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By Recorded Sound Archives, February 2, 2015 2:39 pm

The Second World War waged around the globe from 1939 to 1945.

The impact of WWII on the daily lives of Americans and Europeans cannot be overstated. As the atrocities of the Nazis raged in Europe, American men were drafted and called to war. American music of the WWII era spoke to the soldiers far from home and also to those they left behind.

The Second World War changed the course of history in many ways. One of the things that changed was music…what it sounded like, how we listened to it and how intimately it touched our lives.

During WWII music became personal as well as entertaining. Major technological advances such as radio and phonograph recordings took music out of the theater and into middle-class homes. Big Bands, Jazz and Swing created a new vibe that defined a generation.

The Recorded Sound Archives has digitized two very special collections from the Second World War era. V-discs  were produced between October 1943 and May 1949 by the US Armed Forces for military personnel overseas.  Vogue Picture Records were produced between May 1946 and April 1947 by Sav-Way Industries using a special process engineered by Tom Saffady.

Enjoy the music that defined a generation – the best loved songs from the World War II era. Many thanks to all those who sent in the titles of their favorite songs from the 1940s and 1950s.

Click here to listen to Songs of the Second World War. Due to copyright concerns, some recordings may be limited to 45-second snippets.  Full versions are available to users of the RSA Research Station.

Click here for Youtube videos.

FAU events that may interest you.

2/2/15 through 2/25/15 – FAU Wimberly Library: World War II Highlights from Special Collections

2/17/15 (Tuesday) @ 5pm – FAU Wimberly Library: The Most Controversial Decision – Lecture by Wilson Miscamble. Mr. Miscamble is a prize-winning author and historian.

2/18/15 (Wednesday) @ 3:30pm – FAU Barry Kaye Auditorium: Truman’s Presidency and WWII – Lecture by David McCullough. David McCullough is  is an American author, narrator, and historian. He is a two-time winner of the Pulitzer Prize and the National Book Award and is a recipient of the Presidential Medal of Freedom. 

3/18/15 (Wednesday) @ 3:30 pm – FAU Wimberly Library: Nazi War Criminals, US Intelligence and the Cold War – Lecture by Dr. Norman Goda. Norman Goda received his Ph.D. from the University of North Carolina at Chapel Hill. He studies modern European history and specializes in the history of the Holocaust, war crimes trials, and twentieth century diplomacy.

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By Recorded Sound Archives, October 8, 2014 4:23 pm

Jukebox. Jewkbox! An exhibition of the Jewish Museum Hohenems in collaboration with the Jewish Museum Munich will run from October 19, 2014 until March 8, 2015.

According to the website  of the Hohenems Jewish Museum in Austria the exhibit presents the history of Jewish recordings “from the first gramophones and shellac records to the dissolution of this medium in World Wide Web.”

This sounds like a wonderful project. Looking at sound recordings as cultural mirrors of the 20th century experience, the exhibitors write that “the omnipresent sound of the 20th century, its best known songs, musicals and soundtracks was not always Jewish music – but always also a product of Jewish history and experience.”

We do not know which recorded gems are included in this European exhibit but the Judaic Collection/Recorded Sound Archives at FAU Libraries in Boca Raton FL hopes you will enjoy the following authentic recordings from the early 20th century.

Molly Picon – Abi Gesind    

Simon Paskal – Aheim Aheim    

Al Jolson – Angel Child   

Arthur Pryors Band – At a Hebrew Wedding

M Kanewsky – Auf’n Pripetchok

Andrews Sisters – Bei Mir Bist du Shon  (snippet)

Benny Bell – Celebration Freylach

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By Recorded Sound Archives, September 16, 2013 10:00 am

Known as the Last of the Red Hot Mamas, Sophie Tucker had a career that began in vaudeville, embraced the new jazz age of the 1920’s and lasted well into the 1960s.

Widely known for her bawdy humor (which may seem tame by today’s standards) and her big personality, she never lost touch with her Jewish roots.

Sophie Tucker ‘s original Decca rendition of My Yiddishe Momme, recorded in 1928, featured an English version on Side A and a Yiddish version on Side B.  Among the recordings she made on the Mercury label beginning in the 1950s was this rendition of My Mother’s Sabbath Candles, also in both English and Yiddish versions.

