#Tony schwartz series
This material was issued in a series of records for Folkways and Columbia in the 1950s. The show attracted the interest of the Sears-Roebuck heir William Rosenwald, who provided financial support for Schwartz to spend a year recording the sounds and music of New York City. “Death of a Turtle” was first broadcast on Schwartz’s weekly WNYC radio program, which ran for more than 30 years between the 19. Listen to the Spotify playlist of Tony Schwartz audio clips referenced in this piece. “But we cannot shut our ears because we have no ear lids.” Schwartz’s son, Anton, recalled that his father, who died at the age of 84 in 2008, “loved to coin words and make plays on words” in this way-such as presearch : research carried out before making a commercial. “We can shut our eyes, because we have eyelids,” he wrote in Media: The Second God (1981). ” He believed that sound had a potency that images couldn’t match. “I am solely interested in the effect of sound on people. “I have no interest in sound effects ,” he wrote in The Responsive Chord (1973). As a result, he experienced an increased sensitivity to the power of sound. When he was 16, Schwartz suffered through a six-month period of blindness after an illness. Around that time, he bought his first tape recorder. After a spell in the Navy during World War II, he began his advertising career as an art director. His family subsequently moved near Peekskill, New York, but he returned to Manhattan to study at the Pratt Institute. Tony Schwartz was born in New York City on August 19, 1923. Schwartz had an uncanny ability to connect the intimacy of everyday life with the troubling abstractions of the wider world. It feels at once like a miniature act of mourning for a pet and a president. Kennedy’s funeral a couple of months earlier. It also gestures from the specific to the global: Darryl wraps the flag around the coffin and plays “Taps” at the burial, because that’s what happened at President John F. “Death of a Turtle” creates an intimacy of scale-a small child, a tiny dead turtle, toy musical instruments, and an improvised wooden tombstone-that allows age-old questions of mortality and loss to creep up on you in a disarming way. It gave you access to his or her inner life. He also thought that an audiotape had an advantage over a photograph: You could ask someone how he or she felt. He foresaw that, as recording devices became cheaper, people would create audio scrapbooks of their memories, in the same way they compiled photo albums. Schwartz believed that a tape recorder could, and should, be used like a camera: to capture snapshots of everyday life. Tony Schwartz believed that a tape recorder could, and should, be used like a camera: to capture snapshots of everyday life. “Here lies Tony Cherney, once a pet turtle of Darryl Cherney, died February 24, 1964.”ĭarryl then plays “Taps” on the clarinet before concluding by saying, as if in disbelief at the loss of his pet: “Wow. Darryl starts digging, says bye to the turtle, audibly kisses it, buries the box wrapped in the flag, and hammers down the piece of wood as a tombstone. Schwartz asks him to read what’s written on the wood. It’s sort of just like the president of the United States when he died, but he’s like in my family.” “I’m going to play ‘Taps,’ and the flag is because I like him. “Why do you have the flag, and what kind of music are you going to play?” Schwartz wondered about the flag and clarinet. “He got a soft shell, and we tried to save him by giving him hamburger and things. “Can you tell me what happened?” Schwartz asked Darryl. When Darryl arrived with the dead turtle, Schwartz pressed record.
#Tony schwartz portable
For convenience, he had his commercial reel-to-reel modified-attached a shoulder strap, added a portable power source, adjusted the levels meter-so that he could carry it with him. He recorded almost everything that interested him, and he nearly always toted a tape recorder.
#Tony schwartz archive
He compiled an audio archive of sounds from the streets around his house in Hell’s Kitchen, Manhattan. Tony Schwartz was an ad man and urban folklorist. Tony Schwartz compiled an audio archive of sounds from the streets around his house in Hell’s Kitchen, Manhattan.
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