Interview with Anne Phillips, February 7, 1999

Partial Transcript: Uh, what is today? February 7th, 1999.

Segment Synopsis: Phillips discusses her childhood and her early forays into music as a student at Oberlin College. She then talks about her early experience in the music industry as a jazz singer, both live and on television.

Keywords: American Academy of Dramatic Arts; Auditions; Babysitting; Background; Berklee School of Music; Big Bands; Brubeck, Dave (Artist); Charles, Ray; Chautauqua (N.Y.); Conservatories; Dinsmore; Elbow Room, the; High schools; I’m Getting Married in the Morning (Song); Jazz; Jazz club; Lerner and Loewe; Lerner, Alan; Loewe, Frederick; Music theater; Musical theater; Networks; New England Conservatory of Music; Oberlin College; Pennsylvania; Perry Como Show, the (Television program); Phillips, Anne; Phillips, Anne "Dinny Dinsmore"; Pianists; Pianos; Radio; Ray Charles Singers (Artist); Recording, live; Short, Bobby (Artist); Singers; Skylarks, the (Artist); Tape; Television; Violins; Vocalists; Vocalists (singers); Vocalists (singers), jazz; Vocals; Voice; Wellington (N.J.); West, George; Williams, Andy (Artist); Williams, Dick

Subjects: American Academy of Dramatic Arts.; Big band music.; Brubeck, Dave; Charles, Ray, 1918-2015; Chautauqua Art Association; High school; History of science and technology; Jazz music.; Lerner, Alan Jay, 1918-1986.; Loewe, Frederick, 1901-1988.; Music; Musical theater.; New England Conservatory of Music; Oberlin College.; Pennsylvania.; Perry Como Show (Television program); Piano.; Radio; Ray Charles Singers; Record labels.; Short, Bobby; Skylarks (Doo-wop group); Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Television.; University of California, Berkeley.; Violin.; West, George; Williams, Andy; Williams, Dick

Partial Transcript: When did you start having recording studio experience?

Segment Synopsis: Phillips talks about her experiences recording in demonstration studios, such as Dick Charles Recording and Allegro Recording. She also talks about the technology available at a typical demo studio in the 1950s. Phillips then goes on to discuss women in audio engineering.

Keywords: Allegro Recording; Ampex; Ampex Corporation; Ampex Electric Corporation; Associated Recording; Audio engineers; Bell Sound Studios; Como, Perry (Artist); Cruz, Bob; Demonstrations; Demos; Dick Charles Recording; Dodds, Malcolm (Artist); Four Seasons, the (Artist); Gabriel, Ethel; Grammy Awards; June, Rosemary (Artist); Mono to Mono; Music publishers; Nee, Bernie; New York (N.Y.); Overdubbing; Phillips, Anne; Publishers; RCA Records; RCA Victor; Recording; Recording studios, demo; Recording studios, demonstration; Recording, monaural; Recording, mono; Recording, mono to mono; Recording, sound on sound; Schiesari, Nancy; Schnaff, Larry; Sound engineers; Sound on sound; Stea Phillips Studio; Studios; Trombones; Women; Women engineers; Women in Music; Women in engineering

Subjects: Ampex corporation; Audio equipment industry; Bell (Sound recording label); Como, Perry, 1912-2001; Dodds, Malcolm; Four Seasons (Musical group); Grammy Awards.; History of science and technology; June, Rosemary; Music; New York (N.Y.); RCA Records; Record labels.; Schiesari, Nancy; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Trombone; Women engineers; Women in engineering.

Partial Transcript: What do you know about sel-sync? Did you ever hear stories about how that came about?

Segment Synopsis: Phillips discusses the advent of multitrack recording and the controversy surrounding the development of sel-sync. She talks about the use of Ampex tape recorders and talks about the artists with whom she worked, such as Gordon Clark and the Four Seasons. Phillips also talks about her unique connection to Dr. Buzzard's Original Savannah Band and the disco music scene of the 1970s.

