13 10 1775 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/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 50:04:00 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE191454">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE191454</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. 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 Binghamton Vocal Consort & Schola Cantorum: music of the English Renaissance, May 5, 2008 Recital Tape 2008-5-5 Description An account of the resource Texts and translations of songs included in accompanying program.At head of title: Dunstaple, Anonymous (late 15th century), Wilbye, Byrd.Held at 8:00 p.m., May 5, 2008, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Salasny, Christina Schleuse, Paul Crawford, Roberta Walkling, Andrew Paull, Corinne Blitstein, Alexander Treminski, Theodore Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2008-05-05 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID a77012f5-ba33-4ae8-a53e-cc0ffa46e22c https://omeka.binghamton.edu/omeka/files/original/3d33356f4da8ec1607789a132fa9f5b9.jpg 187a34d4cb4db64839c7058f4f92791e https://omeka.binghamton.edu/omeka/files/original/242c3b316f3bdfdb734c753558c8b972.jpg 0ba17b13961c4a3d2ae2c8df900de7a0 https://omeka.binghamton.edu/omeka/files/original/938defe3e04681b482eb39be674ecef6.jpg 6f4f6acd7838c52cfd6f6bdcac3b09e7 https://omeka.binghamton.edu/omeka/files/original/ebb78f47bd6a5153c99ae4582cd97df1.jpg 6ca65c12103275c12b7f89259513a1c3 https://omeka.binghamton.edu/omeka/files/original/5d8386997d273b0214d98f59fbff8eeb.jpg e15df83f77c26c4ae1e5428b02f152ed https://omeka.binghamton.edu/omeka/files/original/a36bf3687c1c6405ee3097872c0e09b3.jpg 8801e9fec260d2270b83c5f9333f7367 https://omeka.binghamton.edu/omeka/files/original/fb3fcf9f31e136d553fae2573c11a5e8.jpg c147f95c97a9604605e54153265e58e6 https://omeka.binghamton.edu/omeka/files/original/fa3b6686226be51de55c9204c3837bbb.jpg 282f07ad7a5cd1a22e001c0aca44efec https://omeka.binghamton.edu/omeka/files/original/fca16c676dc2bd2e288ff092a548fe61.jpg f478d5c1758e6b756e17f8c8da854511 https://omeka.binghamton.edu/omeka/files/original/8b14253fb5c18302bdbf87ff9b523112.jpg c4a3be1d4ebeb0ece3aaf5502fef53ea 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 Reinhardt Promptbooks Description An account of the resource Who is Max Reinhardt? The celebrated Austrian theater director <a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/">Max Reinhardt</a>, recognized in America primarily for his elaborate productions of Shakespeare’s A Midsummer Night’s Dream, Franz Werfel’s The Eternal Road, and Karl Vollmoeller’s The Miracle, was born in 1873 at Baden near Vienna, Austria and died in New York City in 1943. Reinhardt’s illustrious career takes on added significance because it coincides with a major shift in the evolution of the modern theater: the ascendancy of the director as the key figure in theatrical production. Reinhardt’s reputation in international theater history is secured by the leading role he played in this transformation, as well as by his innovative use of new theater technology and endless experimentation with theater spaces and locales, which together redefined traditional relationships between actor and audience toward a new participatory theater. What is a prompt book? The prompt book is a master copy of the production script and contains a wealth of instructions and information alongside the basic text of the play. As well as the actors’ lines, you will often see cues for music, movement, light, and many other aspects of stage business. It may also contain sketches of how a piece of staging is supposed to look, or which costume a character should wear in a scene. Why are his important? Reinhardt’s directorial prompt books reflect the ways in which he made plays by major playwrights, including Ibsen, Shakespeare and Wilder, his own. The prompt books contain notations denoting changes in the script, actor moves and technical cues, instructions on how sound, props and scenery were used, and stage drawings. They help us to reconstruct Reinhardt’s techniques and directions in productions. Acknowledgements Thank you to the Gladys Kriebel Delmas Foundation who generously provided the funding to make this extraordinary project possible. Thank you also to the following individuals who helped make this project successful: Binghamton University Libraries’ Staff: Benjamin Coury, Nicholas Eggleston, Jean Green, Blythe Roveland-Brenton, Erin Rushton, David Schuster, Rachel Turner, Brandy Wrighter; Binghamton University Students: Madelynn Cullings, Kashawn Hernandez, Aanyah Jhonson-Whyte, Marisa Joseph, Bethany Maloney, Ashleigh Marie Sherman, Thomas Tegtmeier, Joseph Vitale. Relation A related resource <a href="https://omeka.binghamton.edu/omeka/items/show/2877">Full Display and German Transcription of Max Reinhardt's</a><a href="https://omeka.binghamton.edu/omeka/items/show/2877"> Reigen Promptbook</a> <a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/">Max Reinhardt Archives and Library</a> <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,reinhardt&tab=DigitalCollections&search_scope=DigitalCollections&vid=01SUNY_BIN:01SUNY_BIN&offset=0">Max Reinhardt Collection Photographs</a> <a href="https://omeka.binghamton.edu/omeka/max-reinhardt-timeline">The Life and Times of Theater Director Max Reinhardt</a> <a href="https://omeka.binghamton.edu/omeka/max-reinhardt-theaters">The Theaters of Max Reinhardt</a> Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Jean Green,  Binghamton University Students: Madelynn Cullings Kashawn Hernandez Aanyah Jhonson-Whyte Marisa Joseph Bethany Maloney Ashleigh Marie Sherman Thomas Tegtmeier Joseph Vitale Promptbook Description Markings throughout in black pen, black pencil, red pencil, and blue pencil. Opening cover page “Buyle, zu Weihnachten, 1912” with signature. Inside front cover includes a list of notes in red pencil, stamped “Deutsches Theater zu Berlin” and another “Deutsches Theater zu Berlin” stamp on title page. Includes a “Bildfolge” page, “Technisches im I. Bild” with detailed stage drawings. Appears to be a Reinhardt production centered around elaborate and extensive staging and setting. Most notes throughout are extensive stage setting notes, directions and sketches. Collection Max Reinhardt Promptbooks Dimensions Physical dimensions of item 19cm x 14.5cm Earlier version Earlier version (dcterms:isVersion Of) L'Oiseau bleu Notes Located in Binghamton University Libraries Special Collections PT2635.E548P75 v.72 Production(s) December 25, 1912 (city unspecified) December 6, 1912 (city unspecified) December 13, 1912 (city unspecified) -Supporting materials (for all): Box 2 Folder 54: Photographs; possible supporting materials (Deutsches Theater, Berlin: 1912) Box 14 Folder 20: Programs; plays; possible supporting materials Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. 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 Blaue Vogel : ein Märchenspiel in fünf Aufzügen und zwölf Bildern [promptbook] Subject The topic of the resource Maeterlinck, Maurice, 1862-1949. Oiseau bleu -- Translations into German Promptbooks Stage directions Deutsches Theater zu Berlin -- Germany Creator An entity primarily responsible for making the resource Maeterlinck, Maurice, 1862-1949 Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1900s Contributor An entity responsible for making contributions to the resource Reinhardt, Max, 1873-1943 Language A language of the resource German Identifier An unambiguous reference to the resource within a given context R 3167 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Deutsches Theater zu Berlin Rights Information about rights held in and over the resource Copyright undetermined. This image is provided for educational and research purposes only as is stipulated by U.S. and international copyright law. For more information, please contact speccoll@binghamton.edu. https://omeka.binghamton.edu/omeka/files/original/c4d232eedfbbbb9d13e3866e7ac90bc2.jpg 9327a5ee6d81b22370935cfe5a9ccea9 https://omeka.binghamton.edu/omeka/files/original/30723d88273be64becc75126494983f8.jpg dd4b872b1d80b55bdbd713f1fb245106 https://omeka.binghamton.edu/omeka/files/original/082b22c993dec32113cdd3c8f3539b83.jpg d9a8b1888b3a130671723e31a04748a8 https://omeka.binghamton.edu/omeka/files/original/949d6b337a6e92d5710e6cedddf9fe4a.jpg 6b77b6bc4b9cb40e1af4a57a5fc6997e https://omeka.binghamton.edu/omeka/files/original/3a1169da3ed3ab37d794631a3ac48ca7.jpg a4fea4830b29ff2bbb11c0103540219d https://omeka.binghamton.edu/omeka/files/original/870655f85029e009e43f961accf9e0dc.jpg 7da4169fc1823e5147cbe59f05a841e3 https://omeka.binghamton.edu/omeka/files/original/683d0c4b1596b1d5e6b7cffa4ea485a7.jpg eb7e0fc5543b44b3d32f0dd46ec3b8ae https://omeka.binghamton.edu/omeka/files/original/df36ccde6c5ed2858f715a74fb0d8ee2.jpg ea6f07f91c493bfd6d3fa63dfd4e390a https://omeka.binghamton.edu/omeka/files/original/eeccd95b276f340dcf462efa1481e2cc.jpg d00a68df83c6e9ed171c0473146de35b https://omeka.binghamton.edu/omeka/files/original/f54931d9a0116344505907cff3057ec8.jpg c34f54d2603bae10179fe672259cfed1 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 Reinhardt Promptbooks Description An account of the resource Who is Max Reinhardt? The celebrated Austrian theater director <a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/">Max Reinhardt</a>, recognized in America primarily for his elaborate productions of Shakespeare’s A Midsummer Night’s Dream, Franz Werfel’s The Eternal Road, and Karl Vollmoeller’s The Miracle, was born in 1873 at Baden near Vienna, Austria and died in New York City in 1943. Reinhardt’s illustrious career takes on added significance because it coincides with a major shift in the evolution of the modern theater: the ascendancy of the director as the key figure in theatrical production. Reinhardt’s reputation in international theater history is secured by the leading role he played in this transformation, as well as by his innovative use of new theater technology and endless experimentation with theater spaces and locales, which together redefined traditional relationships between actor and audience toward a new participatory theater. What is a prompt book? The prompt book is a master copy of the production script and contains a wealth of instructions and information alongside the basic text of the play. As well as the actors’ lines, you will often see cues for music, movement, light, and many other aspects of stage business. It may also contain sketches of how a piece of staging is supposed to look, or which costume a character should wear in a scene. Why are his important? Reinhardt’s directorial prompt books reflect the ways in which he made plays by major playwrights, including Ibsen, Shakespeare and Wilder, his own. The prompt books contain notations denoting changes in the script, actor moves and technical cues, instructions on how sound, props and scenery were used, and stage drawings. They help us to reconstruct Reinhardt’s techniques and directions in productions. Acknowledgements Thank you to the Gladys Kriebel Delmas Foundation who generously provided the funding to make this extraordinary project possible. Thank you also to the following individuals who helped make this project successful: Binghamton University Libraries’ Staff: Benjamin Coury, Nicholas Eggleston, Jean Green, Blythe Roveland-Brenton, Erin Rushton, David Schuster, Rachel Turner, Brandy Wrighter; Binghamton University Students: Madelynn Cullings, Kashawn Hernandez, Aanyah Jhonson-Whyte, Marisa Joseph, Bethany Maloney, Ashleigh Marie Sherman, Thomas Tegtmeier, Joseph Vitale. Relation A related resource <a href="https://omeka.binghamton.edu/omeka/items/show/2877">Full Display and German Transcription of Max Reinhardt's</a><a href="https://omeka.binghamton.edu/omeka/items/show/2877"> Reigen Promptbook</a> <a href="https://www.binghamton.edu/libraries/about/special-collections/research-and-collections/reinhardt/">Max Reinhardt Archives and Library</a> <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,reinhardt&tab=DigitalCollections&search_scope=DigitalCollections&vid=01SUNY_BIN:01SUNY_BIN&offset=0">Max Reinhardt Collection Photographs</a> <a href="https://omeka.binghamton.edu/omeka/max-reinhardt-timeline">The Life and Times of Theater Director Max Reinhardt</a> <a href="https://omeka.binghamton.edu/omeka/max-reinhardt-theaters">The Theaters of Max Reinhardt</a> Rights Information about rights held in and over the resource In copyright Contributor An entity responsible for making contributions to the resource Jean Green,  Binghamton University Students: Madelynn Cullings Kashawn Hernandez Aanyah Jhonson-Whyte Marisa Joseph Bethany Maloney Ashleigh Marie Sherman Thomas Tegtmeier Joseph Vitale Promptbook Description Book aged but is in solid condition, cover slightly bent. All text in German. Markings appear in purple pen, red pencil and black pencil. Red and black pencil markings are unspecifed. This promptbook does not include a cast list, however there are extensive markings of note including stage directions, notes, and sketches. Other observations note that the Scene III, Act I is rewritten as First Scene, Act II (page 57). Scene IV, Act I is rewritten as Scene II, Act II (page 76). Act II does not appear in the original versions as there is a jump from Act I to Act III. Other markings include cross-outs in black and red pencil (beginning on page 104). Red markings are likely music related "musik," "tempo," "laut," appear repeatedly. Collection Max Reinhardt Promptbooks Dimensions Physical dimensions of item 18.5cm x 13cm Supplement folder: 7 graph paper note sheets, 20.5cm x 14cm folded envelope, 21.5cm x 16cm Notes Located in Binghamton University Libraries Special Collections PT2635.E548P75 v.38 Production(s) January 1917, St. Moritz Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. 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 Blut : dramatische Dichtung [promptbook] Subject The topic of the resource Hauptmann, Gerhart, 1862-1946 Promptbooks Stage directions Creator An entity primarily responsible for making the resource Hauptmann, Gerhart, 1862-1946 Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 1900s Contributor An entity responsible for making contributions to the resource Reinhardt, Max, 1873-1943 Language A language of the resource German Identifier An unambiguous reference to the resource within a given context R 3143 Rights Information about rights held in and over the resource Copyright undetermined. This image is provided for educational and research purposes only as is stipulated by U.S. and international copyright law. For more information, please contact speccoll@binghamton.edu. 