or dimensions of the resource image/jpeg Source A related resource from which the described resource is derived Log Book of the Sketch Club, org. : Aug. 3rd 1910 Relation A related resource Digital Collections of the B&ECPL Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Early Twentieth Century (1900-1925) Rights Information about rights held in and over the resource Digital image copyright 2019 by the Buffalo & Erie County Public Library. Images in this collection are not to be used for any commercial purposes without the expressed written permission of the Buffalo & Erie County Public Library. Users of this website are free to utilize material from this collection for non-commercial and educational purposes. Language A language of the resource eng Contributor An entity responsible for making contributions to the resource Rare Book Room of the B&ECPL (repository) https://digital.buffalolib.org/files/original/0d937df2264b1a6b97f6eff484081c2e.jpg ea8e7c18bc0d979be86f481b43b0090e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource World War I Posters Collection Description An account of the resource Posters were a very effective means of messaging throughout World War I. They were pasted onto walls and billboards everywhere to reach the widest possible audience. This form of propaganda, or “selling the war,” was used by both the Allies and the Central Powers to spark patriotism, raise funds and resources and foster hatred of the enemy. The posters were the work of the illustrators of the day – styles and techniques are as diverse as the artists and their countries. Although the United States came late to the war, it produced more WWI propaganda posters than any other country. <em>Original poster collection donated to the Grosvenor Library by Edward Michael.</em> Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 42.5 x 29.5 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Poster Number: 825 Title A name given to the resource Loi relative aux Requisitions Militaire. Recensement des voitures automobiles' Date A point or period of time associated with an event in the lifecycle of the resource 1917 Type The nature or genre of the resource Still image Format The file format, physical medium, or dimensions of the resource image/jpeg Source A related resource from which the described resource is derived World War I Posters Collection Relation A related resource Digital Collections of the B&ECPL Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Early Twentieth Century (1900-1925) Rights Information about rights held in and over the resource Digital image copyright 2017 by the Buffalo & Erie County Public Library. Images in this collection are not to be used for any commercial purposes without the expressed written permission of the Buffalo & Erie County Public Library. Users of this website are free to utilize material from this collection for non-commercial and educational purposes. Language A language of the resource eng Contributor An entity responsible for making contributions to the resource Rare Book Room of the B&ECPL (repository) https://digital.buffalolib.org/files/original/26d5511c739dc47d1e5534c462d73122.jpg d882e26e7fc1b3e1d3d72ffafb1792af Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource World War I Posters Collection Description An account of the resource Posters were a very effective means of messaging throughout World War I. They were pasted onto walls and billboards everywhere to reach the widest possible audience. This form of propaganda, or “selling the war,” was used by both the Allies and the Central Powers to spark patriotism, raise funds and resources and foster hatred of the enemy. The posters were the work of the illustrators of the day – styles and techniques are as diverse as the artists and their countries. Although the United States came late to the war, it produced more WWI propaganda posters than any other country. <em>Original poster collection donated to the Grosvenor Library by Edward Michael.</em> Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 42.5 x 29.5 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Poster Number: 824 Title A name given to the resource Loi relative aux Requisitions Militaire. Recensement en 1917 des Voitures Date A point or period of time associated with an event in the lifecycle of the resource 1916 Type The nature or genre of the resource Still image Format The file format, physical medium, or dimensions of the resource image/jpeg Source A related resource from which the described resource is derived World War I Posters Collection Relation A related resource Digital Collections of the B&ECPL Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Early Twentieth Century (1900-1925) Rights Information about rights held in and over the resource Digital image copyright 2017 by the Buffalo & Erie County Public Library. Images in this collection are not to be used for any commercial purposes without the expressed written permission of the Buffalo & Erie County Public Library. Users of this website are free to utilize material from this collection for non-commercial and educational purposes. Language A language of the resource eng Contributor An entity responsible for making contributions to the resource Rare Book Room of the B&ECPL (repository) https://digital.buffalolib.org/files/original/9629108a6d449731ec0ef318df08bcb8.jpg 3b606d39b6f44dcc1d2c4bed5b50450b https://digital.buffalolib.org/files/original/9623162d2e18d4e3eb7447eed67ea0a3.jpg 602aefd3cfa9fd18d22064f75ddd73a1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Postcard Collection Description An account of the resource Postcards from the Rare Book Room's collection. Primarily picture and photographic postcards of Buffalo & Erie County locations, with a variety of publishers and production methods. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context RBRPC-Buf-229 Title A name given to the resource Looking Down Delaware Ave. Showing City Hall and Statler Hotel, Buffalo, N.Y. Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. 35:- Looking Down Delaware Ave. Showing City Hall and Statler Hotel, Buffalo, N.Y. Creator An entity primarily responsible for making the resource Metrocraft Everett Mass Description An account of the resource Picture postcard of the Statler Hotel from the perspective of Delaware Avenue. Subject The topic of the resource Postcards--New York (State)--Buffalo. Buffalo (N.Y.)--Buildings, structures, etc. Statler Hotel (Buffalo, N.Y.) Statler Hotel (Buffalo, N.Y.) Hotels--New York (State)--Buffalo Is Part Of A related resource in which the described resource is physically or logically included. Rare Book Room Postcard Collection Publisher An entity responsible for making the resource available Metrocraft Everett Mass (publisher of original) Buffalo and & Erie County Public Library (Publisher of Digital) Type The nature or genre of the resource Still Image Medium The material or physical carrier of the resource. picture postcards Language A language of the resource ENG Format The file format, physical medium, or dimensions of the resource image/jpeg Rights Information about rights held in and over the resource Digital image copyright 2025 by the Buffalo & Erie County Public Library. Images in this collection are not to be used for any commercial purposes without the expressed written permission of the Buffalo & Erie County Public Library. Users of this website are free to utilize material from this collection for non-commercial and educational purposes. https://digital.buffalolib.org/files/original/0e99ae2fe55c0a6b0a69e905c0e27f03.jpg 557400aa8b41c7950bdf61efa05ac694 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource World War I Posters Collection Description An account of the resource Posters were a very effective means of messaging throughout World War I. They were pasted onto walls and billboards everywhere to reach the widest possible audience. This form of propaganda, or “selling the war,” was used by both the Allies and the Central Powers to spark patriotism, raise funds and resources and foster hatred of the enemy. The posters were the work of the illustrators of the day – styles and techniques are as diverse as the artists and their countries. Although the United States came late to the war, it produced more WWI propaganda posters than any other country. <em>Original poster collection donated to the Grosvenor Library by Edward Michael.</em> Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 31.5 x 27.75 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Poster Number: 470 Title A name given to the resource Lorain War Chest Creator An entity primarily responsible for making the resource Nelson A. Arend Publisher An entity responsible for making the resource available The Central Lithograph Co. : Cleveland (Printer) Date A point or period of time associated with an event in the lifecycle of the resource [1917-1918] Type The nature or genre of the resource Still image Format The file format, physical medium, or dimensions of the resource image/jpeg Source A related resource from which the described resource is derived World War I Posters Collection Relation A related resource Digital Collections of the B&ECPL Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Early Twentieth Century (1900-1925) Rights Information about rights held in and over the resource Digital image copyright 2017 by the Buffalo & Erie County Public Library. Images in this collection are not to be used for any commercial purposes without the expressed written permission of the Buffalo & Erie County Public Library. Users of this website are free to utilize material from this collection for non-commercial and educational purposes. Language A language of the resource eng Contributor An entity responsible for making contributions to the resource Rare Book Room of the B&ECPL (repository) https://digital.buffalolib.org/files/original/56ad807195ec86a19b5459e0177a7cb7.jpg 6ff17f209b21ca5143824b73578f7026 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource World War I Posters Collection Description An account of the resource Posters were a very effective means of messaging throughout World War I. They were pasted onto walls and billboards everywhere to reach the widest possible audience. This form of propaganda, or “selling the war,” was used by both the Allies and the Central Powers to spark patriotism, raise funds and resources and foster hatred of the enemy. The posters were the work of the illustrators of the day – styles and techniques are as diverse as the artists and their countries. Although the United States came late to the war, it produced more WWI propaganda posters than any other country. <em>Original poster collection donated to the Grosvenor Library by Edward Michael.</em> Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 29.75 x 19.75 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Poster Number: 287 Title A name given to the resource Lord Kitchener Says:- Creator An entity primarily responsible for making the resource Bassano Publisher An entity responsible for making the resource available National Catholic War Council Knights of Columbus David Allen & Sons Ltd. : Harrow, Middlesex and Dublin (Printer) Date A point or period of time associated with an event in the lifecycle of the resource [1915] Type The nature or genre of the resource Still image Format The file format, physical medium, or dimensions of the resource image/jpeg Source A related resource from which the described resource is derived World War I Posters Collection Relation A related resource Digital Collections of the B&ECPL Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Early Twentieth Century (1900-1925) Rights Information about rights held in and over the resource Digital image copyright 2017 by the Buffalo & Erie County Public Library. Images in this collection are not to be used for any commercial purposes without the expressed written permission of the Buffalo & Erie County Public Library. Users of this website are free to utilize material from this collection for non-commercial and educational purposes. Language A language of the resource eng Contributor An entity responsible for making contributions to the resource Rare Book Room of the B&ECPL (repository) https://digital.buffalolib.org/files/original/600e55d49e69c62c02aab047b9c209d8.mp4 2a7f0eaac93b1f7051bdee3b37a7e153 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rich Newberg Reports Collection Description An account of the resource This collection of long-form reports by retired WIVB-TV Senior Correspondent Rich Newberg covers a wide range of social issues, Buffalo history and the arts. Mr. Newberg retired from the Buffalo CBS network affiliate at the end of 2015, after serving the station for thirty-seven years in various roles including main anchor, reporter and documentarian. <br /><br />His New York Emmy Award winning pieces explore the abortion debate, care of the mentally ill, the African American struggle for civil rights, and the lessons of the Holocaust, among many topics. His video memoir, “One Reporter’s Journey, “ reflects on his forty-six year career, beginning as an advocate for those without a voice. <br /><br />"My hope," says Newberg, “is that this collection will provide a lasting chronicle of life and issues in Buffalo during the latter part of the 20th century and into the new millennium." Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Loss of Innocence : the Oklahoma City Bombing and the Execution of Timothy McVeigh Description An account of the resource At one time he was our neighbor, raised in rural Niagara County and trusted as a baby-sitter for the children next door. Timothy McVeigh would grow up to become America's most notorious terrorist, taking 168 lives when he bombed the Murrah Federal Building in Oklahoma City on April 19, 1995. This is his life story, including an exclusive interview with his father, Bill McVeigh, shortly before Timothy was executed for his crimes. Hosted by WIVB-TV Senior Correspondent Rich Newberg. <em>Originally aired on WIVB-TV.</em> Creator An entity primarily responsible for making the resource Newberg, Rich (Producer, Writer, Host) Vetter, Tom (Producer, Photographer, Editor) Musial, Chris (Executive Producer) Contributor An entity responsible for making contributions to the resource Mombrea, Mike Jr. (Contributing Photographer) Carroll, John (Contributing Photographer) Murphy, Kurt (Graphic Arts Director) Van Horn, Mike (Graphic Artist) Baxter, Tim (On-line Editor) Giovenco, Joseph (Director) Clemons, Michael (Technical Director) Benzel, Gary (Audio Engineer) Foster, Joseph D. (Tape Operator) Brown, David (Font Operator) Griswold, Jason (Master Control Operator) Subject The topic of the resource McVeigh, Timothy Terrorists--United States--Biography Oklahoma City Federal Building Bombing, Oklahoma City, Okla., 1995. Publisher An entity responsible for making the resource available WIVB (Television Station : Buffalo, N.Y.) Buffalo & Erie County Public Library (publisher of digital) Date A point or period of time associated with an event in the lifecycle of the resource 2001-06-11 Type The nature or genre of the resource Moving Image Format The file format, physical medium, or dimensions of the resource video/mp4 Source A related resource from which the described resource is derived Rich Newberg Reports Collection Relation A related resource Digital Collections of the B&ECPL Rights Information about rights held in and over the resource Copyright held by WIVB-TV. Access to this digital version provided by the Buffalo & Erie County Public Library. Videos or images in this collection are not to be used for any commercial purposes without the expressed written permission of WIVB-TV and the Buffalo & Erie County Public Library. Users of this website are free to utilize material from this collection for non-commercial and educational purposes. Language A language of the resource eng https://digital.buffalolib.org/files/original/5bd641993364103b512dab4142a3e54d.mp4 6bba10ebf9700f1fd637c0b0c817d089 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rich Newberg Reports Collection Description An account of the resource This collection of long-form reports by retired WIVB-TV Senior Correspondent Rich Newberg covers a wide range of social issues, Buffalo history and the arts. Mr. Newberg retired from the Buffalo CBS network affiliate at the end of 2015, after serving the station for thirty-seven years in various roles including main anchor, reporter and documentarian. <br /><br />His New York Emmy Award winning pieces explore the abortion debate, care of the mentally ill, the African American struggle for civil rights, and the lessons of the Holocaust, among many topics. His video memoir, “One Reporter’s Journey, “ reflects on his forty-six year career, beginning as an advocate for those without a voice. <br /><br />"My hope," says Newberg, “is that this collection will provide a lasting chronicle of life and issues in Buffalo during the latter part of the 20th century and into the new millennium." Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lost Childhood : the Story of the Birkenau Boys Description An account of the resource A group of Holocaust survivors -- some of the 89 Jewish boys spared by Dr. Joseph Mengele to serve as slave laborers in the Auschwitz-Birkenau death camp -- return to Europe fifty years later. They recount their experiences in the camp, their survival tactics and coping mechanisms, and the emotional scars they still carry. Hosted by veteran TV journalist Rich Newberg. Photographed and edited by WIVB-TV Chief Photographer Mike Mombrea Jr. Shot on the grounds of the Terezin concentration camp and Auschwitz-Birkenau. <em>Originally aired on WIVB-TV.</em> Creator An entity primarily responsible for making the resource Newberg, Rich (Producer, Writer, Host) Mombrea Jr., Mike (Producer, Photographer, Editor) Contributor An entity responsible for making contributions to the resource Kaufman, Ken (Composer of original score) Murphy, Kurt (Graphic Arts Director) Newberg, Lori (Field Assistant) Mombrea, John (Imix Editor) Bacon, Yehuda (Artist, Holocaust Survivor) Subject The topic of the resource Holocaust, Jewish (1939-1945) World War, 1939-1945--Concentration camps--Poland. Publisher An entity responsible for making the resource available WIVB (Television Station : Buffalo, N.Y.) Buffalo & Erie County Public Library (publisher of digital) Date A point or period of time associated with an event in the lifecycle of the resource 1995-08-31 Type The nature or genre of the resource Moving Image Format The file format, physical medium, or dimensions of the resource video/mp4 Source A related resource from which the described resource is derived Rich Newberg Reports Collection Relation A related resource Digital Collections of the B&ECPL Rights Information about rights held in and over the resource Copyright held by Moments In Time Video, Inc. and Mike Mombrea, Jr. Access to this digital version provided by the Buffalo & Erie County Public Library. Videos or images in this collection are not to be used for any commercial purposes without the expressed written permission of producers Rich Newberg or Mike Mombrea, Jr. and the Buffalo & Erie County Public Library. Users of this website are free to utilize material from this collection for non-commercial and educational purposes. Language A language of the resource eng https://digital.buffalolib.org/files/original/11d7981639ff7d02e7284149ea6851d6.mp4 ca1ef3b2ddb75168048a916e2261364e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rich Newberg Reports Collection Description An account of the resource This collection of long-form reports by retired WIVB-TV Senior Correspondent Rich Newberg covers a wide range of social issues, Buffalo history and the arts. Mr. Newberg retired from the Buffalo CBS network affiliate at the end of 2015, after serving the station for thirty-seven years in various roles including main anchor, reporter and documentarian. <br /><br />His New York Emmy Award winning pieces explore the abortion debate, care of the mentally ill, the African American struggle for civil rights, and the lessons of the Holocaust, among many topics. His video memoir, “One Reporter’s Journey, “ reflects on his forty-six year career, beginning as an advocate for those without a voice. <br /><br />"My hope," says Newberg, “is that this collection will provide a lasting chronicle of life and issues in Buffalo during the latter part of the 20th century and into the new millennium." Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Transcription Any written text transcribed from a sound Good evening, everybody. I'm John Beard. And I'm Marie Rice. The frustration and helplessness of two years of living a nightmare for over a 700 Love Canal family erupted Tuesday night and overflow crowd packed the Niagara County legislative chambers in hopes of persuading their elected officials to join the proposed Love Canal. Revitalization authority. The proposal had been rejected before and emotion filled the air as residents pleaded with the legislators before the vote carried a child for nine months. Or little Julie was still born. The loss of our child may be a direct result of the chemicals. Please don't allow this to happen to anyone else before you get them out. Don't let it happen yourself. The proposal was turned down by a 16 to 15 vote and once again the Love Canal residents had their cause rejected but this was one rejection too many people were mad and they wanted answers. Representatives are supposed to support as well. The nation is looking at you you're like damn fools and murder because also do wrong pay sweetie. pay you. Pay what you had this past weekend you got to sit there and both residents once again rallied around Love Canal homeowners President Lois Gibbs the legislators were cheered and shouted at and finally sheriff's deputies were ordered to escort Mrs. Gibbs outside. Please tell us why I am not moving until I get an answer why. Residents decided they had done all they could went home to prepare for Wednesday's announcement from Washington. That announcement from President Carter was the Triumph presidents had fought too long years for President Carter today declare an emergency to permit the federal government and the state of New York to undertake the temporary relocation of approximately 700 families in the Love Canal area of Niagara Falls The good news was also mixed with feelings of uncertainty and sadness as residents wondered where they would go and if they would ever see any of their friends and neighbors again, Love Canal residents will be relocated, but the scars will never disappear. We'll take a look back at the last two years when Love Canal neighborhood and fear continues. The tragedy of the Love Canal has been a two year long story. Let's go back to the summer of 1978. The Love Canal the most infamous chemical dump in the nation. A distinction earned because the eyes of the country have been riveted on that small patch of land in Niagara Falls since 239. Families were moved at state expense two years ago, finally declared a federal emergency. It's the only hazardous waste site to be identified as such. The dream of William love turn nightmare. In 1894 the entrepreneur had a scheme or a giant model city and water canal to provide industrial power. The plan was aborted but for chemicals then use the dead canal as a dumping ground for industrial waste. From above it looked harmless enough, but only a few feet below the surface deadly chemicals were gurgling their way to the top finding their way into the basements of nearby residents. The prognosis was grim birth defects kidney ailments respiratory problems, possibly even death accompanied the path of the migrating toxins. August 2 1978, state health commissioner Dr. Robert Whalen declared a state of emergency at the Love Canal and advise pregnant women and children under two years old to be evacuated immediately. Well, how dangerous is it for a person just standing there right now? You have to take into consideration three or four variables. The first variable are the levels of air pollution in the individual homes, too. You have to take into consideration the relative risk for a particular individual children and unborn children being the highest risk three you have to take into consideration the duration of risk. And these are the issues that we tried to balance out among around scientific staff and with the nationwide expert panel and arrived at the conclusions that resulted in my honor. Well what is the ultimate status of this area going to be is it going to be leveled? Do you think ultimately, I think that what we're trying to do here is deal with First things first, the concerns of the people have to leave I think is our first concern. The second the question of trying to do something to reduce the immediate problems that the construction is the second one. The task force set up by Governor Kerry will continue to meet and we'll try to meet and determine other more long range suggestions and proposals as time goes on. One of my three year old child where is the difference? What about the seven discriminate? Families with children under the age of two should be evacuated. I think that's a double standard and I don't believe that that's fair to anybody. I think any family that fears for their lives and that of their family should be given the same opportunity to be moved into quarters. That gives her family protection while the work continues of cleaning up this mess one off. basis. Spend a return preserve backing this agree and I think you will be rad at this that the state pursue the polluters. We wanted most was security in our home and we don't have it. So I had Dr. Whelan suggested I picked up my wife and my two sons and I took them away from here. So what presumably safely I hope. August 5 1978 William Wilcox administrator for the US federal disaster aid administration arrives from Washington to tour the contaminated area where they make it a state. It's not in the paper anything about a remedial work. They weren't the funds for the remedial work but just forgetting about the people. We've suffered enough medically do have to die while they're cleaned it up. The police take that back to Washington. Wilcox was ordered here by the White House. He was to report directly to the President on how bad the situation really was. He was personally escorted across the decades old chemical landfill. The Federal official wearing only shoes as he brings boots when he visits blood sites, but didn't know he would need them here today. A hole where waste had risen to the surface was pointed out. He went inside the residence homes to see and smell more waste that had entered through basements. Wilcox said he was most anxious to hear from the residents. None was bashful. Everything started dying out here. Let me ask you this question. I should have asked some of the others. Maybe you too if, if you were to leave this area for some period of time six months or something and the houses were boarded up and then this was all cleaned up. And you got assurances that there wasn't a problem. Would you come back? No. That's not what we're looking for. We're looking for to be moved out of the area permanently. I don't care 10 years from now if they