Keywords: Ampex; Ampex Electric Corporation; Ampex corporation; Bob Crewe Generation (Artist); Carello, Charlie; Clark, Gordon; Columbia Records; Columbia Records, Inc.; Crewe, Bob; Darin, Bobby (Artist); Darnell, August (Artist); DeVito, Tommy; Demo studios; Demonstration studios; Disco; Disco music; Discovery, simultaneous; Dr. Buzzard's Original Savannah Band (Artist); East Orange (N.J.); Four Seasons, the; Gaudio, Bob; Hernandez, Andy "Coati Mundi"; Kid Creole and the Coconuts (Artist); Massi, Nick; Motolla, Tony; Multi-tracking; National Broadcasting Company Symphony; New York (N.Y.); Paul, Les; Phillips, Anne; RCA Records; Recording studios; Recording studios, demo; Recording studios, demonstration; Recording, multi-track; Recording, sound on sound; Sarser, David; Sel-Sync (selective synchronization); Sel-sync; Selective synchronization; Simultaneous discovery; Snyder, Ross; Sound on sound; Stea, Larry; Studios; Valli, Frankie (Artist); Violins; Wasser, Harriet; Z Records

Subjects: Ampex corporation; Bob Crewe Generation; Clark, Gordon, 1946-; Columbia Records, inc.; Darin, Bobby; Darnell, August; Devito, Tony; Disco (Music); Disco music.; Dr. Buzzard's Original Savannah Band; East Orange (N.J.); Four Seasons (Musical group); Gaudio, Bob; History of science and technology; Kid Creole and the Coconuts (Musical group); Mottola, Tony; Music; New York (N.Y.); Paul, Les; RCA Records; Record labels.; Snyder, Ross; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Valli, Frankie; Violin

Partial Transcript: After I did a lot of record dates, I mean, as a singer, and I did, I did that all of era of Bobby Vinton and, uh, the last of Connie Francis.

Segment Synopsis: Phillips discusses her time at Aldon Music Publishing, which was founded by songwriters Don Kirschner and Al Nevins. She talks about writing music for such artists as Bobby Vinton, Connie Francis, and the Three Sons. She talks about working with legendary songwriters such as Carole King and Gerry Goffin.

Keywords: Accordions; Aldon Music; Aldon Music Publishing; Annie, Mannie, and Frannie; Arthur, Brooks; Artists; Associated Recording; Associated Recording Studios; Austin Powers: International Man of Mystery (Motion picture); Bacharach, Burt; Bass; Berry, Jeff; Carroll, Frances; Demonstrations; Demos; Dick Charles Studios; Dick Charles recording; Francis, Connie (Artist); Goffin, Gerry; Greenwich, Ellie; Guitars; Houston, Cissy (Artist); Jackson, Frances; Jackson, Marilyn; King, Carole; Kirshner, Don; McKuen, Rod; Music publishing; Musicians; Myers, Mike; Nevins, Al; Oliver Twist, the (Song); Phillips, Anne; Pianos; Publishers; Screens Gems; Three Sons, the (Artist); Vinton, Bobby (Artist); Warwick, Dee Dee (Artist); Warwick, Dionne (Artist); What’s New Pussycat (Song)

Subjects: Accordion; Arthur, Brooks; Austin Powers, international man of mystery; Bacharach, Burt; Bass; Berry, Jeff; Francis, Connie; Goffin, Gerry; Greenwich, Ellie; Guitar; History of science and technology; Houston, Cissy.; Jackson, Frances; Jackson, Marilyn; King, Carole; King, Carole, 1942-; Kirshner, Don; McKuen, Rod; Music; Myers, Mike; Nevins, Al; Nevins, Albert J., 1915-1997; Piano; Record labels.; Screen Gems; Screen Gems (1998- ); Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Vinton, Bobby; Warwick, Dee Dee; Warwick, Dionne

Partial Transcript: So, well, tell me about your first recording date. Do you remember it?

Segment Synopsis: Phillips discusses her early recording experiences in the 1950s.