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 Binghamton Community Poets' Big Horror Reading Series Subject The topic of the resource American poetry -- 20th century; Oral interpretation of poetry Description An account of the resource The Binghamton Community Poets were founded in 1983 by native Binghamton poet, educator, and Harpur College alum Richard Martin. That year he started the The Big Horror Reading Series at a local coffee house. People associated with the series changed throughout the years but always included local writers who were dedicated to the idea of creating a space where literary art could flourish. For fourteen years, readings took place at various venues around the Triple Cities featuring nationally and internationally known writers while continuing to provide “open mike” time for local community writers and sometimes musicians. The series received funding from the New York State Council on the Arts, the Broome County Arts Council, and Poets and Writers, Inc., as well as public donations. Many of the readings between 1987 and 1996 were videotaped. Some of the writers who are featured on the videotapes include (in alphabetical order) Tish Benson, Charles Bernstein, Barney Bush, Wally Butts, Adrian Clarke, Suzanne Cleary, Robert Creeley, Joel Dailey, Jim Daniels, Jack Dann, Diane di Prima, Safiya Henderson-Holmes, Lance Henson, Bob Holman, Pierre Joris, Dave Kelly, Sylvia Kelly, Bill Kemmett, Peter Kidd, Dorianne Laux, Ed Ochester, Kate Rushin, Pamela Sargent, Patricia Smith, Lloyd Van Brunt. Also featured are former and current members of the Binghamton University faculty (in alphabetical order): David Bartine, Martin Bidney, Milton Kessler, Bob Mooney, Liz Rosenberg, Jerome Rothenberg, John Vernon. People associated with the series at one time or another (in alphabetical order): Ken Bovee, Alexis Cacyuk, Jerry Caswell, Tom Costello, Gerry Crinnin, Terry Day, Paul Dean, Zack Grabosky, Tom Haines, Connie Head, Michael Kelly, Tom Kolpakas, Richard Martin, Kate McQueen, John Miller, Bern Mulligan, Doug Paugh, Susan Prezzano, Phil Sweeney, Mike Tarcha. Venues for recorded readings (in chronological order): Swat Sullivan’s Hotel*, Benlin’s, Mad Murphy’s, The Tazmanian Embassy, The Amsterdam, Java Joe’s, Amp’s. The collection also <a href="https://omeka.binghamton.edu/omeka/collections/show/31">includes twelve excerpted poems</a> that serve as an introduction. They are linked not only to the full individual readings in Rosetta but also to the catalog records for the books in which they are published. This creates a unique convergence experience, as the catalog record “comes alive” and users can see the writer and hear a poem from the book before they take it off the shelf to read. Digitization and DVD Production After the series ended in 1996, the videotapes sat in boxes for ten years. In 2006, since they were most likely degrading and losing both video and audio fidelity, a Memorandum of Understanding between the BCP and the Libraries was agreed on and the process of converting the videotapes to DVD-quality MPEG files for preservation and access purposes was begun. Many of them had glitches and dead spots and several others were not originals but copies, further adding to loss of video and audio fidelity. After the conversion, both the video and audio quality were enhanced to a degree from what was on the tapes.  Phase Two involved producing individual DVDs from the MPEG files. The files were literally “raw”: they started when the camera was turned on and continued without interruption until it was turned off, which meant there was often video of silent microphones and audio of irrelevant crowd noises and conversations. Editing these out made the DVDs much better than the raw files. Preservation and Expanded Access Due to copyright restrictions, the DVDs have been housed in Special Collections and had to be viewed there. This has definitely curtailed their usage. However, a recent development in Rosetta, our digital preservation system, has allowed us to offer a new form of access. Rosetta added a built-in video viewer, which allows the videos to be both preserved and streamed at the same time. In order to accomplish this, the DVDs had to be converted to MP4s to be compatible with the new viewer. The streaming versions are copies of the DVDs, which is why they contain menus and chapters which are not functional but are continuous play. The streaming versions will allow more users to be able to view and listen to this diverse, wide-ranging collection of readings. (N.B.: They are only accessible on campus or via campus VPN.) *The image on the item records is the iconic Swat Sullivan's Hotel, which was located on Binghamton's South Side. Swat's was the venue for the earliest readings in the video collection. The building was torn down in 1990. This image was downloaded from <a href="https://www.pinterest.com/pin/548805904585058425/">Pinterest</a>. If you are the rights holder, please contact The Libraries. Creator An entity primarily responsible for making the resource Binghamton Community Poets Publisher An entity responsible for making the resource available Digital publisher: Binghamton University Libraries Rights Information about rights held in and over the resource In copyright Language A language of the resource English Contributor An entity responsible for making contributions to the resource Bern Mulligan Erin Rushton Ben Coury David Schuster Rachel Turner David Floyd Sasha Frizzell Aynur de Rouen Nicholas Eggleston Alexxa O Bisnar (Student worker) Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 videodisc (80 min.) sound, color ; 4 3/4 in. 4 3/4 in. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 80 min. Collection Big horror reading series (Binghamton Community Poets) Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE244296">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE244296</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. 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 Bob Holman with "Open Mike Part II" at the Amsterdam, May 18, 1993 Subject The topic of the resource American poetry -- 20th century Oral interpretation of poetry Description An account of the resource Features poetry readings from Bob Holman at the Amsterdam in Johnson City, N.Y. Several local poets read their works during "open mike" sessions both before and after the featured poets. The event was held on May 18, 1993 and the readings were sponsored by the Binghamton Community Poets as part of their Big Horror Reading Series. Video edited by Bern Mulligan. Creator An entity primarily responsible for making the resource Holman, Bob, 1948- Martin, Jim Miller, John Whitman, Todd Source A related resource from which the described resource is derived DVD created from VHS recording of the event Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Binghamton Community Poets Date A point or period of time associated with an event in the lifecycle of the resource 1993/05/18-2 Rights Information about rights held in and over the resource In copyright Language A language of the resource English Type The nature or genre of the resource Moving Image Identifier An unambiguous reference to the resource within a given context PS615 B56 1993 5-18 pt.2 Format The file format, physical medium, or dimensions of the resource video/mp4 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 Binghamton Community Poets' Big Horror Reading Series Subject The topic of the resource American poetry -- 20th century; Oral interpretation of poetry Description An account of the resource The Binghamton Community Poets were founded in 1983 by native Binghamton poet, educator, and Harpur College alum Richard Martin. That year he started the The Big Horror Reading Series at a local coffee house. People associated with the series changed throughout the years but always included local writers who were dedicated to the idea of creating a space where literary art could flourish. For fourteen years, readings took place at various venues around the Triple Cities featuring nationally and internationally known writers while continuing to provide “open mike” time for local community writers and sometimes musicians. The series received funding from the New York State Council on the Arts, the Broome County Arts Council, and Poets and Writers, Inc., as well as public donations. Many of the readings between 1987 and 1996 were videotaped. Some of the writers who are featured on the videotapes include (in alphabetical order) Tish Benson, Charles Bernstein, Barney Bush, Wally Butts, Adrian Clarke, Suzanne Cleary, Robert Creeley, Joel Dailey, Jim Daniels, Jack Dann, Diane di Prima, Safiya Henderson-Holmes, Lance Henson, Bob Holman, Pierre Joris, Dave Kelly, Sylvia Kelly, Bill Kemmett, Peter Kidd, Dorianne Laux, Ed Ochester, Kate Rushin, Pamela Sargent, Patricia Smith, Lloyd Van Brunt. Also featured are former and current members of the Binghamton University faculty (in alphabetical order): David Bartine, Martin Bidney, Milton Kessler, Bob Mooney, Liz Rosenberg, Jerome Rothenberg, John Vernon. People associated with the series at one time or another (in alphabetical order): Ken Bovee, Alexis Cacyuk, Jerry Caswell, Tom Costello, Gerry Crinnin, Terry Day, Paul Dean, Zack Grabosky, Tom Haines, Connie Head, Michael Kelly, Tom Kolpakas, Richard Martin, Kate McQueen, John Miller, Bern Mulligan, Doug Paugh, Susan Prezzano, Phil Sweeney, Mike Tarcha. Venues for recorded readings (in chronological order): Swat Sullivan’s Hotel*, Benlin’s, Mad Murphy’s, The Tazmanian Embassy, The Amsterdam, Java Joe’s, Amp’s. The collection also <a href="https://omeka.binghamton.edu/omeka/collections/show/31">includes twelve excerpted poems</a> that serve as an introduction. They are linked not only to the full individual readings in Rosetta but also to the catalog records for the books in which they are published. This creates a unique convergence experience, as the catalog record “comes alive” and users can see the writer and hear a poem from the book before they take it off the shelf to read. Digitization and DVD Production After the series ended in 1996, the videotapes sat in boxes for ten years. In 2006, since they were most likely degrading and losing both video and audio fidelity, a Memorandum of Understanding between the BCP and the Libraries was agreed on and the process of converting the videotapes to DVD-quality MPEG files for preservation and access purposes was begun. Many of them had glitches and dead spots and several others were not originals but copies, further adding to loss of video and audio fidelity. After the conversion, both the video and audio quality were enhanced to a degree from what was on the tapes.  Phase Two involved producing individual DVDs from the MPEG files. The files were literally “raw”: they started when the camera was turned on and continued without interruption until it was turned off, which meant there was often video of silent microphones and audio of irrelevant crowd noises and conversations. Editing these out made the DVDs much better than the raw files. Preservation and Expanded Access Due to copyright restrictions, the DVDs have been housed in Special Collections and had to be viewed there. This has definitely curtailed their usage. However, a recent development in Rosetta, our digital preservation system, has allowed us to offer a new form of access. Rosetta added a built-in video viewer, which allows the videos to be both preserved and streamed at the same time. In order to accomplish this, the DVDs had to be converted to MP4s to be compatible with the new viewer. The streaming versions are copies of the DVDs, which is why they contain menus and chapters which are not functional but are continuous play. The streaming versions will allow more users to be able to view and listen to this diverse, wide-ranging collection of readings. (N.B.: They are only accessible on campus or via campus VPN.) *The image on the item records is the iconic Swat Sullivan's Hotel, which was located on Binghamton's South Side. Swat's was the venue for the earliest readings in the video collection. The building was torn down in 1990. This image was downloaded from <a href="https://www.pinterest.com/pin/548805904585058425/">Pinterest</a>. If you are the rights holder, please contact The Libraries. Creator An entity primarily responsible for making the resource Binghamton Community Poets Publisher An entity responsible for making the resource available Digital publisher: Binghamton University Libraries Rights Information about rights held in and over the resource In copyright Language A language of the resource English Contributor An entity responsible for making contributions to the resource Bern Mulligan Erin Rushton Ben Coury David Schuster Rachel Turner David Floyd Sasha Frizzell Aynur de Rouen Nicholas Eggleston Alexxa O Bisnar (Student worker) Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 videodisc (91 min.) sound, color 4 3/4 in. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 91 min. Collection Big horror reading series (Binghamton Community Poets) Date of Digitization 8/2/22 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE244078">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE244078</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. 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 Bob Mooney, Tom Bailey, and Phil Brady with "Open Mike" at Benlin's, November 19, 1991 Subject The topic of the resource American poetry -- 20th century Oral interpretation of poetry Description An account of the resource Features poetry readings from Bob Mooney, Tom Bailey, and Phil Brady at Benlin's in Binghamton, N.Y. Several local poets read their works during "open mike" sessions after the featured poets. The event was held on November 19, 1991 and the readings were sponsored by the Binghamton Community Poets as part of their Big Horror Reading Series. Video edited by Bern Mulligan. Creator An entity primarily responsible for making the resource Mooney, Bob Bailey, Tom, 1961- Brady, Philip, 1955- Source A related resource from which the described resource is derived DVD created from VHS recording of the event Publisher An entity responsible for making the resource available Binghamton University Libraries Contributor An entity responsible for making contributions to the resource Binghamton Community Poets Date A point or period of time associated with an event in the lifecycle of the resource 1991/11/19 Rights Information about rights held in and over the resource In copyright Language A language of the resource English Type The nature or genre of the resource Moving Image Identifier An unambiguous reference to the resource within a given context PS615 B56 1991 11-19 Format The file format, physical medium, or dimensions of the resource video/mp4 https://omeka.binghamton.edu/omeka/files/original/4c54695be78ab5fb32d99c63bbf558e8.jpg 131935975681cd347fa3dda11d120320 https://omeka.binghamton.edu/omeka/files/original/0e7b3a1bda6408cdfded135aa9745c59.MP3 8434e6e3165b392644d054c51a448908 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/. Format The file format, physical medium, or dimensions of the resource Audio interviews Title A name given to the resource McKiernan Interviews Description An account of the resource Stephen McKiernan's collection of interviews includes more than two hundred interviews with prominent figures of the 1960s, which were collected between the mid-1990s to 2023 The collection provides narratives of people who were actively involved in or witnessed events in the 1960s, an era which spurred profound cultural and political transformation in the twentieth century. Interviewees include politicians, artists, scholars, musicians, authors, and veterans who delve into the decade’s most prominent issues and events, including the civil rights movement, the free speech movement, the anti-war movement, women’s rights, gay rights, segregation, the Vietnam War, Woodstock, Hippies, Yippies, and individualism. <h3>The McKiernan 22</h3> <div>Stephen McKiernan interviewed legends of the 1960s. When asked in 2021 where one should start when sifting through his vast collection, he provided the following list:</div> <ul> <li><a href="https://omeka.binghamton.edu/omeka/items/show/854">Julian Bond</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/1866">Bobby Muller</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/1175">Craig McNamara</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/910">Dr. Arthur Levine</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/837">Diane Carlson Evans</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/942">Dr. Ellen Schrecker</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/876">Dr. Lee Edwards</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/841">Peter Coyote</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/1233">Dr. Roosevelt Johnson</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/899">Rennie Davis</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/1222">Kim Phuc</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/917">George McGovern</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/833">Frank Schaeffer</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/840">Rev. Dr. Frank Forrester Church </a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/1240">Dr. Marilyn Young</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/842">James Fallows</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/835">Joseph Lee Galloway</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/911">John Lewis</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/839">Paul Critchlow</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/888">Steve Gunderson</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/1159">Charles Kaiser</a></li> <li><a href="https://omeka.binghamton.edu/omeka/items/show/2407">Joseph Lewis</a></li> </ul> Creator An entity primarily responsible for making the resource Stephen McKiernan Publisher An entity responsible for making the resource available Binghamton University Libraries Language A language of the resource English Rights Information about rights held in and over the resource In copyright. Template: Simple Audio Player with Transcription This template displays an audio player by Amplitude.js with a scrollable transcription which is loaded from the "Transcription" metadata field. This template displays an audio player with the first attached image file as the 'cover image'. For its audio source, the template looks for the first attached audio file. If additional audio files exist, they should be combined using audio editing software, or a separate Omeka item should be made for each part. Date of Interview 8/7/2019 Interviewer The person(s) performing the interview Stephen McKiernan Interviewee The person(s) being interviewed Bobby Muller Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:10:12 Language English Digital Publisher Binghamton University Libraries Digital Format audio/mp4 Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Digital file Material Type Sound Interview Format Video or Audio Audio Keywords The 1960s; Marines; Vietnam; Anti-War; VVAW; Vietnam Veterans Against the War; VA; Affirmative Action; Treatment of veterans; Climate change. Biographical Text Bobby Muller was born and raised in Great Neck, Long Island. He attended Hofstra University for Business Administration. He then enlisted in the U.S. Marine Corps and his commission began the same day he received his bachelor's degree. He quickly rose to become Combat Lieutenant leading a Marine infantry platoon. While leading an assault in Vietnam in 1969, he was shot and paralyzed from the waist down. After returning from Vietnam, he became a peace activist and a strong advocate for veterans' rights. A few years later, he received his law degree from Hofstra University and founded Vietnam Veterans of America in 1978 and the Vietnam Veterans of America Foundation in 1980 to fight for fair treatment of war veterans. He co-founded the Nobel Peace Prize-winning International Campaign to Ban Landmines as well as the Nuclear Threat Reduction Campaign and Campaign for Criminal Justice Reform. Then, in 2004, he founded Alliance for Security. Transcription Any written text transcribed from a sound, or alternative text from a visual medium McKiernan Interviews Interview with: Bobby Muller Interviewed by: Stephen McKiernan Transcriber: Benjamin Mehdi So Date of interview: 8 July 2019 -------------------------------------------------------------------------------------------------------------------- (Start of Interview) 0:01 SM: Alright, here we go. First question I want to ask you is um, when you think of the 1960s and early 1970s, what is the first thing that comes to your mind? And please use words or adjectives as to why you picked your thoughts. 0:24 BM: Hmm. Well, the (19)60s and early (19)70s were a major cultural and political upheaval. We had been in this extraordinarily unique status, following World War Two, as the world's leading military and economic power, and had felt tremendously self-confident, good about ourselves, and had a lot of things going on around the world. Under our control direction, I think if I recall properly, in 1964 76 percent, of the public trusted, our political leaders, and political institutions to do the right thing in all, or almost all of the time well, with the civil rights movement, creating the first really true significant two-sided protest joined shortly by the protest against the Vietnam War, was a very different experience for America. And certainly, the older generation, the establishment itself was terrified by the upheaval, and the rejection of what was considered the values of the time by a younger generation that wanted nothing to do with it. I think the civil rights movement and the Vietnam War, both serve to wake up a lot of people in what had been a complacent society, in the fact that there are real problems here. And change is going to have to take place. The establishment put together an extraordinary effort to [inaudible] wipe out the activity itself as well as the memory of what happened during that period of major social political upheaval. So, that is what I think of- 3:14 SM: One of the things I am very curious, Bobby, about your awakening. Could you talk a little bit about your upbringing where you grew up, and, um of course, went to college, and then those years leading up to your becoming a Marine. 3:31 BM: Look, I was a jock. When I was in high school, the only thing that mattered was sports. So, when I graduated high school, I went to State University of Portland, upstate New York, was a Teacher's College as a Phys-Ed major. After a couple of years, I realized that did not have a very profitable future. So, I switched Hofstra University, on Long Island and a business agenda. I had basically no political awareness of what was really going on. Other than having felt good, that at least the rhetoric of particularly the Kennedy years, which I was in college at the time, talked about freedom, equality, just things that were right. So, I continued in my own little world. The only problem was that when I was getting ready to graduate in (19)67, there was the inevitability of a draft. And there was no question that that upon completion college, I was going to get drafted. Well, I did not want to wind up under Leadership, to some imbecile. So, I figured I would take initiative and enlist, and have not been kind of a macho kid. And with the reputation of the Marines being, you know, tougher than the rest, leadership, etc. I consider what the hell I will join the Marines. And I tell people all the time, that I think the most significant movie that I saw, coming out of the whole Vietnam era was Stanley Kubrick's Full Metal Jacket. And I refer to the first half, which was an extraordinarily accurate depiction of Marine Corps basic training. And I can vouch that it is an incredibly effective propaganda mechanism, transformational mechanism, that takes a bunch of people who might be misfits. Or not particularly motivated and transforms them into very different people. It was a very effective process of indoctrination and training. So, whereas I joined the Marines fairly nonchalant, just to avoid being drafted. By the end of my Marine Corps training. I was convinced that we were fighting the righteous fight in Vietnam. We had to repel communists. And I was very eager to go. It was as simple as that. 6:56 SM: Bobby, uh I, when you were shot in Vietnam, and injured. I have asked this to a couple other Vietnam veterans at the moment they were injured, and several of them are in wheelchairs, when you were injured, what went through your mind? Besides I want to serve maybe I want to survive, and I want to live, do you, do you re- 7:18 BM: I cannot adequately convey the certainty that I felt that I was going to die. I do not know how long I was conscious. But I remember I was on my back. And from when I grabbed my stomach, and I did not feel anything. I knew that it was a serious injury. And my first thought was that my girlfriend was going to be really pissed. Because she had been opposed to the war and certainly opposed to my going into the Marine Corps. That lasted around two seconds, because then I realized that I was dying. And as I said, I cannot adequately describe how powerful the feeling was of having a life slip away. And the absolute certainty that I was going to die. And my last thoughts were, I cannot believe it, I am going to die on this shit piece of ground and fucking believe me [inaudible]. Lights out. What I can tell you is that I absolutely Experienced dying. Wow. I had a series of miraculous events, such as having med-evac choppers in route before I got shot, having virtually instant medical evacuation. And with my luck on that particular afternoon, the hospital ship, the USS repose was the furthest north that it would go and was in the process of turning around to go back south. But I got med-evac back, to the hospital ship, which was an extraordinary provider of trauma and emergency care. And they had written in my medical records that had I arrived one minute later, I would be certainly die. Wow. the bullet went through both lungs. So, both lungs collapse, as well as severing the spinal cord um. At the T five level, which is mid chest, and they did a remarkable job apparently. I woke up absolutely amazed that I woke up, I was stunned that I was still here. And I was on what they call a strike referring in intensive care. And I do not remember how many tubes I had sticking out of me. Something like nine, I chest tubes on both sides. You know, I had tracheotomy done a whole lot of stuff. Um. But I made it and we all intellectually know that we are going to die. But we do not actually emotionally connect to that reality. Well, having emotionally connected to dying, by experiencing dying- I will tell you that there is absolutely no regrets whatsoever, in being a paraplegic and simply overwhelmed, um. And thrilled that I got dealt back into the game that I was convinced I had left. Now I got shot a little over eight months. But I had gone out in the field, seven other marine lieutenants. And I found out that all seven had been med-evac. Before me, 11:47: SM: Oh, my goodness, wow. 11:49 BM: And I remember in training, they told us that over 85 percent of junior officers, such as myself, okay. [incoherent muttering] So yes, it was a major hit. But I have seen a lot of people with much lesser injuries die. And the fact that I made it was remarkable. I think it is hard to tell time because the lights never went out in intensive care. Somebody was always screaming, particularly, you know, the amputees in the burn cases when they were changing dressings, etc. But I think something like two days later, the doctor came over to me, and [inaudible] I said, “What are you thanking me for?” He said, “Because we are pretty confident that you are going to make it now.” And you boosted the morale of the staff around here. 12:45 SM: Wow. 12:45 BM: So, [chuckles] that was that- 12:48 SM: Well, Bob that was a tremendous explanation, and-an- One of the things I would like to talk about is when did you know you were against this war? And uh We have talked about this before, but I want to have an I want to hear your voice talk about it again. And that is when you came back to American and were in the hospital. And some of the things that were happening in that hospital you were very upset with? And just if you could talk about that, and what were your act- 13:15 BM: I do not I do not remember having one political conversation while I was in Vietnam. It did not matter. Because when you are in the military, it is not something where you could decide, hey, I do not like what I am doing. And say I quit there is no quitting. So, you are in it. And the reason people fight is basically because of the people that they are with. And it was us versus them definitionally and no real discussion. However, there were a lot of incidents in my tour, that made no sense to me, in terms of how member I was operating, basically, northern night corps. How People when we were operating around villages generally looked upon us with either fear, or, or hatred on their faces. The villagers supported the enemy, which was obvious, and sometimes, you know, we would get ambushed from people inside the villages, etc. And after having spent, uh I think a little over four months, five months with the Marines, I got transferred to Mack- and worked with South Vietnamese military and I was as an assistant advisor on a battalion level and my experience with South Vietnamese was an absolute reluctance on their part to fight. Contrast it with the stunning tenacity, of basically what we were fighting North Vietnamese Regulars. 