My sonnet, “Dialogue with Cassandra,” appears in the first issue of Form Quarterly.
The publishers say this about the issue:
“Featuring sonnets from a number of wonderful contributors and with an amazing foreword by Mindy Kronenberg, this issue offers a glimpse at the beauty of the 21st century sonnet. With details outlining the various different forms of the sonnet with instructions on how to write them yourself, this issue stand as both an educational tool and a showcase of the brilliance of contemporary form poetry.”
“Cincinnati has contributed a multitude of major talent to show biz, stretching back into the nineteenth century. Through thumbnail sketches, audio and video clips, Rebecca Forste and Uncle Dave Lewis will present summary profiles of seven key players in mainstream entertainment from 1870-1930: Powhatan Beaty, James O’Neill, Paul Lawrence Dunbar, Charles Urban, Arthur V. Johnson, Theda Bara and Harry Richman. The one thing these key historic figures in entertainment have in common is that they all called Southwestern Ohio home. ” Text by David Neal Lewis
When we think of historic live country music and entertainment in the mass media, what immediately comes to mind is the National Barn Dance at WLS in Chicago, the Grand Ole Opry in Nashville and, in a later context, the syndicated television program “Hee Haw.” But from the 1930s to the 1960s there were dozens of broadcasts of this kind across the nation, with a heavy concentration of them in states bordering the Ohio River: Pennsylvania, West Virginia, Ohio, Indiana and Kentucky. Among them was WLW’s “Midwestern Hayride,” the Renfro Valley Barn Dance in Kentucky, and the WWVA Jamboree in Wheeling, West Virginia. Uncle Dave Lewis will provide a broad, regional survey of these types of programs in addition to the local history and will include some short thumbnail sketches devoted to artists involved in these programs.
Program will be held in the Reading Garden Lounge located near the lobby on the first floor of Main Library’s south building.
The Orloff Trio played on this side and three other Rainbows, but were never credited on the label. Author’s collection.
It has been more than ten years since I went through the Rainbow Records catalogs of the 1920s, looking for a way to reconcile the confusing number series that Homer Rodeheaver employed, a mystery to that time that no one seemed able to unravel. One important clue to the answer was the listed accompaniments; Rainbow catalogs were quite careful in connoting the specific kinds of accompaniments on records, if not the people playing them. In the 7 or 800 Rainbow records that I have handled since that project, I found only one instance where the catalog listings were in error in regard to accompaniment. I deduced that if the accompaniment had changed, then the record had been remade, and this has helped to open the door to understanding the Rainbow…
Featuring an additional composition by Robert S. Roberts: “My Genuine Georgia Gal.”
Artie Hall, pictured above and in the previous post, had a hit singing “I’m Certainly Living a Ragtime Life” by Robert S. Roberts.
She is also reported to have had a hit as early as 1900 with another Robert S. Roberts composition, “My Genuine Georgia Gal.” Afterwards, she was consistently billed as “the Genuine Georgia Girl.”
It was widely reported that she was crushed to death in the collapse of the Orpheum Theater during the 1906 San Francisco earthquake. This was even reported in her Wikipedia article (citing a New York Times report.)
However, there are many reports of her performing on stage after this date. She survived the earthquake.
As Wikipedia tells you, she performed in blackface, and I need to state here that I do not condone racial stereotyping.
Artie Hall married Robert Fulgora. Here is another song she sang in 1899: