Research Catalog
Interview with Harold "Stumpy" Cromer
- Title
- Interview with Harold "Stumpy" Cromer [sound recording].
- Author
- Cromer, Harold.
- Publication
- 2005.
Items in the Library & Off-site
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4 Items
Status | Vol/Date | Format | Access | Call Number | Item Location |
---|---|---|---|---|---|
Available - Can be used on site. Please visit New York Public Library - Performing Arts Research Collections to submit a request in person. | Audio | Supervised use | *MGZMT 3-2572 | Performing Arts Research Collections - Dance | |
Available - Can be used on site. Please visit New York Public Library - Performing Arts Research Collections to submit a request in person. | disc 1 | Audio | Use in library | *MGZTL 4-2572 disc 1 | Performing Arts Research Collections - Dance |
Available - Can be used on site. Please visit New York Public Library - Performing Arts Research Collections to submit a request in person. | disc 2 | Audio | Use in library | *MGZTL 4-2572 disc 2 | Performing Arts Research Collections - Dance |
Available - Can be used on site. Please visit New York Public Library - Performing Arts Research Collections to submit a request in person. | disc 3 | Audio | Use in library | *MGZTL 4-2572 disc 3 | Performing Arts Research Collections - Dance |
Details
- Additional Authors
- Rudnik, Annie.
- Description
- 3 sound discs (ca. 154 min.): digital; 4 3/4 in. +
- Summary
- Disc 1 (ca. 65 min.). Harold "Stumpy" Cromer speaks with Annie Rudnik about styles of Japanese tap dancing performed across Japan; the origins of tap dance in America; how the origins of particular styles of Japanese tap dancers can be discerned by their performance and clothing; his four visits to Japan, the first with the dance troupe, American Dance Machine, directed by Lee [Becker] Theodore; the process of reviving Broadway show choreography; American Dance Machine as the first troupe to bring Broadway-style dance to Japan; African American dances being incorporated in musicals; minstrelsy as originating from African American dance, which was then copied by white performers in blackface; occasional African Americans' appearances in minstrel shows wearing blackface; Al Jolson and others' success in blackface; dance in minstrelsy not being tap dancing; the copying by Japanese of African American dance and clothing; more about the origins of African American dances; American Dance Machine's reception in Japan and extension of its stay; Japanese familiarity with musical shows from films such as My fair lady and West side story; Japan's development of its own musical stars since the 1970s; American Dance Machine's tour across Europe and the U.S.; Cromer's trip alone to Japan in 1982, where he performed in American-style night clubs; how audience reaction differed by country; his beginnings as a roller skate dancer; briefly, the development of tap dance from African music and dance; tap as compared to other dance forms; Bill "Bojangles" Robinson, John W. Bubbles, the Nicholas Brothers, and Savion Glover; more examples of tap in its relation to other dance forms, such as flamenco; Agnes de Mille's musical comedy Allegro and Cromer's part in teaching one of the cast members; Scott Joplin; Chita Rivera; American Dance Machine's performance at the opening at Ford's Theatre; what constitutes an oleo spot; the fact that no African Americans were in the performance American Dance Machine gave at President Jimmy Carter's White House; African music and dance being used by artists like Bob Fosse; more about African American music, including the blues; more about Al Jolson's popularity.
- Disc 2 (ca. 73 min.). Harold "Stumpy" Cromer speaks with Annie Rudnik about his duo with Stump and Stumpy [Stump is James "Jack" Cross]; the fact that Stump and Stumpy often did not get credit for their work; Ethel Merman in Cole Porter's musical comedy DuBarry was a lady, where his credit was cut from the program; the fact that African Americans' work was often misrepresented or not credited; shows and films in which he performed and current movies in which he appears; the fact that Stump and Stumpy integrated Las Vegas, Nev., appearing with Duke Ellington at the Riviera Hotel, and that Sammy Davis, Jr., was given credit for it; his written proof of the shows he was in for which he was not given credit; loss of money because of others taking credit for his work; the trumpet he created for which Dizzy Gillespie was later given credit; his opinion that Jack Cross was one of the greatest tap dancers; performing in Amsterdam with The Original Hoofers; more about the African origins of African American dance; more about the performance at Ford's Theatre; more about Bill "Bojangles" Robinson and Tap Extravaganza; Robinson not given recognition by other tap artists; more about Chita Rivera and Sammy Davis, Jr.; Davis in the musical comedy Mr. Wonderful; Stump and Stumpy's performance at the Million Dollar Theater with Duke Ellington and at the Hollywood Cotton Club with the Count Basie Band; more about Sammy Davis, Jr.; more about Robinson; more about Sammy Davis, Jr., discussion of various aspects of racism; his authorship of Secret daughter, which won an award; more about racism; meeting Betty Grable; McCarthyism; the musical comedy Showboat and Oscar Hammerstein; the influence of NAACP [National Association for the Advancement of Colored People] on African American artists and projects in theater and motion pictures; more about racism.
- Disc 3 (ca. 16 min.). Harold Cromer speaks with Annie Rudnik further about the influence of the NAACP; projects being financially backed based on decisions by the NAACP; the Amos and Andy Show; current movies by African American artists; more about his currently not being acknowledged for his work, including not being asked to perform with Butterfly [Roxanne Butterfly?].
- Alternative Title
- Dance Audio Archive.
- Subjects
- Note
- Interview with Harold "Stumpy" Cromer conducted by Annie Rudnik in Mr. Cromer's home in New York City on March 5, 2005.
- Portrait on cover of transcript.
- Access (note)
- The audio recording and transcript are open for auditing and reading, respectively, but permission is required for duplication and any other use of all or any part thereof.
- Transcripts may not be photographed or reproduced without permission.
- Source (note)
- Harold Cromer and Annie Rudnik.
- Call Number
- *MGZTL 4-2572
- OCLC
- 235943848
- Author
- Cromer, Harold. Interviewee
- Title
- Interview with Harold "Stumpy" Cromer [sound recording].
- Imprint
- 2005.
- Access
- The audio recording and transcript are open for auditing and reading, respectively, but permission is required for duplication and any other use of all or any part thereof.
- Local Note
- The sound quality of the speakers is fair overall, but the recording is marred by an extraneous hum. There are several brief gaps.Archive original: *MGZTLO 4-2572Archival transcript: *MGZMTO 3-2572The New York Public Library Jerome Robbins Archive of the Recorded Moving Image holds a video recording of this interview.The New York Public Library Jerome Robbins Dance Division holds a later interview with Harold Cromer conducted by Annie Rudnik on April 30, 2005, cataloged under the call number *MGZTL 4-2573.
- Restricted Access
- Transcripts may not be photographed or reproduced without permission.
- Connect to:
- Local Subject
- Audiotapes -- Cromer, H.
- Added Author
- Rudnik, Annie. Interviewer
- Research Call Number
- *MGZTL 4-2572 [sound disc]*MGZMT 3-2572 [transcript]