15:16 SM: Right. 15:16 BM: And, you know, having to sleep every night with a dying commander, and on guard because a percentage of the troops on our side were in fact uh, on the other side. And when we were out in places that were remote, you know, in the morning x numbers of troops would be missing well, there is only one thing you are- you are going to be doing when you are out there, and you leave your unit, which is join the other side, go home. So, but at the time, would not have helped to really question all of that or get into a discussion about it or go home. So [grunt] um, at the time would not have helped to really question all of that or get into a discussion about it, because like it or not, next day, you are going to go out on a mission, you are going to go out, and do what you got to do. So why make it more difficult? But definitely question, what it is that you had to do, when inevitably you are going to be doing it the next day. When you come back, and you know, on the hospital ship, they sent the psychiatrist and presumably to talk about the fact that be paralyzed. But the first question I asked him was, how come I can sit down amongst a bunch of dead bodies just a couple of days prior, chow down, and not the effects. And he explained that your mind has its own defense mechanisms. And when you are under extreme circumstances, those defense mechanisms come into play, to allow you to endure the situation. He said, I assure you get back to states. And if you should see somebody, get hurt, hit by far, whatever, you will be just as sensitive as everybody else because those mechanisms will have gone. And I think that is important, understanding that I have because those defense mechanisms that allow you to endure what goes on at war also enable you to do things that you would otherwise never do. [grunt] So it kind of works both ways. And I learned that I transformed as an individual, in the course of my tour, I call it going down a dark path, and you change. But when you come back to society, which is normalized, and you think about the things you did, with normal sensitivities, you are going to feel awful and guilty about it. Although at the time, it was not such a big deal, because it was simply part of the game. And I think that is why a lot of Vietnam vets have an awful lot of guilt about what they did in the time when they were in what I would call an altered state of mind. 18:49 SM: Right. 18:49 BM: And reflect upon it, you know, with normal sensitivity. 18:55 SM: Wh-When you came back, Bobby, you eventually became part of that organization, Vietnam Veterans Against the War in Vietnam. And of-of course, we all know the speech that John Kerry gave before Senator Fulbright's Foreign Relations Committee, where he talked about the atrocities and the killings and all the terrible things that are going on there. And um just when, whe- you when you came home to America, were in the hospital, what-. An-And you were evolving there you were seeing things you did not like when you were serving there, but you are not going to do anything while you are over there. But when you came home, was there a specific point that said, I got it this war is this is a bad war. And uh and then when John Kerry spoke, was he telling the truth on all the things he was saying? 19:45 BM: Of course, he was when I came back. Um. That is when you can start to reflect on what you have gone through in a way that you do not allow yourself to do when you are involved day to day. The hospital that I was in was the Veterans Hospital in Bronx. And my ward was one of three wards that handled spinal cord injury patients. And back in uh, (19)70, or (19)71, I am not quite sure. Um (19)70 um. Life magazine came in and focus on my ward. And made it a cover story uh. For Life Magazine, which at the time was a major publication [grunt in agreement]. And the cover of the magazine was split. Top half was colored photograph of troops being evacuated from Cambodia when we have gone into Cambodia. And the bottom half was black and white picture of a quadriplegic, sitting in the shower uh, shower chair uh, pretty dismal [grunt] the article portrayed some pretty bad conditions. Uh. The place was basically an orphanage at some point in the latter part of the 1800s [grunt in agreement]. So, it was a physically completely depressing building. The ward was overcrowded um, understaffed and conditions were shown to be deplorable in many ways. And I think the article referred to it basically as a medical slump. Not all VA hospitals are the same. But my particular hospital was pretty bad. Um, plus, it was not geared to the kind of care and treatment that I required. Because less than 10 percent of patient care in VA hospitals at that time was for anything to do with a service-related condition. And service related could mean you had an accident on Interstate 95. But if you are on active duty, your injuries are considered service connected. I guess that actually combat related injuries, were certainly less than 5 percent of the care. So, it was overwhelmingly uh more of a geriatric and poor people hospital. And they were there pretty much in the discretion of the VA. So, they shut up. And we, the younger generation guys came back, needing rehabilitative care, while essentially the hospital was a glorified nursing home. So, when Life Magazine did its cover story, it turned out to be the second largest selling issue Life magazine ever put out. And I was the spokesman for the ward and wound up doing a lot of interviews. Get Phil Donahue at the time when he was still out in Ohio. Today show. I got a fair amount of separate spokesman. We had congressional delegations come through. And also, Vietnam um vets against the war stopped by and said, “Look, you know, in addition to talking about what is going on in the hospital, why do not you consider talking about what is going on with the war.” And I had thought like so many that I had just been dealt a bad hand. And my experience was just an unfortunate one. By talking to other Vietnam vets. I realized that it was not just me. But most of them had the same kind of experience. And we started reeling with that process known as rap groups. Now to share our experience and gain an understanding, a much better understanding of the larger reality of what was taking place in Vietnam and asking the questions that we never asked on the front end might. Okay, so why are we here? Well, what has happened. And it does not take very long to realize that what was being said publicly, was totally contrary to the realities that we experienced. So, you know, by ending the isolation, by having a communalized process of peer support, sharing turns, understanding a whole lot more, we became a uh much more radicalized and angry. And yes, what DVA W did, in opposing the war was unprecedented. what Terry said, absolutely. Represented, our shared feelings. I myself, as you know, was thrown out of Republican national convention. In (19)72, for young Nixon during his acceptance speech, and I cannot tell you how devastating it was for all of us that in (19)72, not only did this guy who we have been consistently condemning as a war criminal, got reelected. But he got reelected with the largest mandate of any president in US history up until that time. So that was very difficult. 26:37 SM: When you are talking about the Vietnam Veterans Against the War in Vietnam, um what, what did you think of what of the antiwar movement that was going on in America when you were over there? And secondly, when you came back, uh I would like your thoughts on this, too. Bobby. Uh. Some of the activists that I have talked to who were antiwar, were never anti soldier. They were antigovernment and anti-leaders who sent the military to Vietnam. And so, a lot of the protesters that were against the war in Vietnam, were not only trying to save American boys from being killed over there, but also saving millions of Vietnamese citizens, which is another topic of discussion. And some of the people th-that I have also talked to have said that when they go to the Vietnam Memorial, yes, they they-it is in remembrance of those who died in Vietnam, who served our country with distinction. But it is also they cannot help but also reflect on that one or 2 million Vietnamese citizens that also died in that war that we never talk about. Uh Just your thoughts on that. The antiwar moveme- 27:50 BM: Bu-But at that time, I do not think there was a whole lot of awareness of how damaging the war was to Indochina. And it was a slow shift, to begin to view the troops separately from the war, that was not the way things were necessarily back at the time. The veterans that did speak out, were very welcomed by the entire movement, because we added a very critical element uh of credibility, been there and reporting firsthand. But there was still animosity towards many of the returning troops. And as time went on, you know, to just go back and think about I think it was in 1971, when CBS did a uh nationwide documentary called Jolly Couple. They had sent a crew that spent time with an Army infantry company that knew it was being filmed. And on camera, guys was smoking dope. Uh, at one point, the company commander told some, troops, to go up and put a cordon around an armed personnel carrier that has been damaged and on camera. They said, “Hell no. You can buy another one of them, you are not going to buy another one of me.” So, you saw the military um basically, revolt, and essentially quit. But we also had emerging Mai Lai. And stories of, you know, indiscriminate killing atrocities. Drug use and the fact that we will not consider all that stable when we came back. I remember that at one point, they asked for five sides out of my company to work with the CAP program Combined Action Platoon, where you have guys actually going into the villages and living with the Vietnamese. And they said, we needed at least five guys with a high school diploma. And company clerk went through the records. And he said, we have got one guy out of 155 with a high school diploma. So, you know, we had the average age, as you know, of the combat soldier, was 19. But that includes, you know, the NCOs and others. Basically, all the guys in you know my unit in my, my platoon were 18, except for the sargent and the one guy. So, you had a very vulnerable group put into an insane situation, having to deal with killing people making decisions about when to fire or when not to fire, having significant civilian casualties, having the people next to you die and be severely wounded, etc. So, Vietnam vets were shocked when they came back. The guy who was considered the most decorated hero of Vietnam, was a guy by the name of Peter Crochevsky. And Peter was a gunship uh pilot, uh Cobra, I believe, and basically knocked out of the sky, I think nine times. So, he has more air medals and all of that than anybody else. When he came back, he went to school full time to convert his pilot's license, the fixed wings. So, he could get into commercial aviation and work full time. And nobody would hire him. And that was a great example of how many events no add a ladder state after the atrocities had been reported on the uh lack of discipline, rebellion within the ranks, smoking dope, getting in cases hooked on heroin, which was cheap and easy. So, for the vets. It took quite a while. After years later, I had started Vietnam veterans America, the Washington Post, the Op Ed. Ed-Editor, was a guy by the name of Phil Jalen. And I got introduced to him, who was sympathetic. He did a big op ed piece on me back then, even when photographs saying Vietnam veteran advocate arrives. And for a period of time, he said they grant an unprecedented number of editorials and op ed pieces in support of what we were advocating, the Vietnam vets. And he said the response was absolutely uh unprecedented [grunt]. He said, normally, if we do a piece and we criticize an agency, you know, they call and they want a chance to rebut what we said. He said the response to this unprecedented campaign of advocacy was total silence. He said it was just remarkable. So, he said, we have got to take up, I think the level of discussion uh to the world so, and he set up a meeting that was co-sponsored by the Council on Foreign Relations, headed up at the time by Winston Lord who had been Kissinger’s deputy, and McGeorge Bundy, uh who is president of the Ford Foundation. So, we had the Ford Foundation and the Council on Foreign Relations, co-sponsor, a meeting where they invited 25 or so of the top leadership in America from media to corporate, etc. and gave me a real opportunity to make a pitch. And uh this was 1979 and McGeorge Bundy at the end of my presentation said. “Bobby, what you are doing is laudable, it is very deserving. But you are simply not going to get support.” He said “I will help you, because I have some discretionary authority as head of the Ford Foundation. But you have to understand that Vietnam is a negative, recollection for people-people feel embarrassed, people feel ashamed, people feel guilty. And they are just going to want us to get about the whole thing and move on. Unfortunately, that means that you also are going to be left behind, and you are not going to get the support that you deserve and what you are advocating for.” He did not say that to be a son of a bitch, he said that just lay out a reality [right]. And what he said was true. Because, you know, having done five media appearances in one year on Good Morning America, you know, having been written up in New York Times and editorial is the leading advocate to Vietnam vets, you know, I got to meet a lot of the political leadership and business leaders that had been involved in the war. And basically, none of them were responsive. Nobody wanted to help us. And the efforts to get a Vietnam veteran group going brash six times where I said, that is it, we cannot go on. And when the last one happened, that is it. That is, it. That particular day, um I got a call from Bruce Springsteen's manager. Uh John Landau, said, you know, Bruce has been following the Vietnam vets, he cares about it a lot. And you want to help them to get together. So, literally, the next night, he was doing a concert. In Jersey, I was up in New York, so I went. To the concert, talked to him for maybe 20 minutes and five minutes, laid out my spiel, he said, okay, let me think about it. Next day, he calls me, he said, “Can you come to Los Angeles next week?” I said, “Sure, what is up?” he said, “I want to do a benefit concert for the Vietnam Vets. And you got to be there.” And the fact that he gave us that concert, where he had gotten guys out of veteran’s hospitals, etc. Alongside the stage, um he built up platforms where guys, uh in wheelchairs directed from in all sorts of medical devices were there. And for the first time, he uh went out before the concert, and said, why he was doing it. That, you know, we have been neglected, we had to be recognized. We deserve proper treatment, invited me to come on stage, I gave a little pitch. And then he gave what many considered is perhaps the best concert he has ever given. Uh, the fact that Springsteen put us in the public light the way he did, changed, everything. Everything. We went from being totally ignored, to all sudden, you know, being kind of popular. And within 30 days, I think we had a concert by Pat Benatar who was big at the time, Charlie Daniels gave us a tremendous infusion of uh money, Bruce, that night gives 100,000. But we were okay. after that. And without him, there would not be a coherent veteran’s organization of movement. And that is really what made the difference. 