clean that back up, clean our property up. We're still no value to our homes, but the reputation is still here. Many people. Mr. Wilcox, what's your impression of what you've seen so far this morning? Well, I think both in scientific terms and in human terms, it's a very troublesome situation. And that's really about all I can say at the present time. I think that people are living here under very difficult circumstances. We'll be preparing a report pulling together all the information providing report to the White House tomorrow. What chance do you think there is that these people might get federal aid? Well, I think that there's going to be federal assistance in one form or another. The only question is, what is the best form of assistance and we'll want to be working closely with Governor Kerry and Mr. Hardy, his staff and others in formulating any federal program. That seems appropriate for the situation. August 10 1978, the state of New York makes history it announces it will permanently relocate 239 families left behind, however, are more than 700 families. For some then there's jubilation for others despair. Still others clung to the belief that eventually they'd be moved stinks at nighttime Robin. And did you see the all the oils and stuff that are coming up? It's really sickening. And um, you know, when I wake up in the morning, I have asthma real bad and I can't breathe. My eyes are all swollen. And you know, when I wake up in the morning and stuff like that, are you worried about your baby? Yes, because I don't want to deform baby or something wrong with it or something like that, you know, February 8 1979. Another unsettling announcement from the New York State Health Department. New Health Commissioner David Axelrod recommends the temporary relocation of all pregnant women and children under two who lived within a six block area of the contaminated landfill. When we examined all of the data and compared the effects which I've already enumerated on the wet areas with the dry areas, we found that there was indeed an increase in risk for the fetus that is that there was a small but significant risk higher than would be anticipated for those living in the wet areas. And these risks were manifested by increases of approximately two fold in congenital malformations in spontaneous abortions. And in an increase in low birth weight infants. The decision or recommendation that the panel made to the New York State Department of Health at a meeting held yesterday was that based on this information, we should recommend that the fetus in effect be removed from the source of exposure. That defines itself as meaning that pregnant women living in the so called wet areas should be removed from the canal areas. In August two children two and under people from 99 to 97. To children that were a few months over two years old. They were advised to be because it houses their children. My daughter was only two that she's two years and four months now. Why does she have no importance now? I wasn't as much danger in August with my baby as I am now. Why was I forced to stay here all this time? My baby soon almost a year and a half and myself started and now she's concerned about my three year old as I am on this baby are carrying. Can he answer the question Please, ma'am? What I what I said was at the age of two represented a reasonable assertion as to a point when the maximum impact from these chemicals would be diminished. This was the first time the health department had given serious consideration to research gathered by the homeowners association. The women told us the state office had dismissed their studies connecting the pathways of OLED screen beds and increased health problems as useless housewife data. I'm not a scientist. I am a housewife is as important in the paper many times. My date is not useless. It is not pointless. It is not valid. Every one of these people in this audience last gave me that say they don't like what you're doing in the house pocket. is going to take six months, eight months, 10 months you prove that pregnant women are in danger. You prove and children under two are in danger. I know my own family experience that there are other children in this area that are not even in danger, but I'm damn right I died. And if we sit and wait for six more or less the the blue ribbon panel with Laura Lee knows who they are, meet and decide on this. We're going to have dead children. October 26 1979 New York announced agreement on legislation to remove and additional 550 families the details of that plan have yet to be carried out December 20 1979. The federal government's use over chemicals for $117 million. And on April 28 1980, the state of New York's use over chemicals or $635 million. From the beginning hooker disavowed any legal responsibility. The company says the property was deeded to the City Board of Education in 1953 for $1 and the school system was warned about the site. Hooker says it was contractually agreed that the board could make no claim against Hooker when it took possession. May 16 1980 rarer chromosomal damage is found in a sampling of Love Canal residents. We found two particular characteristics in this study which are ominous one that there were more ring chromosomes than one would expect to find. But secondly, and more disturbing was the presence of what we call extra fragments. And that is a very rare observation in any population. We have got abnormalities in our chromosomes and we've known it all along that on our street alone, there has been already eight cases of cancer on a 15 How Street and it's really had me scared all along but they told me it was a national average. And now I have found proof that probably I will even get it again. May 1919 82. EPA officials are held hostage for six hours If we do not have a disaster declaration Wednesday by new then what they have seen here today is just a Sesame Street picnic. Homeowners President Lois Gibbs has fought for relocation long and hard over the last two years. She's with us tonight. This is give 700 families can now be relocated. How far away from the canal do they live? Well they live on this map you can see buffalo Avenue to the south vertical Street to the north 93rd Street on the west and 130 on the east side. And how wide are blocking areas that Exactly that's a 10 block area. This is good. You said the federal government said it would take them from six to nine months to buy up the homes. I'd love canal residents now. And the last two years you've done some pretty good sources of your own in Washington. How long do you think it might take? I think it's just a matter of days. I don't think it's going to take 120 160 days that they're quoting. You're dealing with EPA officials and Health Studies. The politics are mainly what's controlling Washington and the relocation of