Sophie Tucker quotes

I couldn’t make [Momme] understand that it wasn’t a career that I was after. It was just that I wanted a life that didn’t mean spending most of it at the cookstove and the kitchen sink. (Some of the Days, 1945)

Everyone knew the theater was to be closed down, and a landmark in show business would be gone. That feeling got into the acts. The whole place, even the performers, stank of decay. I seemed to smell it. It challenged me. I was determined to give the audience the idea: why brood over yesterday? We have tomorrow. As I sang I could feel the atmosphere change. The gloom began to lift, the spirit which formerly filled the Palace and which made it famous among vaudeville houses the world over came back. That’s what an entertainer can do. (Concerning the November 19, 1932 closing of the Palace theater in NYC, i.e. the end of vaudeville.)

Selected items from our collection of Sophie Tucker recordings.

Sophie Tucker’s performance on The Ed Sullivan Show.

Autographed inside flap from copy of Tucker’s autobiography

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By In the News, July 1, 2013 5:41 pm

A pile of stained, mildewed debris from Superstorm Sandy has turned into a nostalgic treasure trove for Florida Atlantic University.

A collection of 786 vintage children’s records including “The Little Engine That Could” and “Black Beauty” were inside a Long Island garage when the hurricane-like disaster struck last October. The recordings, mostly 78 rpms, appeared to be ruined due to dirt and mud on the records and stains on their jackets.

But FAU has found a way to bring the stories and music back to life. The Recorded Sound Archives at the Wimberly Library on the university’s Boca Raton campus has embarked on a project to clean and repair the damaged records and digitize and transfer their contents to an online collection. It’s an effort that requires both modern computer software and old-fashioned elbow grease.

“We are excited to be working with such rare and wonderful artifacts from the 20th Century,” said Maxine Schackman, director of the sound archives. “I can’t wait to see the reaction when we are able to share our work online.”

The website likely will be created in November, Schackman said. Researchers, students and others who are interested will be able to access the digital versions of the recordings via FAU computers or a special password, restrictions that are necessary due to copyright.

The collection is full of literary and pop culture classics, including “Bozo Sings,” “Peter Rabbit” and “Mary Poppins.” While most combine stories and songs, some are music only, like “American Folk Songs” and “Alphabet Songs.” There’s a full array of Christmas-themed records as well as plenty of educational ones. A 1947 record called “Little Songs on Big Subjects” includes a gentle call for racial equality.

“You can get good milk from a brown-skinned cow. The color of the skin doesn’t matter nohow,” the song goes.

The record collection was donated in April by Peter Muldavin, whom FAU officials call the world’s leading expert on vintage American children’s records. Muldavin, who was out of the country and couldn’t be reached by the Sun Sentinel for comment, says on his website he’s been a lifelong collector but started accumulating kiddie records only in 1991 after seeing one in a used record store and remembering it from his childhood.

He then took out “want to buy” ads in antique newspapers and flea market magazines and was swamped with responses.

“People had these records sitting in their attics and basements but didn’t know what to do with them,” Muldavin writes on his website. “There was no established hobby yet.”

Alethea Perez sorts through some of the nearly 800 vintage kiddie records that were donated to Florida Atlantic University’s Recorded Sound Archives.

Due to mold and mildew damage, the library is discarding many of the story books and paper doll cutouts that accompanied the records affected by Sandy, but photographs of the printed matter are being taken and will be digitally restored using Adobe Photoshop.

Almost all of the records are salvageable, Schackman said. Some are warped, and many are encrusted with mud and must be washed by hand.

To help with the restoration, the archives department has bought a vinyl record flattener, a device that slowly heats the recording between heavy metal plates. The department also has software that can reduce background noise from old vinyls.

The sound archive started in the 1980s as a Judaica Collection of vintage works by Jewish artists, but in 2009 expanded into other genres, including jazz and children’s recordings, after the donation of 60,000 records from the family of the late Jack Saul, a Cleveland collector. That collection included 556 children’s recordings, all in good condition.

Benjamin Roth, a Sound Archivist at Florida Atlantic University’s Recorded Sound Archives, cleans a batch of records from the nearly 800 vintage kiddie records that were donated to the Sound Archives.

Archives technician Ben Roth contacted Muldavin, author of the book “The Complete Guide to Vintage Children’s Records,” last year, months before Sandy formed, for advice on finding some specific titles for FAU’s collection.

When a tidal surge from the superstorm brought 20 inches of sea water into a family garage at Long Beach on Long Island, hundreds of recordings stored there lost practically all their value in the collector’s market. So Muldavin asked FAU if the archives department wanted them.

The Boca Raton-based archivists were thrilled. The collection represents a period in American culture, mostly the 1940s and 1950s, when vinyl replaced the hard shellac material that had been used for records, Schackman said. Vinyl was more kid-friendly since it was less prone to breakage.

The works also represent a period before many families had television sets, and when children’s records were a popular form of entertainment.

“It’s a certain time in history that won’t ever be repeated,” Schackman said. “This was the age of innocence. Times were simpler then, more naive.”

stravis@tribune.com or 561-243-6637

Restoration operation

The process that will be used at Florida Atlantic University’s Recorded Sound Archives on the damaged records:

• A technician cleans the 78 rpm using a special ultrasonic wave machine, similar to the unit used to clean jewelry. Distilled water and a small amount of Jet-Dry rinse agent are used.

• If the dirt is excessive, the record is hand-washed. A hair dryer is used to dry it.

• The record is then digitized, using a special turntable that plays the record and captures the audio onto a computer sound card. Sony Sound Forge software is then used to eliminate clicks, pops and other surface noise.

• The album jacket and any accompanying books or cutouts are photographed. Adobe Photoshop is used to remove any dirt or deformities.

• The audio clip and album art are cataloged.

— Scott Travis

Listen and view these original children’s recordings on the Recorded Sound Archives website.

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By Recorded Sound Archives, May 20, 2013 2:38 pm

Defying expectations, changing the rules, and making us laugh.

The Judaica Sound Archives at FAU Libraries honors the work and life of Molly Picon. Compiling 58 of her earliest songs produced on 78 rpm records and four of her LP albums produced later in her career, the JSA invites you to revisit the talents of a truly great Jewish female icon.

Who was Molly Picon?

She was an actress, singer, and comedian whose career spanned over 70 years. Debuting in the Yiddish Theater at the age of 6 she emerged as a respected American actress, performing in Come Blow Your Horn (1963) with Frank Sinatra, and having starring roles on Broadway in Milk & Honey (1961) and  film, Fiddler on the Roof (1971).

Molly Picon’s career followed Yiddish culture from the shtetl into mainstream America. Small and very youthful-looking she often had to fight to be taken seriously. She wore male clothing as a disguise through most of her breakout performance in Yidl Mit’n Fidl (1936) and many of her other early roles, including the well-known “Yankele.” In today’s world she might be considered to be a voice for women’s rights.

Click here for Molly’s 78rpm/LP albums.

Click here to see film clip of a very young Molly Picon singing the title song from Yid’l Mit’n Fidl.

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By Recorded Sound Archives, April 4, 2013 4:51 pm

There are few stories which affect us as powerfully as the story of the sinking of the Titanic.

It is a story of arrogance, pomposity, and cruel disregard for human life.

It is a story of bravery, compassion and self-sacrifice.

It is a story about horrible deaths.

It is a story of survival.

The British ship Titanic sank in the North Atlantic Ocean on April 15, 1912 after colliding with an iceberg only four days into her maiden voyage. The sinking of the Titanic caused the deaths of 1,502 of the 2,224 passengers and crew she carried.

Noted for its luxury and opulence the Titanic had a swimming pool, first-class restaurants, and every modern convenience of the time. She carried hundreds of emigrants on their way to North America and also some of the wealthiest people in the world. This unsinkable vessel also carried only enough lifeboats for 1,178 souls.

On April 14, 1912 the Titanic hit an iceberg. The ship gradually filled with water. First class women and children were hurriedly loaded into lifeboats.  When the ship finally broke apart and foundered there were still over a thousand people aboard.  Two hours later the RMS Carpathia was able to rescue 705 survivors.

The disaster was greeted with worldwide shock and outrage at the huge loss of life and the procedural failures that had led to it. It is suspected that over 100 Jews died on the Titanic, many of them poor immigrants on their way to America. Others were crew members and also wealthy, prominent Jews who occupied first-class cabins. Jewish first-class passengers, Ida and Abraham Straus went down with the ship along with Jewish millionaire Benjamin Guggenheim.

Cantor Josef (Yossele) Rosenblatt, being a man of great heart, felt called upon to reach out with help for all those who had lost loved ones in the tragedy. Raising his powerful voice in song, he recorded “El mole rachmin (fur Titanic)” for Victor records soon afterwards. Record sales soared and Rosenblatt was able to collect over $150,000 in royalties, which was promptly donated to help the bereaved  families.  Click  to hear original recording.

English translation: Exalted, compassionate God,  grant perfect peace in Your sheltering Presence, among the holy and the pure,  to the souls of all our beloved who have gone to their eternal home. May their  memory endure as inspiration for deeds  of charity and goodness in our lives.  May their souls thus be bound up in the  bond of life. May they rest in peace.  And let us say: Amen.

The American Jewish community was especially touched by the bravery and death of Ida Straus who chose to die alongside her husband. Solomon Smulewitz, a prolific writer for the Yiddish theater, wrote “Der Naser Kaver (The Watery Grave)” a graphic and moving song about the tragic event. Click to hear the original recording.

English translation: There stand, in woe/The thousands in need/And know that death/will dash them down/Then they cry, “Save yourselves/into the boats quickly, women/No man dare/ Take a place tbere.”/But listen to one woman-soul/who can say/”I won’t stir from the spot/I’ll die here with my husband.”/Let small and great honor/the name of Ida Straus! (from Tenement Songs by Mark Slobin; 1982).

PLEASE click here  to hear FAU’s Recorded Sound Archives compilation of  14 original songs from the Titanic Era.

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By Recorded Sound Archives, June 28, 2012 10:36 am

Now you can celebrate the 4th of July and your Jewish heritage at the same time.

This new compilation of songs from the Judaica Sound Archives at Florida Atlantic University Libraries in Boca Raton, FL is about the American Jewish experience.

It contains  Yiddish songs recorded during the early 20th century and expresses a Jewish immigrant perspective on New York, Coney Island and other things distinctly American.

You will also hear American patriotic songs sung by Jewish performers, Mike Burstyn singing about America in Hebrew and, from FAU’s Recorded Sound Archives Vintage 78s Collection, a very young Frank Sinatra singing “America the Beautiful.”

Click on the image above to hear this special compilation of songs from the JSA.

1. My America’s Free: Written byJerome Lipman and Irving Lewis. Sung by Molly Picon and Seymour Rechtzeit with the Abraham Ellstein Orchestra and Dave Tarras on clarinet. This upbeat tune lists some of the many things to love about America…..especially freedom!

2. Ich Dank dir Got fur America: Sung by Leibele Waldman.

3. America: Sung by Yiddish Theater star, Josef Feldman.

4. Yankee Doodle: This well-known Anglo-American song from the revolutionary War era is sung by Jewish singer/educator, Judy Caplan Ginsburgh.

5. I’m Going to Miami: Benny Bell tells a story of his trip to Miami Beach, Florida by train.

6. Hot Dogs and Knishes: Aaron Lebedeff sings this comic Yiddish song about Coney Island, NY.

7. Hurray far NY: This recording is from a 1967 recording of Pesach Burstein’s Yiddish Theater performance from “The Vilna Komiker.”

8. America Ich Lieb Dich (America I Love You): Sung by Yiddish Theater star, Gus Goldstein.

9. Ragtime Fiddle: Written by Irving Berlin and sung by Simon Paskal

10. Carry Me Back to Old Virginny: Originally a song sung by Confederate soldiers during the Civil War, it was recast in 1878 from the slave’s perspective. This 1916 recording by Jewish opera star, Alma Gluck, is said to have been the first operatic celebrity recording to ever sell a million copies.

11. Tell That to the Marines: Written during WWI,  sung by Al Jolson.

12. God Bless the USA: This recordingis from the Judy Caplan Ginsburgh album, Musical America.

13. America America: Mike Burstyn’s tribute to the land of his birth sung in Hebrew.

14. America the Beautiful: This recording by a very young Frank Sinatra is from FAU’s Recorded Sound Archives Vintage 78rpm music collection.

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By Recorded Sound Archives, February 27, 2012 9:41 am

4th Annual KULTUR FESTIVAL: A Celebration of Jewish Music and Arts

March 3—11, 2012

FAU Libraries, Boca Raton, FL

Can’t make it to South Florida?

You can join in the celebration of klezmer right here at the Judaica Sound Archives!

The word “klezmer” derives from two Hebrew words meaning instruments of music. The roots of klezmer can be traced back to 15^th century Eastern Europe. Klezmer music incorporates Chassidic melodies, folk tunes, and Jewish celebration dances. However, most ethno-musicologists would tell you that what we refer to as “klezmer” in 21^st century America bears very little resemblance to the musical compositions of 100 or 200 years ago. Today’s “klezmer” is like a  kaleidoscopic musical mirror that captures sound bits from the Jewish experience and reflects them back in new and sometimes wildly improbable ways.

Steeped in traditional Jewish sounds and melodies, klezmer is no longer chained to the shtetl. Today’s klezmer can be heard on the internet in Jewish homes around the world. Today’s klezmer can absorb interesting new flavors as the Jewish world of music expands.

Today’s klezmer music wakes up our Jewish cultural memory and provokes us to dance, to celebrate, to be Jewish!

Early klezmorim played the violin and other stringed instruments. Around 1855 the clarinet began to gain prominence. In the USA, clarinetists Dave Tarras and Naftule Brandwein spear-headed a klezmer revolution during the 1920’s. Today klezmer music continues to evolve.  It now includes everything from traditional renditions to mind-blowing fusions.

TheJudaica Sound Archives at Florida Atlantic University Libraries invites you to enjoy klezmer music from the past and the present.

Adrianne Greenbaum – FleytMuzik Klezmer music for flute

Benny Bell – To the Bride

Effy Netzer and his band – Folk Dance in Israel Today

Harry Kandel- Kandel’s Orchestra (1917-1918) Vol. 1

The Original Klezmer jazz Band

Paul Green – Klezmer East

Rudy Tepel and his Orchestra- Lubavitch Wedding

Yiddishe Cup – Klezmer Guy

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By Recorded Sound Archives, June 13, 2011 2:50 pm

Although the Judaica Sound Archives does not collect or preserve video materials we LOVE watching some of the wonderful clips on YouTube. Supporters and friends of the JSA often send us links to film clips that they think we will enjoy.  Here are some of our favorites. What are yours?

The following YouTube videos indicate that you don’t have to be Jewish to love Jewish music…..

Connie Francis released this album of Jewish songs in 1960. She talks about how much Jewish music has meant to her in this video. Click here. (3 min.)

If you haven’t heard Tom Jones singing My Yiddishe Momma you are in for a treat.  Click here. (2 min, 33 sec.)

Charles Aznavour also sings My Yiddishe Momma. He not onlymakes this rendition totally his own he also makes it powerful and totally unique.  I love this recording.  Click here. (6 min, 32 sec.)

We all love Julie Andrews.  Did you ever wonder what it would be like if she sang at a Jewish wedding?  Well, now you know! Click here. (4 min., 24 sec.)

Prof. Josh Kun discusses the meaning and importance of Hava Negila. Leonard Nimoy, Irving Fields, Harry Bellafonte and many others add their talents. Click here. (9 min.)

Sophie Tucker sings her iconic rendition of My Yiddishe Momma in this clip. Click here. (7 min., 9 sec.)

Think you’ve heard it all?  Here is a new perspectives on some old Jewish music.

Meshugga Beach Party performs Sholem Aleichem like you have never heard it before. Click here.  (2 min., 12 sec.)

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By Recorded Sound Archives, October 4, 2010 9:35 am

“The Jazz Singer,” released in 1927, was the first commercially successful “talking motion picture.” One of the most iconic moments in movie history occurs in this film when Al Jolson on stage, turns to his enthusiastic audience and says, “Wait a minute! You ain’t heard nothin’ yet!”  This promise of even more exciting entertainment to come is fulfilled as he sings “Toot-toot-tootsie” using moves that could have made Elvis Presley and Michael Jackson jealous. The effect is electrifying.

Known as “The World’s Greatest Entertainer” during his lifetime, Al Jolson’s life story (on which the movie was based) tells of a young Jewish boy who is driven to become a Pop singer despite the fact that his Orthodox father wants him to be a Cantor.

Who would think that a Jewish child born in anti-Semitic Tsarist Russia could become an American entertainment icon whose fame would continue to flourish  more than 50 years after his death?

When Asa Yoelson was only four years old his father became a rabbi and left his family and the old country to find a better life. After four years the Rabbi found a position in Washington D.C. and his family joined him. Tragically Asa’s mother died in 1895 only a short time after her arrival in the USA.

Embracing their “American” identities, young Asa soon became known as Al and his older brother Hirsh became Harry. The boys were obsessed with show business and by 1901 they were getting bookings in burlesque and vaudeville.

In 1904 Al, now known as Al Jolson, was called upon to fill-in for a performer in a blackface vaudeville comedy show.  Blackface, an important performance tradition in the American theater beginning around 1830 can now be seen as racist and offensive. But to young Al Jolson it was a blessing. Hidden behind the make-up, he found that he could give a freer, more energetic performance.  When this chance opportunity was well-received by the audience and critics, he soon decided to continue using blackface. The spontaneity and freedom he felt when in blackface elevated his performance and his fame.

In 1911 Jolson had his Broadway debut. His rendition of George M. Cohan’s Haunting Melody in the show “Vera Violetta “made him a Broadway star.

This was followed by other Broadway musicals and other hits for Jolson including You Made Me Love You in 1913 where he sang the final chorus pleading on one knee, a pose he would assume many times over in his career; Rock-a-Bye Your Baby With a Dixie Melody (1918); and George Gershwins’s Swanee (1918).

To hear all 55 songs in the JSA’s collection, click here. This collection of songs originally recorded by Al Jolson on 78 rpm discs between 1911 and 1919 was digitized and compiled by The Judaica Sound Archives at Florida Atlantic University Libraries. These albums are not available for sale or reproduction.