39:04 SM: You know, Bobby- [another thing]. Oh, go ahead, continue. 39:08 BM: The other thing was when the hostages returned from Iran, they were given a ticker tape parade in New York. And that was the first time that our phones uh ran off the hook. People were out at contrast between the reception that the returning hostages got, and the non-reception the Vietnam Veterans got, and both the House and the Senate Veterans Affairs Committee told me that for the first time, they got bags of mail from the public saying “help the Vietnam veterans.” You know, at that point uh things change because while Vietnam would not be discussed at social events, etc. At the end of the hostage crisis, you know, people have talked about well, okay, uh we obviously have some adversaries in the world. What are the values that we are going to actually stand behind and, and protect? And those questions which then became the topic of social discourse, had to use the last time we went to war, which was Vietnam as a reference point. So, for the first time opened up the discussion of, okay, what are we going to do in the world? What are going to be the values that we are going to stand behind? And what do we are not going to- I gave a speech. I think it was on [inaudible] with uh mayor [inaudible] City Hall. And part of what I said, in a totally impromptu speech. Made it is the quarter of the day in New York times the next day, as well as being part of a front-page story. I said, You people ran a number on us, I was addressing the general public from the steps of City Hall said you people ran a number on us your field, you are hanging up and your uneasiness made it impossible for us to talk about. If we brought it up, you tend to walk away from the conversation. And the fact that they made that the quarter of the day, I think, indicates that it was recognized as a fair representation of where things stood at the time. 42:02 SM: You know, but that at very same time, Bobby, I was starting my career in higher education. And I worked at a high university, and I learned very early on that affirmative action. Vietnam veterans are part of it. Because when we, you know, people, obviously, Vietnam veterans were not being hired, and the universities themselves added that particular group, um the ones that are being discriminated against, so- 42:30 BM: So that came later on, you know, you got to remember that Johnson uh wanted to recode the GI Bill, because the Vietnam vets and when they started with the GI Bill, they started at uh I think it was $100 a month, a stipend, whereas the Korean War veterans had been getting $110. So, you know, there really was not support. There is what I have consistently referred to as an iron triangle in Washington. And that triangle consisted of the agency itself, the Veterans Administration, the congressional committees in House and Senate, and Veterans Affairs, and the traditional established veterans’ group, Veterans of Foreign Wars, American Legion, etc. and, they will all populated by World War Two veterans. And they really did not see us the way they saw their war or themselves. They saw us as part of a counterculture generation that rejected the war that we went to fight. And they were not sympathetic at all. Plus, there was a budgetary conflict, the claim money that needed to be allocated basically, for the older veterans in a way of pensions, not compensation, which is what you get for service interest group but pensions for all the people that fell on hard times. And an expansion of, you know, VA medical care, designed primarily for the older, more geriatric patients, and our needs for you know, a decent GI Bill, foreign assistance programs, you know, counseling, assistance, etc. You know, lost out in the lobbying process, to a shared sense amongst that Iron Triangle of the World War Two generation types that took care of their needs before they took care of our needs- 44:53 SM: Do-do you see that what you have just been talking about for the last 10 to 15 minutes has a direct tie to the building of the Wall in Washington DC in 1982? Because if [stuttering] you see that video that when the wall was finally opened in 82, and that some of the times when people make comments on that first November 11, is that now, Vietnam veterans are accepted, and-and it seemed to change everything. what you have revealed about-about-about the rock musicians, is what that is, that needs to be known more Bobby, that needs to be known a lot more. Yeah, it would be it would be, it would be a great column for you to write a newspaper about Bruce Springsteen. And-an- 45:49 BM: this has been written about so many times. Um, that, you know, as I have said, had Bruce not come and put us in the public light, and got, as a result, other musicians that wanted to chip in and help us out the way that they did, um we never would have made it period. When the Vietnam Memorial was designed or proposed, I was against it. I said, you know, it is very easy to give money to memorialize the dead, it is known, harder to get money for political programs that need to be enacted that a costly to help the vets. As turned out, the wall became um a very powerful event. Because when it was opening up, I was in DC, you can see, you know, guys coming in, individually, in many cases from places. And it was the first kind of mass gathering of Vietnam vets. And that was a turning point in giving collective expression to the expense. So, the wall was cathartic. But it also served as a particular point to galvanize, for the first-time veterans from across the country, who recognize that there was a lot of solidarity, and you know our respective experiences, and facilitated um the coming out of the Vietnam vets. Just like when I described it to take great for the returning hostages from Iran. A lot of vets said hey- hey, what about us? Even my mother called and said, what is going on? We have one of those former captains here, where she was in Texas. And they gave him a Cadillac, a lifetime pass to the ball games. What did anybody ever do for you? So, like I said, the anger at the contracts. Uh generated an out of public demand to help the Vietnam vets and also brought a lot of Vietnam vets out to say, “Hey, what the fuck?” So? Yeah. I- Th-Those events, I think they are turning hostages with ticker tape parade. What Bruce had done in bringing money and putting this favorably in the public spotlight, in generating support, along with the wall being galvanizing event. All served kind of changed the game a bit. 49:09 SM: Yeah, you know, Bobby, when you look at your life, and the organizations you have been involved in or helped create, every one of them is really helping others. In- Obviously, you went to serve your nation in Vietnam, you came back home, and you saw the experiences you have out and became, went against the war. But there is something within you as a person where you have taken on such major issues, and you have devoted your life to that. Could you just briefly explain from the Vietnam Veterans against the War to uh you know, the Vietnam Veterans of America to your landmine, the Nobel Prize, I mean, everything you are involved in is about giving back and helping others how did you get into this mold? 49:55 BM: I think overwhelming the majority of the Vietnam Vets came back and said, well, that was fucked, tried to put it behind them and get on with their lives. I could not do that. I was stuck in a hospital for a year. So, it was not something that I could just walk away from. And I saw it many times, I said, I have not gotten injured as severely as I did, I might very well have been like the others and said, you know, let us get on with life. And I think a lot of people, while the vets may have been reluctant, to some extent, to speak out, out of respect for the guys that died, who paid a severe price, and they did not want to deny them of any meaning or purpose to what they went through. However, nobody can speak for the dead. But I was in a position to speak for the living that had been severely damaged. So, I had kind of like, more of a unique opportunity. Because here I was, you know a Marine who shot, assaulting an enemy position on a hill um maximum credibility, and, you know, with the wheelchair, you know, you would always be brought up to the front of any parade, and you would be the one that media would want to talk to. And the more you got into it, the more you realize that, oh, this was not just, you know, an innocent mistake, um. There was a reason why we fought. And you recognize as you went along, that our government lied, our government was criminal, that people like Nixon and Kissinger should be tried as war crimes. And it was no longer you know, 1964, where, you know, 77 percent of the public trusted, you know, our political leadership, we came back, and certainly, myself and a lot of my friends have ever since that day, that war with our own government, we knew that our government was corrupt, lied, and was doing awful things. And once you get the wakeup call of something like Vietnam, where you have to confront, you know, okay. Uh. The questions that you never would have asked on the front end, and many people never asked period, you learn more and more, and then you say, okay, you got to hold this government accountable, you got to be aware of what- it is doing. And one step naturally led to the next step. And certainly, when I became aware of legislative disparity between what prior generation of veterans were provided, compared to what we as Vietnam veterans were afforded, it was an outrage. And, you know, once you start to speak to that believe me, I never intended to have a membership organization, but under the banner of Vietnam veterans, America, you know, veterans in communities around the country, all by themselves, one chaplain selected or not, but there was a membership. [laughs] And, you know, I started the organization in actually the very end of (19)78, and stepped down as president in (19)87. But by that time, had created a very uh substantial and sound, financial basis to the organization, had gotten a congressional charter, validating the VA, as you know, a nationally recognized veterans’ organization that could represent veterans have office space and VA facilities, and so on so forth. And I left to deal no longer with the veterans’ issues, but with the larger concerns of war and peace, and that was what I did through, get on the Veterans America Foundation. And having led the first group, they were four of us to return to Vietnam after the war. which we did in 1981, uh was a transformative trip. Because you got to see Vietnam, in peace instead of war, you got to meet the Vietnamese as a people and not potentially enemy. Their need was extraordinary. Our policy towards Vietnam was completely wrong and worked very hard on trying to get a- um process going between the two governments, which was not taking place at the time, because eventually uh, there is going to have to be an acknowledgement that the world is open to reconciliation. And that helps um a large part of the agenda of getting a vets- veterans America Foundation and um was critically needed. And I think what we did, as a non-government organization not carrying the baggage of diplomatic representatives who have to carry the government's line, we gave the Vietnamese Foreign Minister, [inaudible] the opportunity to do some stuff with us, he said, I cannot go to my government and ask to help the American government, because they are still basically adversarial to us. I can go to our people and say, we want to work with the American people, not the government, because they suffered in the war, like we did. And that process led to situations uh where even though they did not like it, US government had to get involved with Vietnam, because of the challenges that we had represented. For example, the Vietnamese saying, we found more American remains, we would like to turn them over to you, come to Hanoi. And I said, well, would you be willing to work with our government to return the remains, so that they are treated with you know the proper respect that they need to be, and uh the government threatened to bring charges against us. But sending Montgomery, um who had been the chairman was chairman of the Veterans Affairs Committee, had already held hearings on the POW MIA issue. He knew it was a crock of shit. And he said he was very high in the reserves. He said, If the government is going to work with you, I will get you military transport through the reserves and get it done, which forced the government to then contact Vietnam and opened up the communications that led to an increase in programs and so on and so forth. 