Love Canal residence. What if there is no federal aid coming? Well, then the entity will take over and purchase the home so regardless, we have a backup for the purchase. It's not like there's nothing there. There's something on the side that the federal government does fall through. But what do we do that about Niagara County because they decided again the other night that they wouldn't join the authority. That's true, but they can still form the authority with the city and the town of Wakefield alone without the county. Why do you feel the federal government took so long to make this declaration this emergency declaration? Do you feel it was a political decision because they were afraid it might be precedent setting? And it might have to move many, many other people from around the country at various dump sites. Definitely a political decision. That's one reason and the reason I decided now I think is more because of the presidential election this year. And President Carter and Neil take votes and one way to do it is pleased New York State residents and the governor. How's the relocation coming right now? Are people happy with the people we talked to yesterday? Not many of them were very jubilant. I know you figured that it was a victory. But many of them told us they were very disappointed because it was temporary and not permanent. Yes, that's true. And because many of them had to give up in Canada by the hotel room themselves tonight. And then have them wanting to do so. And because it was temporary and they they've seen temporary time and time again and they're tired of moving on the short term and moving back to the contaminant houses. They want to move somewhere for once a clean environment and stay put and raise their family somewhat normally for change. Are we gonna see trouble if they move into another location and then they're told that they have to move back? You are definitely going to see trouble. Yes, the residents are going to move back. They're fearful for their lives. What do you think may happen? Anything's possible, Marie, anything. All right. Mrs. Gibbs, thank you very much for joining us. If there's a hero or a heroine to come out of this, you're certainly Rihanna. We'll be back with closing comments from when we turn with Love Canal neighborhood and feed. From a quiet unassuming residential neighborhood to a chemical Ghost Town normal everyday people over the last two years have come out fighting when their lives and the lives of their loved ones are endangered. By a silent unseen chemical threats. The fight for the Love Canal homeowners isn't over yet. The federally ordered relocation is only temporary. The families want to move someplace permanently, where they can live without fear. of chemical poisoning. House I want to know the answer to your first question is can you go back and live in your parents house? Yeah, yeah, the answer? The answer is yes. You can go back to your parents number the second question that you get. The second question you asked me was are you what are the chances that you'll grow up to be a normal man? Not much. The answer to that question is that you have as much likelihood as growing up to be a normal man. Is someone living on 100/10 Street Transcribed by https://otter.ai Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Love Canal: Neighborhood of Fear [The Story of Love Canal Pt. 2] Creator An entity primarily responsible for making the resource Rice, Marie (Producer, Writer, Host) News 4 Buffalo (WIVB-TV Newsroom) Description An account of the resource Two years into the battle for environmental justice in the Love Canal neighborhood of Niagara Falls, WIVB-TV presented a news special. The disaster had reached a crisis stage with homeowners demanding action by all levels of government. They had unknowingly moved into a neighborhood developed on top of a toxic dumpsite and were now suffering the consequences of harmful chemicals making their way into their homes and schools. The half hour presentation, was written, produced and reported by Marie Rice, who co-anchored the special with WIVB anchor John Beard. It featured some of the most emotional testimony from Love Canal family members whose loved ones were sick and dying due to chemical exposure. More than seven hundred families were demanding that they be relocated and that their grievances be properly addressed. Tests determined that residents had suffered “ominous” rare chromosomal damage. Lois Gibbs, who ultimately led the Love Canal Homeowners Association to victory, later attributed Buffalo news coverage to the successful outcome. The grassroots crusade has been credited with launching the environmental justice movement in the United States. President Jimmy Carter came to Niagara Falls to sign legislation that met homeowners demands and led to the creation of the Superfund. Formerly known as the Comprehensive Environmental Response, Compensation, and Liability Act of 1980, the program is designed to provide emergency responses to sites contaminated by hazardous substances. By one count there are 40,000 federal Superfund sites across the United States. Contributor An entity responsible for making contributions to the resource Murphy, Kurt (Graphic Artist) Beard, John (Co-host) Swan, Ray (Editor) Date A point or period of time associated with an event in the lifecycle of the resource 1980 Subject The topic of the resource Love Canal Chemical Waste Landfill (Niagara Falls, N.Y.) Chemical plants -- Waste disposal -- Environmental aspects -- New York (State) -- Niagara Falls Source A related resource from which the described resource is derived Rich Newberg Reports Collection Publisher An entity responsible for making the resource available Buffalo & Erie County Public Library (publisher of digital) Rights Information about rights held in and over the resource Copyright held by WIVB-TV. Access to this digital version provided by the Buffalo & Erie County Public Library. Videos or images in this collection are not to be used for any commercial purposes. Users of this website are free to utilize material from this collection for non-commercial and educational purposes. Format The file format, physical medium, or dimensions of the resource Video/mp4 Type The nature or genre of the resource Moving Image Relation A related resource <div class="element-text"><span><a href="http://digital.buffalolib.org/items/show/2175">A Toxic Nightmare: The Awakening [The Story of Love Canal Pt. 1]</a> </span></div> <div class="element-text"><a href="http://digital.buffalolib.org/admin/items/show/2177">Turning Anger Into Action [The Story of Love Canal Pt.3]</a><br /><span></span></div> <div class="element-text"><a href="http://digital.buffalolib.org/admin/items/show/2178">What Have We Learned? [The Story of Love Canal Pt. 4]</a></div> <div class="element-text"><a