Keywords: Aldon Music; Aldon Music Publishing; Aldon Publishing; Amplification; Amplifiers; Arthur, Brooks; Associated Recording; Audio Engineering Society (AES); BMI (Performing Rights Organization); Bacharach, Burt; Baffles; Bass, electric; Bell Sound Studios; Born to be Blue (Album); Chester, Gary; Drums; Four Tops, the (Artist); Fox, Ted; Go Bo; Go Bos; GoBos; Grundy, Stuart; Hammond, John; Headphones; In the Groove (Artist); Japan; Keller, Jack; Laico, Frank; Levinsky, Kermit; Levy, Morris; Liebler, Jerry; Microphones; Monaural; Monitoring; Mono; Multi-tracking; Musicians; Obbligato; Perry Como Presents Kraft Music Hall (Television program); Phillips, Anne; RCA; Ralph Flanagan Band, the (Artist); Record Producers, the (Book); Recording; Recording monaural; Recording, mono; Reisman, Joe; Rhythm sections; Rhythms; Ronstadt, Linda; Roulette Records; Royalties; Schnaff, Larry; Severinsen, Carl "Doc"; Stereo; Stereophonic; Stoller, Mike; Tobler, John; Tracks; Veale, Bob

Subjects: Arthur, Brooks.; Audio Engineering Society; Bacharach, Burt; Bell (Sound recording label); Chester, Gary, 1924-1987; Four Tops (Musical group); Fox, Ted; Grundy, Stuart; Hammond, John; Headphones; History of science and technology; Japan.; Keller, Jack; Keller, Jack (Composer); Levy, Morris; Microphone; Music; RCA Records; Ralph Flanagan Orchestra; Record labels.; Reisman, Joe; Rhythm.; Ronstadt, Linda.; Roulette Records, Inc.; Severinsen, Doc, 1927-; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Stereophonic sound systems.; Stoller, Mike; Television; Tobler, John

Partial Transcript: I had to get some tapes for somebody.

Segment Synopsis: Phillips discusses finding tapes that were mono mixes of Eddie Smith's reference tapes. The two also talk about using microphones to balance sound and the short amount of time it took Dave Brubeck and Paul Desmond to record an album.

Keywords: Brubeck, Dave (Artist); Dave Brubeck/Paul Desmond (Album); Desmond, Paul (Artist); Drums; Equalization; Multi-tracking; Music reading; Musicians; Orchestras; Percussion; Phillips, Anne; Reading music; Recording; Recording, multi-track; Sight reading; Smith, Eddie

Subjects: Brubeck, Dave; Desmond, Paul, 1924-1977; History of science and technology; Music; Orchestra.; Percussion.; Record labels.; Smith, Ed; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History

Partial Transcript: I got this new one.

Segment Synopsis: Phillips discusses her membership in the National Academy of Recording Arts and Sciences. The two then talk about Dan Morgenstern's oral history project in conjunction with the National Academy of Recording Arts and Sciences.

Keywords: Columbia Records; Columbia Records, Inc; Funding; Grammy Awards.; Grants; History, oral; Jazz; Jazz Studies; Mollicone, Cheryl; Morgenstern, Dan; National Academy of Recording Arts and Sciences; New York Times; Oral history; Patents; Phillips, Anne; Preservation; RCA; RCA Records; Records, kinds of: Long-playing (LP); Renner, Jack; Sarnoff, David; Stockham, Thomas

Subjects: Columbia Records; Grammy Awards.; History of science and technology; Institute of Jazz Studies; Morgenstern, Dan; Music; National Academy of Recording Arts and Sciences (U.S.); New York times.; Oral history.; RCA Records; Record labels.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Stockham, Thomas G.

Partial Transcript: It wasn't rolled back, that's why it couldn't--

Segment Synopsis: Phillips discusses her singing career and her album 'Born to Be Blue,' from which she plays excerpts. She then talks about using hallways and stairwells for reverberation at Columbia Records. Phillips then talks about working with Richard Rodney Bennett. She also talks about her subsequent move to writing advertising jingles for Revlon, Wrigley's Spearmint Gum, and Pepsi Cola.