58:23 SM: Couple things I want to ask you. 58:26 BM: Okay, Steve, we only got a little bit of time left here. Then, I got to go. 58:29 SM: Okay. Can I have three questions? And then that will be it. The first question is, um, Robert McNamara. He was uh obviously a lightning rod during the Vietnam War and the antiwar movement. Yet you became a friend of his in later life, because you went on the stage with him, I think and debated him. How did you evolve and change your opinion? 58:50 BM: Oh-no, we, we did not debate. We were in agreement. 58:55 SM: Oh, okay. 58:56 BM: Particularly after my experience in Vietnam, in Cambodia. And, you know, my first 10-day visit, shortly after the Vietnamese had gone in, show what genocide meant. And I came to understand, I was there for 10 days, then went to this torture center, that when you get to that level of energy, of genocide and conduct, uh nothing is going to stop it. Due to horror of what it was doing. Something external had to come in and stop it. And I was convinced that with the increased technologies that we have, if people of that kind of mentality, connect with the technologies that are available, we are going to basically eliminate life as we know it on the planet, which is exactly what McNamara was sent you know, his experience back from World War Two, Cuban missile crisis. And believe he talked to me a great length about how absolutely pure luck prevented a nuclear war between us and the Soviets over a missile crisis. So, he and I, the odd couple, we were both saying, you know, we have got to fundamentally change how we handle conflict. And we cannot allow the continuance of nuclear weapons. Um, because, inevitably, if we continue to have them, they are going to be used. So that was why he and I got together, because the odd couple was basically saying the same thing. Okay, next question. 1:00:49 SM: This- the next question is the other question I like to ask and that is healing. The Vietnam memorial was built hopefully to heal a nation as Jan scrubs book states. How important has it been in terms of healing the nation itself? And why do you see such tremendous divisions still in America today, that many people say go back to that era of the (19)60s and (19)70s, uh the divisions, the divisions had never changed? 1:01:18 BM: Well, I-I-I-I-I am not that sure that the Vietnam Memorial provided that much for healing process, as it provided a place for people to come together and a little bit more collectively um, come to reflect and consider what had happened? I think with the passage of time, you know, history has, made it is good, that we were absolutely wrong. In what we did, you may have been able to debate in the (19)60s and (19)70s, and maybe at some point into the earlier part of the (19)80s. But at this point, uh the historical judgment is in, and you cannot deny we were wrong period and the conversation. Yeah, there are a few that still think I could have won, but they are, they are just flat wrong. 1:02:21 SM: And my last question, and this is the scene that we always remember, the helicopters off flying off the embassy in-in Saigon in 1975. And, but I reflect back on the Paris Peace talks of 1973. And I, to me, and I do not know how you feel it is the peace talks were a farce, because here they were meeting in Paris, and then when it was all over the peace talks, you know, the war would come to an end. And then we saw what happened North Vietnam just kept coming throughout all of South Vietnam, and then they end up taking over, it is-I- Just your thoughts on see the feelings of when the war ended in 1975. Seeing the helicopters- 1:03:12 BM: I-I-I understand that in uh, uh 1971, you know, Haldeman was the assistant to Nixon, along with Haldeman. Haldeman maintained guard, which he comes. And he talked about, I do not have the page um. But there was also a wonderful column written by Maureen Dowd about it, that Nixon said um, “You wanted to end the Vietnam War.” And Kissinger said, “You cannot do that. If we ended now, the probability that by the (19)72 election, the North will have overwhelmed the South um is not going to be good politically. So, to preserve political viability, you have to carry the war phone.” Now, that is Haldeman's diary. And when you realize that Kissinger continued the war for several years, just to maintain political viability, for Nixon's reelection um, what more needs to be said. The other thing I would say to you is what I said to you when we met one time, you have to read the book Hanoi’s War because it will give you a very different understanding of what was going on-on the Vietnamese side. So, without reading that book, I think you are going to be significantly wrong in your impression to what was going on. And I found amazing that not that many years ago and it came, you know, on this anniversary date of whatever it was the Vietnam you know was so critical of general [inaudible] for Tet Offensive and so on and so forth. But the point of view and fun fact: Hoi Chi Minh had nothing to do with the leadership of Vietnam for a good while before he died. He was maintained his status as a figurehead [inaudible] vehemently opposed the TET offensives. And, you know, when he lost the debate of Lumley to Lees Wanda was in charge [inaudible] actually left the country during the Tet offensive as further demonstration of his complete lack of support. But what happened? So, I think if you want to do some commentary on what was actually going on, understanding that Kissinger prolonged war for years, simply for political viability, and a better understanding on the Vietnamese side, if you read Hanoi’s War it would be important. Okay. All right. One more quick question. 1:06:26 SM: No, I just just-just your final thoughts on um where we are as a nation today, and why we cannot seem to get over the-the divisions that took place in the (19)60s? 1:06:38 BM: Well, the (19)60s um have been wiped out. People do not remember, the whole Vietnam era, certainly not going to need the lessons that it paid for in blood and despair by millions of people, they really still do not know what we actually did. Um, and, you know, you have got other issues, not Vietnam, that are really increasingly and will continue to create substantial social distress and divisions within our country. Uh, because you have got the dismantling of a lot of globalization stuff uh. Because of people you know like Trump, you have climate change, which is already in evidence is having a profound effect um, generating refugees, and if you do any deep reading at all, you are going to realize that this is now unstoppable and will uh absolutely um within the foreseeable future, end civilization as we know it. And if you have not had a chance, I would get on Netflix, and watch a very good eight-episode documentary narrated by David Attenborough called Our Planets. It is on Netflix. And if you have not read the book, The Uninhabitable Earth, you absolutely need to. And you realize that the issues that we are facing, because climate change, loss of biodiversity, artificial intelligence, robotics, cyber capabilities, warfare vulnerabilities, etc. The ability to genetically alter and weaponized a virus, that those are the concerns that need to be recognized uh. etc. So I think the whole Vietnam experience is basically in the history books and forgotten. I do not think, at all, that that is uh what is driving anything in politics today. Other than the fact that after Watergate, that basic confidence that the American public had in its political leadership institutions, plummeted, and has never come back. So, I think as a society, we view our relationship with government um very, very differently. And there are people that can exploit it in different ways, as we are seeing, and it is all going to get worse. And Vietnam is barely a footnote in the process. Steve, I got to go because I have to run someplace and good luck to you with the project- 1:10:05 SM: Thank you very much Bobby and we got to have lunch again. 1:10:09 BM: Okay. 1:10:10 SM: Take care bye. Thank you. (End of Interview) Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Rights Statement Many items in our digital collections are copyrighted. If you want to reuse any material in our collection you must seek permission, or decide if your purpose can qualify as fair use under the U.S. Copyright Law Section 107. If you think copyright or privacy has been violated, the University Libraries will investigate the issue. Please see our take down policy. If using any materials in this online digital collection for educational or research purposes, please cite accordingly. 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 Bobby Muller Description An account of the resource <div class="element-text">Bobby Muller was born and raised in Great Neck, Long Island. He attended Hofstra University for Business Administration. He then enlisted in the U.S. Marine Corps and his commission began the same day he received his bachelor's degree. He quickly rose to become Combat Lieutenant leading a Marine infantry platoon. While leading an assault in Vietnam in 1969, he was shot and paralyzed from the waist down. After returning from Vietnam, he became a peace activist and a strong advocate for veterans' rights. A few years later, he received his law degree from Hofstra University and founded Vietnam Veterans of America in 1978 and the Vietnam Veterans of America Foundation in 1980 to fight for fair treatment of war veterans. He co-founded the Nobel Peace Prize-winning International Campaign to Ban Landmines as well as the Nuclear Threat Reduction Campaign and Campaign for Criminal Justice Reform. Then, in 2004, he founded Alliance for Security.</div> https://omeka.binghamton.edu/omeka/files/original/0eb88300e7cdb61b25e44de97b486cb5.pdf b4859993af5734ea4048bec4f9ebf764 PDF Text Text (, UNIV ecital tape 00 4-.. 1 CO BINGHAMTON U N I \' E R S I T Y State University of New York Department of Music Presents Brahms Tragic Overture Op. 81 Mozart Requiem K. 626 Leslie Hochman, soprano Lara Longsworth, mezzo soprano Timothy Fallon, tenor Richard Galyon, baritone The University Chorus The University Symphony Orchestra Timothy Perry and Bruce Borton, conductors Saturday, April 17, 2004 8:00 p.rn. Osterhout Concert Theater �Program Tragic Overture (Op. 81) ..................................... Johannes Brahms ( 1833-1897) University Symphony Orchestra Timothy Perry, conductor Requiem .............................................. Wolfgang Amadeus Mozart (17 56-1791 ) 1. Requiem/Kyrie 2. Dies irae 3. Tuba mirum 4. Rex tremendae 5. Recordare 6. Confutatis 7. Lacrymosa 8. Domine Jesu 9. Hostias 10. Sanctus 11. Benedictus 12. Agnus Dei/Lux aeterna Leslie Hochman, soprano; Lara Longsworth, mezzo soprano Timothy Fallon, tenor; Richard Galyon, baritone The University Chorus University Symphony Orchestra Bruce Borton, conductor �Program Notes Brahms Tragic Overture The Tragic Overture, Op. 81 is Brahms' contribution to the genre of "absolute" concert overture - that is, a work not tied to any specific dramatic or operatic production. Brahms himself never so much as hinted at any extra-musical associations for the overture. Issued with its companion overture, the Academic Festival Overture Op. 80 (a fantasy on student drinking-songs) perhaps Brahms wished to "keep faith" with wearing the mantle of Beethoven's successor. The work is in any case magnificent in its compressed power, mastery of variation technique and brilliance of orchestration. The thematic material, all laid out in the first ten bars, is I) the interval of a fourth, either open (as at the outset) or filled in melodically and 2) two intervals of a third which span the octave between them. The work's central section consists of a curious funeral march cum fugato which presages similar episodes in Mahler's symphonies by a dozen years. With the balanced outer sections, Brahms thus creates a broad (ABA) sonata form. As to the specifics of the tragedy - desolation, depression, anger and rage in the first thematic area; hope, happiness or the remembrance of better times in the second theme (in the major key) area; the crumbling of great empires, or the ravages of fate - each listener has ample room to discover the tragic story for himor herself. --T.Perry Mozart Requiem The decade leading up to 1791 saw the creation of most of Mozart's most important compositions in all genres including chamber music, operas, symphonies, and keyboard works. It was not until 1791, however, that the composer returned, after a decade of inactivity, to the composition of choral music. The summer and early autumn months were filled with first the composition and rehearsals of his opera La clemenza di Tito, composed for the coronation of the Emperor in Prague and then the completion and rehearsals for The Magic Flute in Vienna. In the midst of this intense activity, Mozart managed to compose his Masonic Cantata, the exquisite motet Ave verum corpus, and began work on his final composition, Requiem. The historical circumstances surrounding the commission and composition of the Requiem have become clouded with 200 years of inaccuracies and theatrical fiction. The truth is perhaps less colorful but interesting nonetheless. In the spring of 1791, Mozart was approached �by a messenger with a letter from an anonymous patron who wished to commission a memorial Requiem in honor of his recently deceased wife. It was not until 1963 that music scholars discovered the true identity of this patron as Herr Franz, Count von Walsegg, a wealthy nobleman and amateur musician and composer who may, in fact, have hoped to pass off the Requiem as his own composition. Mozart set to work, only to be interrupted by his journey to Prague and the final preparations for The Magic Flute. When he finally was able to return to the choral work in the Fall , he was beginning to show signs of his final illness. In spite of his progressively weakening condition, the composer worked intensively, and was able to complete the first movement, Requiem and Kyrie, and sketch the vocal parts and orchestral accompaniment of the movements through Hostias. Of the final movements, Sanctus, Benedictus, Agnus Dei, no trace survives in Mozart's hand. Mozart died in December of 1791 leaving the work incomplete, and the commission unfilled. Mozart' s widow, Constanze, approached several individuals with the proposal to complete the work , finally persuading Mozart's pupil, Franz Xaver Stissmayr, to undertake the task. The question of how much of the Requiem's completion is attributable to Mozart and how much is original to Stissmayr remains an open debate. Contemporary accounts, including reports of Constanze and her sister, describe Mozart in his final days singing parts of the unfinished work with Stissmayr at his bedside, presumably receiving instructions as to how to complete the work. Scholars have pointed out a number of flaws in Stissmayr' s work, and several other "completions., have been published in recent years. Perceived flaws notwithstanding, the Requiem represents the pinnacle of achievement in choral composition for the composer, and lovers of choral music can only lament the fact that Mozart's early death came at the very moment that he seemed poised to return to choral composition. His dramatic approach to the setting of this text set the stage for later romantic era settings of Berlioz, Verdi , and other nineteenth century composers. In particular, these later composers seemed drawn to the colorful and dramatic possibilities of the Dies irae poem which forms the heart of the Requiem liturgy. The Mozart Requiem takes the genre clearly out of its traditional religious setting and into the realm of true concert music. -- Bruce Borton �Requiem, K.626 (1791) I. Requiem and Kyrie Chorus and Soprano Solo Rest eternal grant to them, 0 Lord, and let perpetual light shine upon them. A hymn befits thee, 0 God in Zion, and to thee a vow shall be fulfilled in Jerusalem. Hear my prayer, for unto thee all flesh shall come. Lord have mercy. Christ have mercy. Lord have mercy. 