href="http://digital.buffalolib.org/admin/items/show/2347">An Interview with Michael Brown</a></div> <div class="element-text"><a href="http://digital.buffalolib.org/admin/items/show/2350">An Interview with Lois Gibbs [Her Battle and Victory on Behalf of Love Canal Homeowners]</a></div> Language A language of the resource eng https://digital.buffalolib.org/files/original/62a781693cda1f32d33c093819a8c59c.mp4 7e298f2a09775adacf0f02e00790985f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rich Newberg Reports Collection Description An account of the resource This collection of long-form reports by retired WIVB-TV Senior Correspondent Rich Newberg covers a wide range of social issues, Buffalo history and the arts. Mr. Newberg retired from the Buffalo CBS network affiliate at the end of 2015, after serving the station for thirty-seven years in various roles including main anchor, reporter and documentarian. <br /><br />His New York Emmy Award winning pieces explore the abortion debate, care of the mentally ill, the African American struggle for civil rights, and the lessons of the Holocaust, among many topics. His video memoir, “One Reporter’s Journey, “ reflects on his forty-six year career, beginning as an advocate for those without a voice. <br /><br />"My hope," says Newberg, “is that this collection will provide a lasting chronicle of life and issues in Buffalo during the latter part of the 20th century and into the new millennium." Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Love Is Stronger Than Pain Creator An entity primarily responsible for making the resource Newberg, Rich (Reporter, Archivist) Description An account of the resource “Love is Stronger than Pain” is the title of Michael O’Brien’s book memorializing the legacy of his mother, Irene Corcoran O’Brien. She lived a life of daily sacrifice, tending to the critical needs of two of her children stricken with a rare, debilitating, painful disease which causes blistering of the skin and deformities. Her faith and unconditional love of John and Maureen enabled them to experience joy in life and inspire others to do the same. WIVB-TV’s Rich Newberg covered the O’Brien story for years, capturing the spirit of John, who honored the wish of his late sister and helped raise funds for a play about her life. “Hit Me Again” was in presented in Buffalo in April 1991. John died in 1992 at the age of 39. He was the oldest survivor of dystrophic epidermolysis bullosa. Maureen was 27 when she passed away in 1984. She died as her mother was changing here dressings. Both brother and sister appeared much older than their years. At John’s funeral it was said by his brothers that “he made friends out of strangers and family out of friends.” The series of reports ends with the tribute to Irene. Newberg interviews Michael who recalls Mother Theresa giving Irene her rosary. There is a scene of the brother and sister in the audience during Mother Theresa’s presentation at Niagara University. Speaking of his mother’s spirit, Michael says, “It was genuine humility…” He added, “She just thought that she was fulfilling God’s will and purpose for her life.” Contributor An entity responsible for making contributions to the resource Grosvenor Room of B&ECPL (repository) Date A point or period of time associated with an event in the lifecycle of the resource 1991 1992 2015 Date Created Date of creation of the resource. 2024-03-11 Subject The topic of the resource Buffalo (N.Y.)--Biography. Women--New York (State)--Buffalo--Biography. Publisher An entity responsible for making the resource available Buffalo & Erie County Public Library (publisher of digital) Rights Information about rights held in and over the resource Copyright held by WIVB-TV. Access to this digital version provided by the Buffalo & Erie County Public Library. Videos or images in this collection are not to be used for any commercial purposes. Users of this website are free to utilize material from this collection for non-commercial and educational purposes. Type The nature or genre of the resource Moving Image Format The file format, physical medium, or dimensions of the resource video/mp4 Extent The size or duration of the resource. 01:05:26 Language A language of the resource eng https://digital.buffalolib.org/files/original/8eec0fc70f8d10c8d244fd28dd2200fb.jpg 15b8906e6b39aab037886dc5edbbae69 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource World War I Posters Collection Description An account of the resource Posters were a very effective means of messaging throughout World War I. They were pasted onto walls and billboards everywhere to reach the widest possible audience. This form of propaganda, or “selling the war,” was used by both the Allies and the Central Powers to spark patriotism, raise funds and resources and foster hatred of the enemy. The posters were the work of the illustrators of the day – styles and techniques are as diverse as the artists and their countries. Although the United States came late to the war, it produced more WWI propaganda posters than any other country. <em>Original poster collection donated to the Grosvenor Library by Edward Michael.</em> Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 23.75 x 17.75 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Poster Number: 365 Title A name given to the resource Loyalty To One Means Loyalty To Both Creator An entity primarily responsible for making the resource Grant, Gordon Publisher An entity responsible for making the resource available [Belgian & Allies Aid League] Date A point or period of time associated with an event in the lifecycle of the resource [1917-1918] Type The nature or genre of the resource Still image Format The file format, physical medium, or dimensions of the resource image/jpeg Source A related resource from which the described resource is derived World War I Posters Collection Relation A related resource Digital Collections of the B&ECPL Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Early Twentieth Century (1900-1925) Rights Information about rights held in and over the resource Digital image copyright 2017 by the Buffalo & Erie County Public Library. Images in this collection are not to be used for any commercial purposes without the expressed written permission of the Buffalo & Erie County Public Library. Users of this website are free to utilize material from this collection for non-commercial and educational purposes. Language A language of the resource eng Contributor An entity responsible for making contributions to the resource Rare Book Room of the B&ECPL (repository) https://digital.buffalolib.org/files/original/082efdb67a1b03ea48e59ed53922d7b4.mp3 049d1065187b7b9b97a183392e4f3c53 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Spilling Grain: Audio Stories from the People of Buffalo's Grain Elevators, 2019-2020 Description An account of the resource <em>Spilling Grain </em>is an oral history project created by Kate Kaye, Buffalo native and journalist, to chronicle the grain industry in Buffalo, as well as those who worked in it and its cultural impact. The project was begun in 2019, and is currently hosted on Kaye's website at <a href="https://redtailmedia.org/spilling-grain/">redtailmedia.org</a>. <br /><br />Kaye graciously donated a copy of the complete project for permanent preservation and inclusion in the B&amp;ECPL Digital Collections in 2023.