Keywords: Advertisements; Advertising; Albums; Arrangement; Arrangers; Arranging; Arthur, Brooks; Batten, Barton, Durstine & Osborn (Firm); Beatles, the (Artist); Bennet, Richard Robert; Born to be Blue (Album); Columbia Records; Columbia Records, Inc.; Come Alive; Commercials; Creativity; Disc jockeys; Echoes; Effects; Four Tops, the (Artist); Greenwich, Ellie; Hallways; Hondells, the (Artist); Jingles; King, Carole; Leader of the Pack, the (Song); Levine, Larry; Mancini, Henry; Martha and the Vandellas (Artist); Mirror Sound; Morton, George "Shadow"; Muni, Scott; Pepsi; Pepsi-Co; Phillips, Anne; Phillips, Bob; Popular music; Popular rock; Revlon; Revlon Natural Wonder; Rock 'n' roll; Rock Around the Clock (Song); Rock and roll; Rock music; Shangri-Las, the (Artist); Singing; Songwriters; Songwriting; Sound effects; Spector, Phil; Stairwells; Station identifications; Strings; Vocalists (Singers); Vocals; Wall of Sound; Wrigley; Wrigley Company; Wrigley Spearmint Gum

Subjects: Arthur, Brooks; Audio equipment industry; Batten, Barton, Durstine & Osborn, Inc.; Beatles.; Disc jockeys.; Four Tops (Musical group); Greenwich, Ellie; History of science and technology; Hondells (Musical group); King, Carole; King, Carole, 1942-; Levine, Larry; Mancini, Henry; Morton, Shadow; Muni, Scott; Music; Pepsi-Cola Company; Record labels.; Revlon, inc.; Shangri-Las (Musical group); Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Spector, Phil; Spector, Phil, 1939-

Partial Transcript: But we wanted--you know, all of the jingles, commercials, were done in these spiffy clean wonderful studios--

Segment Synopsis: Phillips talks about arranging and writing advertising jingles. She also compares advertising recording studios with demo recording studios. The two then talk about Motown Records. She then talks about her colleagues in the songwriting business, such as Charlie Koppelman, Brooks Arthur, and Artie Butler. Finally, she talks about the use of rock and roll music in advertising.

Keywords: Advertisement; Ampex Corporation; Ampex Electric Corporation; Arrangement; Arrangers; Arranging; Arthur, Brooks; Associated; Associated Recording; Barrister Records; Bell Sound Studios; Brooklyn (New York, N.Y.); Butler, Artie; California; Cigarettes, Kent; Come Alive (Song); Daughters; DeShannon, Jackie (Artist); Disc cutter; Families; Four Tops, the (Artist); Gordy, Barry; Here’s to Life (Song); Hollywood (Calif.); Hondells, the (Artist); Horn, Shirley; Hotels; Jazz; Jazz music; Jingles; Koppelman, Charles; Martha and the Vandellas (Artist); Mira Sound; Motown; Motown Records; Music producers; Musical arrangement; Overdubbing; Pepsi; Phillips, Doe; Pianists; Pianos; Pickett, Wilson (Artist); Radio; Record; Recorders, tape; Recording lathes; Recording studios; Recording studios, demonstration; Recording studios, demos; Recording studios, independent; Reuben, Don; Ronstadt, Linda (Artist); Sally Goes Round the Roses (Song); Schnaff, Larry; Seppos, Neil; Songwriters; Songwriting; Speakers; Spector, Phil; Streisand, Barbra (Artist); Summers, Joanie (Artist); Synthesizers; Technology; The taste that leaves the others cold (Song); Turntables; Up the Sandbox (Song)

Subjects: Advertising.; Ampex; Arthur, Brooks.; Bell (Sound recording label); Brooklyn (New York, N.Y.); Butler, Artie; California.; Cigarette industry; DeShannon, Jackie; Four Tops (Musical group); Gordy, Berry; History of science and technology; Hollywood (Calif.); Hondells (Musical group); Horn, Shirley; Jazz music.; Koppelman, Charles; Lathes; Motown Record Corporation.; Music; Pepsi-Cola Company; Piano.; Pickett, Wilson.; Radio.; Record labels.; Ronstadt, Linda.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Spector, Phil; Spector, Phil, 1939-; Streisand, Barbra.; Summers, Joanna; Synthesizer (Musical instrument)

Partial Transcript: Well, how much did--can I ask you about, you know, how much were people getting paid?