2. Dies irae Chorus Day of wrath, that day shall dissolve the world into embers, as David prophesied with the Sybil. How great the trembling will be, when the Judge shall come, the rigorous investigator of all things! 3. Tuba mirum Soloists The trumpet, spreading its wondrous sound through the tombs of every land, will summon all before the throne. Death will be stunned, likewise nature, when all creation shall rise again to answer the One judging. A written book will be brought forth, in which all shall be contained, and from which the world shall he judged. When therefore the Judge is seated, whatever lies hidden shall be revealed, no wrong shall remain unpunished. What then am I, a poor wretch, going to say? Which protector shall I ask for, when even the just are scarcely secure? 4. Rex tremendae Chorus King of terrifying majesty, who freely saves the saved: Save me, fount of pity. 5. Record are Soloists Remember, merciful Jesus, that I am the cause of your sojourn; do not cast me out on that day. Seeking me, you sat down weary: havingsuffered the Cross, you redeemed me. May such great labor not be in vain. Just Judge of vengeance, grant the gift of remission before the day of reckoning. I groan. like one who is guilty; my face blushes with guilt. Spare your supplicant, 0 God. You who absolved Mary (Magdalene). and heeded the thief, have also given hope to me. My prayers arc not worthy, but Thou, good one, kindly grant that I not burn in the everlasting fires . (irant me a favored place among thy sheep, and separate me from the goats, placing me at thy right hand. �6. Confutatis Chorus When the accursed are confounded, consigned to the fierce flames, call me to be with the blessed. I pray, suppliant and kneeling, my heart contrite as if it were ashes: protect me in my final hour. 7. Lacrymosa Chorus 0 how tearful that day, on which the guilty shall rise from the embers to be judged. Spare them then, 0 God. Merciful Lord Jesus, grant them rest. 8. Domine Jesu Chorus and Soloists Lord Jesus Christ, King of glory, liberate the souls of all the faithful departed from the pains of hell and from the deep pit; deliver them from the lion's mouth; let not hell swallow them up, let them not fall into darkness: but let Michael, the holy standard-bearer, bring them into the holy light, which once thou promised to Abraham and to his seed. 9. Hostias Chorus Sacrifices and prayers of praise, 0 Lord, we offer to thee. Receive them, Lord, on behalf of those souls we commemorate this day. Grant them, 0 Lord, to pass from death unto life, which once thou promised to Abraham and to his seed. I 0. Sanctus Chorus Holy, Holy, Holy, Lord God of Hosts. Heaven and earth are full of thy glory. Hosanna in the highest. 11. Benedictus Soloists Blessed is he who comes in the name of the Lord. Hosanna in the highest. 12. Agnus Dei Chorus and Soprano Solo Lamb of God, who takest away the sins of the world, grant them rest. Lamb of God, who takest away the sins of the world, grant them rest. Lamb of God, who takest away the sins of the world, grant them rest everlasting. Light eternal shine on them, 0 Lord, with Thy saints forever. because Thou art merciful. Eternal rest give unto them. 0 Lord. and let perpetual light shine on them. �About the Performers Leslie Hochman is a native of Austin, Texas and is currently pursuing a Master of Music in Opera Degree at Binghamton University. She received a Bachelor of Music from the University of Texas, where she performed the roles of Olympia in Les Contes d 'Hoffmann, Gretel in Hansel and Gretel, Servilia in La Clemenza di Tito, Mme. Silbertonen in Der Schauspieldirektor, and The Friend in Amelia goes to the Ball. Other opera credits include Adele in Die Fledermaus with the Austin Singers' Circle and Blondchen in Die Entfuhrung aus dem Serail with the AustrianAmerican Mozart Academy. Oratorio credits include Handel's Messiah at the St. Louis Catholic Church of Austin and Mozart's Litanaie Lauretanae in churches across Austria. Leslie is currently a resident artist at the Tri-Cities Opera. She was recently seen as Mrs. Gobineau in Menotti's The Medium and will make her mainstage debut this month as Suor Genovieffa in Suor Angelica. Lara Longsworth is a mezzo-soprano from Richmond, VA . She is a member of Tri-Cities Opera Resident Artist Training Program and a candidate for a Master of Music in Opera at Binghamton University. She is a graduate of VA Commomwea lth University where she performed the roles of Cenerentola in Rossini ' s La Cenerentola, Prince Orlofsky in Strauss' Die Fledermaus , and Fidalma in Cimarosa's fl Matrimonio Segreto. She made her TCO debut as the Mother in Menotti's Amahl and the Night Visitors. Other roles with TCO include: Giovanna in Verdi's Rigoletto, the Voice of the Mother in Offenbach ' s Les Contes d 'Hoffmann, and Marcellina in Mozart ' s Le Nozze di Figaro. She will sing the roles of the Monitor and the Mistress of the Novices in TCO's upcoming performance of Puccini ' s Suor Angelica. She made her concert debut with the Richmond Symphony Orchestra in 1997 as Carmen in a concert performance, George Manahan conducting. Longsworth's honors include First Place at the SE Regional and VA State National Association of Teachers of Singing Competition. �Tim othy Fall on , tenor, is a native of Binghamton New York : This is his first season with the Tri-Cities Opera as a Master of Mus ic student. He recently performed his first role with the company as Spalazani in Les Contes d' Hoffman. He also performed the role of Basilio in Mozart's The Marriage of Figaro. Last summer, he performed in the Spoleto Festival USA in Charleston, SC, with the Westminster Choir and sang at the Music Academy of the Wes t in Santa Barbara, CA under the tutelage of Marilyn Horne. Fallon holds a B.A. degree from Westminster Choir College, Princeton , NJ. Richard Galyon, baritone, is in his first season with the Tri-C ities Opera's Resident Artist Training Program. He was seen most recently as Mr. Gobineau in Menotti's The Medium, following performances of Count Almaviva in Moz art's Le Nozze di Figa ro and Hermann and Schlemil in Offenbach's Les Contes d"Hoffmann, all this season at TCO. He is covering the role of Silvio in Leoncavallo's Pagliacci this spring. Last year,Galyon studied in the Opera Performance program at The University of Texas at Austin. During his short stay there, he played Mr. Gobineau in Menotti's The Medium and also was seen as Master Spinelloccio and Pinellino in Puccini's Gianni Schicchi. He was the featured baritone soloist for a concert performing Herbert Howells' Requiem, among other pieces, with UT's Chamber Singers, under the direction of James Morrow. He has studied voice with David Small, Burt Rosevear and Gregory Oaten. �University Symphony Orchestra Timothy Perry, conductor Flute Kelsey Bauer* Caitlynn McMullen Kira Slocum Karen Krause Mark Liu JungSun Oh Aman da Dumo nt Oboe Lana Banne r Rebec ca Rodbart* Violin II Christina Wan James Leddy Shaun a Buckm an Lindsey Krecko Tama ra Potap ova Jennifer Paull Jah-yu (Lulu) Chen Claud ia Fathi Sheri Zola Karen Tang Stephanie Mawh irt Sarah Baird Clari net Caroline Bravo Jordan Paster nak• Bassoon Robin Kindig Kimberly Meeker* French Horn Ernie Epelman Alfred Jacobsen* Patrick Lokken Greg Cecere Trum pet Erinn Hibbard* Glen Widjeskog Trom bone David Hennan* Jonathan Ludwin Timpani/Percussion Matthew Chidester* Violin I Morgan Kim Sarah Steiding Alicia Fusani Marie Mizuno Julia Kim Micah Banner-Baine Meggie Knapp Yoh-Seung Chiu Youlee Choi Viola Melissa Mattern Kenneth Perschke Melissa Lee Christopher Fiore Kerry Conw ay Leah Rabinowitz Christopher Trow Cassandra Aikman Janet levins Cello Ben James Tanya Brescia Nicholas Capon e Emily Creo Matthew Woolever Michael Day Katy Walker Shelley Levin Angela Wynne Yi-Eun Park Contrabass Beth Bartlett Andrew Eiche �The University Chorus Bruce Borton, conductor Corry Shimer, Emily Burr, and Jennifer James, assistant cpnductors Peter Browne, accompanist Soprano 1 Susan Bachman Rebekah Baker Nanette Borton Martha Jane Bralla Emily Burr Priscilla Clark Asali Daniel Alison Dura Lorrina Fuentes MayBelle Golis Margaret Hays Barbara Heme Jennifer James Donna Lundy Susan MacLennan Cathie Makowka Joyce Merwin S. Joselle Orlando Mary Joan Ragard Marilyn Ross Diane Ruocco Gloria Salameda Corry Shimer Jennifer Stahl-Perkins Barbara Thamasett Faith Vis Soprano 2 Cari Begeal Patricia Caldwell Heather Jean Chin Hyun Choi Joanne Corey Sandra Czelusniak Vadhya Elivert Joyce Haber Nancy Jeavons Tiffany Jetter Soyeo Jung Natalie KhalatovKrimnus Monica Lee JoAnne Maniago Juliana Maslen Mary Peg Mathis Katherine L. McCrink Elaine McGuinness Donna Miller Sioux Petrow Susan Sarzynski Lois Wilston April Witkes Alto 1 Jee Yun Ahn Melanie Andrejev Jue Ting Chen Maria Luisa Cook Randi N. Cook Barbara DeShane Rachel Franz Janet Frederick Danielle Furey Elaine Hilton Grace Houghton Claire Labbe Theresa Lee-Whiting Margit Mayberry Anna Nicholas Allison Pfiefer Molly Polin Dorothy Powell Joyce Printz Ruth Rajkumar Richel Ruivivar Jane Shear Patricia Souder Susan Szczotka Katie Wolff Linda M. Wolff Erica Yamamoto Alto 2 Amy Au Yeung Kathryn Baine Barbara Barno Kate Bouman Jean Bruce Phyllis S. Burr Jeanne Fenzel Mary Beth Gamba Sandra Haining Carol Hammond Ida Amelia Jones Flo Koniski Beverly Kresge Cheryl Labban Ethel F. Molessa Shirley Rodgers Lee Shepherd Hae Lee H. Shin Nadia Zarembo �The University Chorus Tenor David Andrus Roy Bergstraser Joseph Boccio David Clark Araoye lbitoye H.B. King Carl Kinne Dennis Leipold Anne Linn Hanbyoel Park Ed Schappert Floyd R. West Paul White Sherry Williamson Bass 1 Toby Anderson Ryan Bagg Eric Bare Ronald Bauchamp Anthony Biconish Sthephen M. Boel Robert Bruce Daniel Uan Chan Robert Christie Michael Darfler Richard Dutko Remington Gregg James Hilton Michael Jabo, J .D. Bohyun Jo Brian Jones Daniel Keller Tom Lamphere Chris Longano Edward J. Orosz Don Powell Alex Pullman Brian Scott Sanderson Richard F. Schwartz Myron F. Shlatz Gerry Turock Timothy Wetherbee Bass2 Chris Benjamin Lance Dunning Mark Epstein Harry Frederick David Hanson Hu Huang J. Scott Husted Darren Klein Michael A., Little Ario H. Meeker Phil Millspaugh Christian Ritter David L. Schriber Donald Lee Stanley Bob Sullivan �Coming Events Sunday, April 18 - The King of the Instruments: Guest Organist David Heller - 4:00 p.m. - First Presbyterian Church, Chenango Street, Binghamton - $14 general public; $12 faculty/staff/seniors; $6 students Thursday, April 22 - Jazz Mid-Day Concert with guest artist Houston Person, saxophone - l :20 p.m. - Osterhout Concert Theater - free Thursday, April 22 - Harpur Jazz Ensemble with guest artist Houston Person, saxophone - Michael Carbone, conductor - 8:00 p.m. - Osterhout Concert Theater - $8 general public; $6 faculty/staff/seniors; free for students Sunday, April 25 - University Wind Ensemble: New Dances - Timothy Perry, Stephen Boel, conductors - 3:00 p.m. - Anderson Center Chamber Hall - free Tuesday, April 27 - University Percussion Ensemble - 8:00 - Anderson Center Chamber Hall - Free Friday, April 30 - Flute Studio Recital - I 0: 15 a.m. - Casadesus Recital Hall - free Wednesday, May 5 - An Evening of German Songs featuring graduate and undergraduate voice and opera students - 8:00 p.m. - Casadesus Recital Hall -free Thursday, May 6 - Student Recognition Mid-Day Concert - l :20 p.m. Casadesus Recital Hall - free Thursday, May 6 - Harpur Chorale and Women's Chorus - Peter Browne and Emily Burr, conductors - 8:00 p.m. - Anderson Center Chamber Hall free I � 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/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 50:26 13:51 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253439&change_lng=en&select_viewer=metsViewer">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE253439&change_lng=en&select_viewer=metsViewer</a> PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCover 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 Brahms, Tragic Overture, Op. 81, Mozart, Requiem, K. 626, April 17, 2004 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Recital Tape 2004-4-17 Description An account of the resource Tape 1. Brahms, Tragic overture -- tape 2. Mozart, Requiem. Creator An entity primarily responsible for making the resource Hochman, Leslie Longsworth, Lara Fallon, Timothy Galyom, Richard Perry, Timothy Borton, Bruce Brahms, Johannes Mozart, Wolfgang Amadeus Date A point or period of time associated with an event in the lifecycle of the resource 4/17/2004 Rights Information about rights held in and over the resource In copyright https://omeka.binghamton.edu/omeka/files/original/bbd865544a59163f5f3276b4aae32c6a.pdf 4b329e2c3fbef393591f3f233815b0e4 PDF Text Text BINGHAMTON U N I V E R S I T Y S TAT E U N I V E R S I T Y OF N E W Y O R K wdee [4 D E P A R T M E N T BRAHMs’s “REGENLIEDER” EVOLUTlON FROM SONG TO SONATA Janey Choi, violinist & lecturer Michael Salmirs, piano Mary Burgess, soprano Tuesday, April 24, 2012 8 p.m. Casadesus Recital Hall �PROGRAM ABOUT THE PERFORMERS Lecture: Regenlieder— The Evolution from Songs to Sonata «8 AINTERMISSION # «5 Regenlied, op.59 no. 3. .Johannes Brahms Nachklang, op.59 no. 4 (18331897) Violin Sonata No. 1 in G, op. 7 8 . Vivace ma non