<br /><br />The collection includes photographs taken by Kaye in 2019 and 2020, as well as edited oral history recordings from grain industry and mill workers, scholars, and musicians. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lynda Schneekloth, University at Buffalo architecture professor emeritus and grain elevator preservationist Creator An entity primarily responsible for making the resource Kaye, Kate Contributor An entity responsible for making contributions to the resource Schneekloth, Lynda Grosvenor Room of B&ECPL (repository) Date A point or period of time associated with an event in the lifecycle of the resource 2022 Date Created Date of creation of the resource. 20230803 Identifier An unambiguous reference to the resource within a given context sg_audio_003 Description An account of the resource <p><em><span>“They are so out of scale to anything that you see in your life that they are like a distant landscape right in front of you all the time.” </span></em></p> <p><span>More than a grain elevator enthusiast, Lynda Schneekloth is a scholar of these giant concrete and steel structures. On a frigid and windy Buffalo day in February 2020, she braved the cold to point out their inner-workings, why they were built the way they were, why they’re considered architectural wonders – and why so many of us are intrigued by them. Schneekloth was interviewed in February 2020 by Kate Kaye.<br /><br /><em>NOTE: </em>This story features detailed descriptions of Buffalo’s grain elevator architecture, Buffalo’s grain elevator and cultural preservation, internal grain elevator machinery and processes.</span></p> Subject The topic of the resource Grain elevators--New York (State)--Buffalo Grain trade--New York (State)--Buffalo Rights Information about rights held in and over the resource ©2022 Kate Kaye Type The nature or genre of the resource Sound Format The file format, physical medium, or dimensions of the resource audio/mpeg Extent The size or duration of the resource. 00:14:53 Language A language of the resource eng Source A related resource from which the described resource is derived <a href="https://redtailmedia.org/spilling-grain/">https://redtailmedia.org/spilling-grain/</a> https://digital.buffalolib.org/files/original/50cb8cd536bb2a725c2af36df77b918c.mp4 1958dbd489af1461449a44d528a4cb2c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rich Newberg Reports Collection Description An account of the resource This collection of long-form reports by retired WIVB-TV Senior Correspondent Rich Newberg covers a wide range of social issues, Buffalo history and the arts. Mr. Newberg retired from the Buffalo CBS network affiliate at the end of 2015, after serving the station for thirty-seven years in various roles including main anchor, reporter and documentarian. <br /><br />His New York Emmy Award winning pieces explore the abortion debate, care of the mentally ill, the African American struggle for civil rights, and the lessons of the Holocaust, among many topics. His video memoir, “One Reporter’s Journey, “ reflects on his forty-six year career, beginning as an advocate for those without a voice. <br /><br />"My hope," says Newberg, “is that this collection will provide a lasting chronicle of life and issues in Buffalo during the latter part of the 20th century and into the new millennium." Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lynn DeJac Exonerated Creator An entity primarily responsible for making the resource Newberg, Rich (Writer, Reporter) Mombrea, Mike Jr. (Photographer, Editor) Description An account of the resource Lynn DeJac of Buffalo, New York served thirteen years in prison for a crime she did not commit. In 1994 she was wrongly convicted of murdering her fourteen-year-old daughter, Crystallynn Girard.<br /><p><span>In 2007, DeJac’s conviction was vacated after Buffalo Police cold case detective Dennis Delano brought forth DNA evidence he claimed linked DeJac’s ex-boyfriend, Dennis Donohue, to Crystallynn’s death. Donohue could not be charged because he had testified before a grand jury and was granted immunity from prosecution.<span class="Apple-converted-space"> </span></span><span>However, he was later convicted of murdering a woman he had once dated.<br /></span></p> <p><span>DeJac, according to the Innocence Project, became the first woman to be exonerated of murdering someone based on DNA evidence. She had given birth to twin boys while behind bars and later married their father, Chuck Peters, while serving her sentence. She also had an older, estranged son, Edward.<br /></span></p> <p><span>WIVB-TV Senior Correspondent Rich Newberg and News 4 Chief Photographer Mike Mombrea Jr. were with DeJac the day of her release and also documented the reunion with her family. During a live interview that evening, DeJac told Newberg, "</span><span>The</span><span> truth will set me free." </span></p> <p><span>Shortly after the state of New York paid DeJac a settlement of $2.7 million dollars, she was diagnosed with cancer. She died at age fifty on June 18, 2014. Her husband and twin sons, Keith and Douglas were with their mother when she passed away.</span></p> Contributor An entity responsible for making contributions to the resource Hutchinson, Dave (Photographer) Micole, Mike (Live truck technician) Meegan, Martha (WIVB-TV Assignment Editor) Murphy, Kurt (Graphic artist) Date A point or period of time associated with an event in the lifecycle of the resource 2007-11-28 2014-6-18 Source A related resource from which the described resource is derived Rich Newberg Reports Collection Publisher An entity responsible for making the resource available WIVB (Television Station: Buffalo, N.Y.) Buffalo & Erie County Public Library (publisher of digital) Rights Information about rights held in and over the resource Copyright held by WIVB-TV. Access to this digital version provided by the Buffalo & Erie County Public Library. Videos or images in this collection are not to be used for any commercial purposes without the expressed written permission of WIVB-TV and the Buffalo & Erie County Public Library. Users of this website are free to utilize material from this collection for non-commercial and educational purposes. Subject The topic of the resource DeJac, Lynn Criminal investigation--United States--Case studies