Segment Synopsis: Phillips discusses the salaries that musical artists earned for working on advertising jingles in the late 1960s. She then talks about working with the major record labels of Columbia Records, Inc. and RCA Records to record advertising jingles. Phillips then talks about an advertising jingle that was rejected by Pepsi Cola, as well as one that the client liked. She also discusses the decline in the advertising jingle writing business due to the market opening up to people who did not have musical experience.

Keywords: Addey, Malcolm; Bell Sound studios; CBS Sunday Morning (Television program); Campaigns; Chapman, Harold; Columbia; Columbia Records; Columbia Records, Inc.; Commercials; EMI (Electrical and Musical Industries); Four Tops, the; Harvard Business School; Harvard University; New York (N.Y.); New York Times; New music; Peppy the Generous Swan; Pepsi; Pepsi Cola; Pepsi Pours it On; Pepsi The Generous One; Pepsi-Co; Phillips, Anne; Plaut, Fred; Quality versus quantity; Quarterly Report; RCA Records; Salaries; Savory, Bill; Savory, William; Set fee; Slice of life; Stand up announce; Synthesizers; Teig, Dave; Teig, David; Test marketing; Test markets; The taste that leaves the others cold; Theory A; Tuchman, Barbara; Why isn’t my business fun anymore? (Article)

Subjects: Addey, Malcolm; Advertising.; Bell (Sound recording label); Chapman, Harold; Columbia Broadcasting System, inc.; Columbia Records, Inc.; Four Tops (Musical Groups); Harvard Business School; Harvard University.; History of science and technology; Music; New York (N.Y.); New York times.; Pepsi-Cola Company; Plaut, Fred; RCA Records; Record labels.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Tuchman, Barbara W. (Barbara Wertheim), 1912-1989

Partial Transcript: What's interesting is connecting this now to studio technology--

Segment Synopsis: Phillips discusses studio technology, which she feels is making recording more accessible to non-experts. She then shares her opinions regarding contemporary musicians like Brandy.

Keywords: Advertisements; Advertising; Celebrity Deathmatch (Television program); Choreography; Coltrane, John (Artist); Daughters; Families; Good Morning America (Television program); Harmonies; He’s So Fine (Artist); Hit Factory, the; Jingles; Live; London, Joan; MTV Awards; Marketing, international; Music Television (MTV); Music Television Awards; National trustee; Norwood, Brandy (Artist); Phillips, Anne; Phillips, Doe; Polygram; Recording studios; Salt-n-Pepa (Artist); Songs; Spencer, Ted; Studio technology; Tisch, Susan

Subjects: Advertising.; Coltrane, John, 1926-1967.; Good morning America (Television program); History of science and technology; London, Joan; London, Joan, 1948-; Music; PolyGram Records, Inc.; Record labels.; Salt-n-Pepa (Musical group); Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Television.

Partial Transcript: You know, w, w, we, we can get heated about it--

Segment Synopsis: Phillips discusses the changes in live performance that occurred in the 1970s. She tells a story about Lou Christie and Andy Gibbs, who she feels are poor singers. She also talks about how she doesn't like the Grammy Awards because it rewards people who rely too much on technology. Phillips then talks about the poor songwriting in the modern era.

Keywords: Abdul, Paula (Artist); Acoustics; Addicted to Love (Song); Arthur, Brooks; Berry, Chuck; Betty Davis Eyes (Song); Bolton, Michael (Artist); Boone, Debby (Artist); California; Carnegie Hall; Christie, Lou (Artist); Ciccone, Madonna (Artist); Classical music; Cleveland Stadium; Columbia Records; Columbia Records, Inc.; Connick, Harry, Jr.; Copyright laws; Copyrights; Covers; Di Martino, John (Artist); EMI (Electrical and Musical Industries); Editing; Editing, digital; Eiffel Tower; France; Gentry, Wayne; Gibb, Andy (Artist); Glitter rock; Gospel choirs; Grammy Awards; Hall & Oates (Artist); Hall and Oates (Artist); Honesty in Recording; Iglesias, Julio (Artist); Jazz; KISS (Artist); King, Riley "B.B."; Laws, copyright; Lee, Dave; Liebler, Ward; Light of my Life (Song); London (England); Lonestar; Lonestar Event Center; Mamas and the Papas (the); Miller, Mitch; Milli Vanilli (Artist); Moore, McDonald; Mothercare; Musical covers; Musicians; National Academy of Recording Arts & Sciences; National Academy of Recording Arts and Sciences; New Romanticism; New Wave; Nick of Time (Album); Nonesuch Records; Oasis (Artist); Palmer, Robert (Artist); Pepsi; Pepsi Cola; Pepsi-Co; Phillips, Alec; Phillips, Anne; Phillips, Doe; Popular music; Raitt, Bonnie (Artist); Rap music; Record of the year; Redford, Robert (Artist); Richards, Keith (Artist); Sailing (Song); Saturday Night Live (Television program); Sex Pistols, the (Artist); Soft Cell (Artist); Song of the year; Splicing; Splicing tape; Synthesizers; Tainted Love (Song); Talk of the Town (Song); Television; Thorne, Michael; Tonight Show with Jay Leno, the (Television program); Tonight Show with Johnny Carson, the (Television); Velline, Robert "Bobby Vee"; Warwick, Dionne (Artist); White Christmas (Artist); Young, Paul; Z Records

Subjects: Abdul, Paula; Advertising.; Arthur, Brooks.; Berry, Chuck.; Bolton, Michael; Boone, Debby; California.; Carnegie Hall (New York, N.Y.); Christie, Lou, 1943-; Columbia Records, inc.; Connick, Harry, Jr., 1967-; Di Martino, John; France.; Gibb, Andy; Gibb, Andy, 1958-1988; Grammy Awards.; Hall and Oates; History of science and technology; Iglesias, Julio, 1943-; Jazz music.; King, B. B.; Kiss (Musical group); London (England); Madonna, 1958-; Madonna.; Mamas and the Papas (Musical group); Miller, Mitch; Milli Vanilli (Musical group); Music; National Academy of Recording Arts and Sciences (U.S.); Oasis (Musical group); Palmer, Robert; Pepsi-Cola Company; Popular music.; Rap (Music); Record labels.; Redford, Robert; Richards, Keith; Sex Pistols (Musical group); Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Synthesizer (Musical instrument); Television.; Thorne, Mike, 1948-; Tonight show (Television program); Vee, Bobby; Warwick, Dionne; Young, Paul

Partial Transcript: And this is the thing I got from all of these old-timers at Columbia--

Segment Synopsis: Phillips discusses what she terms "the beginning of the end" in music recording. She talks about the reduction in the number of people in the recording business who were musicians and had musical ability. Phillips talks about how this led to a decline in quality in recording.

Keywords: Acetate; Aluminum; Arthur, Brooks; Associated Recording; Associated Recording Studios; Attorneys; Audio engineers; Bell Sound; Bell Sound Studios; Business; Columbia Records; Columbia Records, Inc.; D'Imperio, Joe; D'Imperio, Joseph E.; Hammond, John; Henderson, Lyle "Skitch"; Julliard; Julliard School, the; Lacquer; Lawyers; Miller, Mitch; Music producers; Musician; Musicians; New York (N.Y.); Paper Walls (Album); Phillips, Anne; RCA Records; RCA Victor; Range, Helen; Recording business; Records, kinds of: acetate; Records, kinds of: aluminum; Records, kinds of: lacquer; Sarser, David; Sound engineers; Studio 3; Studio Three; Violinists; Violins

Subjects: Arthur, Brooks.; Bell (Sound recording label); Columbia Records, inc.; Henderson, Skitch, 1918-2005; History of science and technology; Lawyers.; Miller, Mitch; Music; New York (N.Y.); RCA Records; Record labels.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Violin.