troppo Adagio – Piu Andante – Adagio Allegro molto moderato Johannes Brahms Canadian violinist, Janey Choi gave her Carnegie Hall recital debut in 1997 as a winner of the Artists International Auditions and continues an active career performing on recital and chamber series, on Broadway, and with such groups as the Ardelia Trio, Ensemble X, New York City Ballet, and the Teaching Artists Ensemble of the New York Philharmonic. The recipient of numerous awards including the Chalmers Performing Arts Grant from the Ontario Arts Council (Canada) and National First Prize in the Canadian Music Competition, she has participated in such festivals as Mostly Mozart, Norfolk, Taos, the Spoleto Festivals in the U.S. and Italy, Festival Musical de Santo Domingo, the Santa Fe Opera and the Sarasota Opera. An avid interarts and crossgenre collaborator, she is the Music Director of Thomas/Ortiz Dance, and has performed numerous times with the Parsons Dance Co., most notably at the Kennedy Center in Washington, DC, and at the New Victory Theater in Times Square. She also initiated a collaboration with the Paul Taylor Dance Company and the Binghamton University Music Department. Her other interests have taken her to the visual arts world, developing and presenting an annual “Music + Art” show commissioning artwork based on chamber works. She has recorded and appeared with such mainstream performers as Bono (U2) and Quincy Jones, Adele, Beyoncé, Aretha Franklin, Enya, Elton John, JayZ, Sarah McLachlan, Lenny Kravitz, and Kanye West, on the Grammys, MTV, Saturday Night Live, the Today Show, at Live 8, Radio City Music Hall and Royal Albert Hall in London, England. Dr. Choi holds the distinction of being the youngest, and only Pre College student ever accepted by her late mentor, Joseph Fuchs at The Juilliard School, where she graduated from the accelerated BM/MM program with the Joseph Fuchs Graduation Prize. Her other major teachers include Joel Smirnoﬀ, Victor Danchenko, Harvey Shapiro, and Arnold Steinhardt. She attained her Doctor �of Musical Arts degree at Rutgers University with full scholarship and was the recipient of the Graduate Fellowship Award. Strongly committed to education, she has been on the faculty of Binghamton University since 2006 and is a Teaching Artist for the New York Philharmonic and Chamber Music Society of Lincoln Center. She has presented educational workshops for the College Music Society National Conference, Tokyo College of Music and Lincoln Center Institute. In her free time, she enjoys marathon and triathlon training, playing soccer and ice hockey. Mary Burgess, soprano, a graduate of the Curtis Institute of Music, has been a member of the Binghamton University voice faculty for over twenty years. Ms. Burgess made her US operatic debut with New York City Opera while still a student at the Curtis Institute, and subsequently appeared with Santa Fe Opera, Washington Opera, New Orleans Opera, Nevada Opera, and many other regional companies including TriCities Opera in Binghamton. Her European operatic debut was at the Holland Festival in Amsterdam; she has also performed at the Spoleto Festival in Italy, at the Theatre Royale de la Monnaie in Brussels, and with Dublin Grand Opera. Ms. Burgess has appeared as soloist with more than two dozen US orchestras, including the Boston Symphony (with Seiji Ozawa), Cleveland Orchestra (with Lorin Maazel, Eduardo Mata), Chicago Symphony (Sir Simon Rattle), and Cincinnati Symphony (Klaus Tennstedt, James Conlon). She has been a frequent guest at such prestigious festivals as Marlboro, Monadnock, Ravinia, Aspen, Blossom, Casals, Chautauqua, and the Cincinnati May Festival. Her repertory of forty roles in ﬁve languages ranges from Monteverdi and Cavalli to Britten and Virgil Thomson. Her performances of Britten’s Les Illuminations and Mahler’s Symphony No. 2 with the Omaha Symphony were ﬁlmed for broadcast by Nebraska ETV. She has recorded for Columbia, Masterworks, CRI, Sony Classical, and Telarc. Pianist Michael Salmirs, a founding member and artistic director of the Finger Lakes Chamber Ensemble, is well known as a recitalist and chamber musician performing extensively throughout the region. He has appeared as soloist with the Coming Philharmonic, Binghamton University Orchestra, Cayuga Chamber Orchestra, and has been a featured pianist on their Sunday chamber series. As a performer of contemporary music, he has participated in such series as Binghamton University’s Musica Nova, Cornell University’s Ensemble X, Chiron, and has toured and recorded for the Syracuse Society for New Music. Salmirs studied at the New England Conservatory and Eastman School of Music; his teachers have included pianists Leonard Shure and Rebecca Penneys and composer Karel Husa. Salmirs has taught at the Syracuse University School of Music and Hobart and William Smith Colleges. He is currently a faculty member at Binghamton University and an Aﬀiliate Artist at Cornell University. He maintains a private piano studio in Ithaca and enjoys teaching students of all ages and levels. �TRANSLATIONS ABOUT THE SERIES The Friedheim Memorial Series honors the memory o f Professor REGENLIED (Rain Song; text by Groth) Pour, pour down, rain; reawaken in me the dreams that I dreamt in childhood when the moisture foamed in the sand! When the weary summer sultriness fought indolently against the fresh coolness, and the gleaming leaves dripped dew, and the ﬁelds of grain took on a deeper blue, the ﬁelds of grain took on a deeper blue. What bliss to stand in the downpour at such times with bare feet, to brush against the grass and reach out and touch the foam, or else to catch cool drops on one’s ﬂushed face and to open one’s childlike heart to the newly awakened scents, to open one’s childlike heart! Like the calyxes that were dripping there, one’s soul was wide open and breathing, like the ﬂowers intoxicated with fragrances, sunk in the heavenly dew. Each drop gave a thrill of pleasure and cooled you down to your beating heart, and the holy weaving of Creation penetrated the hidden sources of life, penetrated the hidden sources of life. Pour, pour down, rain; awaken my old songs, which we sang in the doorway when the drops fell noisily outside! I would like to listen to them again, to their sweet moist murmuring; I would like to bedew my soul gently with that holy childlike awe, that holy childlike awe. Nachklang (Lingering Sound; text by Groth) Raindrops are falling from the trees into the green grass; tears from my dulled eyes are moistening my cheeks. When the sun shines again, the lawn becomes twice as green: my hot tears will burn twice as ﬁercely on my cheeks, my hot tears will burn. Philip Friedheim (1930–1986) whose remarkable tenure at Binghamton University featured many memorable lecturerecitals with faculty and guest artistperformers on major works of the classical music tradition. We seek to recreate Phil’s special combination of scholarship and performance that served to deepen our understanding for — and love of — great works of musical art. All proceeds of the series will go towards the undergraduate scholarship funds of the Department of Music. The 2009–2010 series opened in September 2009 with Professor Emeritus Harry Lincoln’s remarks on J. S. Bach’s Sonata in b minor featuring Georgetta Maiolo on ﬂute and Jonathan Biggers on harpsichord. Today’s performance in the series will highlight Brahms’s Regenlieder. Please join us as we explore Brahms’ “Regenlied & Nachklang for voice & piano, Op.59 No.3” and “Violin Sonata No. 1 in G Major, Op.78". The favorite of his three violin sonatas, Johannes Brahms’ “Regenlieder” (Rain Song) Sonata used thematic material from a set of songs, the Regenlieder, composed six years earlier. Both were presented to Clara Schumann in diﬀicult times and seemed to communicate beyond words, his desire to comfort her with their melancholy beauty and enduring spirit. Lecturer and violinist Janey Choi will bring these works to life with pianist Michael Salmirs and soprano Mary Burgess. �Bingh amton Unive rsity Music Department’s M POO/Vt w q E V E NT s MidDay concerts are held on Thursdays, 1:20 PM in Casadesus Recital Hall unless otherwise noted and are FREE Thursday, April 26 – MidDay Conc ert – 1:20 p.m. – Casadesus Recital Hall — free Thursday, April 26 –Brass Studio Recital – 8 p.m. – Casadesus Recital Hall — free Friday, A pril 27 – TriCitie s Opera presents “The Magic Flute ” – 8 p.m. – The Forum Theatre – call (607) 7720400 for tickets Saturday, April 28 – University Sy mphony Orchest ra: The Three B’s (Bach, B rahms a nd Beethoven) with faculty v iolinist Janey Ch oi and oboist J ohn Lathwel l – 3 p.m. – Osterhout Concert Theater – $10 general public; $6 faculty/staﬀ/seniors; $3 students Sunday, April 29 – Harpu r Chorale and Wo men’s C horus: S ing into S pring – 3 p.m. – Anderson Center Chamber Hall – $6 general public; $3 faculty/staﬀ/seniors; free fo r students Sunday, April 29 – TriCit ies Opera presen ts “The M agic Flut e” – 3 p.m. – The Forum Theatre – call (607) 7720400 for tickets Tuesday, May 1 – Strin g Departm ent Reci tal: Strin g Fever – 8:30 p.m. – Casadesus Recital Hall – free Thursday, May 3 – Jazz MidDay Concert w ith guest ar tist Mark Buselli, trumpet – 1:20 p.m. – Osterhout Concert Theater – free Thursday, May 3 – Harpu r Jazz Ensemb le Conce rt with guest ar tist Mark Buselli, trumpet – 8 p.m. – Osterhout Concert Theater – $10 general public; $6 faculty/staﬀ/seniors; $3 students Friday, M ay 4 – Fl ute Stud io and Flute Chamber Concert – 10:15 a.m. – FA21 – free Saturday, May 5 – Wind S ymphony Concert celebrates Cin co de Mayo – 3 p.m. – Anderson Center Chamber Hall – $6 general public; $3 faculty/staﬀ/seniors; free for students For ticket information, please call the Anders on C enter B ox O ﬀice a t 7 77ART 5. � 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/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 38 minutes :15 seconds 27 minutes :7 seconds Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE142200">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE142200</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single 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 Brahms's "Regenlieder," Evolution from song to sonata, April 24, 2012 Description An account of the resource Works by Brahms Held at 8:00 p.m., April 24, 2012, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Choi, Janey Burgess, Mary Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 4/24/12 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound 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/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 29:14 8:25 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE189726">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE189726</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. 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 Brass rep. class recital, March 14, 2008 Recital Tape 2008-3-14 Description An account of the resource Works of Adams, Arutunian, Sparke, Clark, Balay, Strauss, Haydn, Charlier, McCarty, Sacchini, mixed composers.Held on November 14, 2008, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Ignacio, Thomas Winchell, Katherine Fein, Daniel Meddaugh, Paul Regulski, Tomek Parnes, David Grech, Paul Weinberg, Alexa Cummings, Katie Tracy, Michael Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2008-03-14 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound IIIF Item Metadata UUID b895f034-27e5-41ee-9d23-2def211b7bff https://omeka.binghamton.edu/omeka/files/original/ba213711bf93e266df5e0b152f5cbc27.pdf 17aec939106f8957bca009ece9e77b8f PDF Text Text N O T M A H G N I B VERSITY U N I F STAT E UN I V E R S I T Y O N E W YO R K [4 M E N T T R A P D E L A T I C E R O I BRASS S T U D ' ”A/ilIf” W: �PROGRAM .............Arthur Honegger : (18921955) Daniel Fein, trumpet Intrada Concerto in Eﬂat................... Allegro con Spirito .............Johann Nepmuk Hummel (17781837) Nicholas Polacco, trumpet His Majesty the Tuba R o b e r Matthew Gukowsky, tuba Legend G e o r g Kevin Hannon, trumpet Bouﬀonnerie. Allegro con Spirito : t Dowling (19422006) e Enesco a (b. 1942) n Trios for H f a r o Finale from F e a u s t Robert Muller, French horn I See a Huntsman......................................... Friedrich Handel Zachary Arenstein, French horn (16851759) Charles Gounod ' (18181893) (18351921) r o m v r s r o n Wolkenschatten, Op. 136 Tranquillo (17561791) (b. 1923) Adagio from Symphony No. 3............................ Camille SaintSaens ..........Pierre DeGenne (b. 1941) Daniel Pinkham n............Various r (18811955) Horn Concerto No. 4...............................Wolfgang Amadeus Mozart ®INTERMISSIONcs Aria and F T Samuel Weintraub, trumpet 1 * movement: Allegro .. Nicholas Perrini Festival Fanfare Oh, Dem Golden Slippers.........ccccceeeeererecnennnen. Gordon W. Bowie (b. 1938) ............Jan Koetsier (19112006) James A. Bland (18541911) �PERFORMERS Accompanist Margaret Reitz Trumpets Daniel Fein – Kevin Hannon – Ryan Levitan Nicholas Polacco – Samu el Weintraub Horns Diana Amari – Zachary A renstein Zachary Birnbaum – Kirstie Cummings – Robert Muller – Natalie Rivera – Alexa Weinberg Trombones Jay Bartishevich – Mogana Jayakumar – William Marsiglia Robert Menard – Kevin Pinkel Euphoniums Damon Dye – Andrew Kaufman Tuba Matthew Gukowsky Timpani Caleb DeGroote Binghamton Uni versity Music Department’s U PC O M I N G E V E N T S ﬁ f M M M M M M b ﬁ m For ticket information, please call the Anderson Center Box Oﬀice at 777ARTS To see all events, please visit music.binghamton.edu Become a fan on Facebook by visiting Binghamton University Music Department � 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/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus. Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 sound disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:02:26 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145280">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE145280</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single 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 Brass studio recital, April 29, 2010 Recital Tape 2010-4-29 Description An account of the resource Works by Honegger, Hummel, Enesco, Mozart, Handel, Perrini, Pinkham, Gounod, Saint-Saëns, Bowie, Bland. Held at 8:00 p.m., April 29, 2010, Casdesus Recital Hall. Creator An entity primarily responsible for making the resource Reitz, Margaret DeGroote, Caleb Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2010-04-29 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound