9 10 129 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 Music People An individual. Metadata for a person provides detailed biographical information to describe the life of a historical figure. Birth Date 1926-09-05 Birthplace Okolona, Arkansas, USA Death Date 2011-05-22 Occupation Educator Music Producer Source of File Attached “<a href="https://themusicsover.com/2011/05/22/faye-treadwell/">Died on This Date (May 22, 2011) Faye Treadwell / Pioneering Manager of the Drifters.</a>” The Music’s Over, 22 May 2012. <div></div> 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 Treadwell, Fayrene "Faye" Lavern Johnson (1926-2011) Subject The topic of the resource Music, Production Description An account of the resource Fayrene “Faye” Lavern Johnson Treadwell was an educator, arts administrator, and pioneering music manager whose life and career moved fluidly between public service and the commercial music world of the twentieth century. Born in Arkansas, she was educated at Arkansas Baptist College, where she developed a strong academic and administrative foundation. Before entering the music industry, she worked as an educator and later for the Los Angeles School Board, establishing a professional identity grounded in discipline, organization, and institutional leadership. In 1957, she married George Treadwell, a prominent theatrical and personal manager best known for his role in shaping the career of The Drifters. George Treadwell had previously been married to the acclaimed jazz vocalist Sarah Vaughan, situating Fayrene Treadwell within a close-knit professional world of major Black performers and managers. During their marriage, she assisted in the management office and became deeply familiar with the business mechanics behind touring, contracts, and artist promotion. After George Treadwell’s death in 1967, Fayrene Treadwell assumed full managerial control of The Drifters, an extraordinary achievement for an African American woman in a male-dominated entertainment industry. She took legal and operational command of the group’s name, sound, and touring structure, overseeing performances and business affairs in the United States and abroad. Her leadership helped sustain the group through shifting musical eras and ensured the preservation of its artistic identity, particularly during its extended success in the United Kingdom. For many years, Treadwell lived in Englewood, New Jersey, where she resided on Liberty Road, in a neighborhood that reflected the area’s deep musical and entrepreneurial talent. She lived near members of The Isley Brothers and the Robinson family of Sugar Hill Records, placing her within a remarkable local concentration of Black music innovators whose influence spanned rhythm and blues, soul, and hip hop. This proximity underscores Englewood’s often-overlooked role as a residential hub for nationally significant figures in American music history. Known for her careful, exacting management style, Treadwell was widely respected for protecting the integrity of The Drifters’ sound and legacy. She balanced adaptation with preservation, ensuring continuity while responding to changing audiences and markets. She was also the mother of Tina Treadwell, who later became involved in stewarding the family’s musical legacy. Fayrene Treadwell later relocated to California, where she died in 2011 at the age of 84. She is remembered as both an educator and a trailblazer—one of the earliest Black women to successfully manage and sustain a major rhythm-and-blues group on an international scale, and a figure whose life connects Englewood to the broader story of American popular music. "Rock agent fined $1500 in tax case." The Record, December 12, 1973. "Manager Fayrene Treadwell, 84." Newsday, June 3, 2011. "Fayrene Treadwell, 84; Ex-Englewood Resident managed the Drifters." The Record, June 3, 2011. "Treadwell Undergoes Operation." New York Amsterdam News,September 6, 1966 "Drifters tenacious manager." Los Angeles Times, June 2, 2011. Source A related resource from which the described resource is derived McLellan, Dennis. "Drifters' tenacious manager." The Los Angeles Times, 2 June 2011, p. AA6. “<a href="https://en.wikipedia.org/wiki/Faye_Treadwell">Faye Treadwell</a>.” Wikipedia, Wikimedia Foundation, 21 Nov. 2023. <div></div> Contributor An entity responsible for making contributions to the resource Colman, David Ludder, Rachelle Education Music 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 Music People An individual. Metadata for a person provides detailed biographical information to describe the life of a historical figure. Birth Date 1831-11-08 Birthplace New York, New York, USA Death Date 2017-05-18 Occupation Lawyer Activist, Women's Rights Activist, Civil Rights Activist, Civil Rights Real Estate Agent Source of File Attached "Dr. Gloria E. A. Toote." The Desert Sun, 21 June 2017, p. A12. 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 Toote, Gloria (1931-2017) Subject The topic of the resource Activism, Civil Rights Activism, Women's Rights Music, Production Politics, Federal Courts, Criminal Description An account of the resource <a href="https://www.pennycolman.com/post/who-is-gloria-toote" target="_blank" rel="noreferrer noopener">Gloria E. A. Toote</a> was a lawyer, real estate developer, recording executive, and national public servant whose career bridged law, music, politics, and community development. While she later held influential federal and political roles, one of her most innovative and locally significant achievements was rooted in Englewood, New Jersey, where she transformed the city into an unexpected center of recording and cultural production during the late 1960s. Toote was educated at Howard University, earning a Bachelor of Arts degree in 1952 and a Juris Doctor in 1954. She continued her graduate studies at Columbia University, receiving a master’s degree in 1956. Trained as an attorney, she initially practiced law in New York, but by the mid-1960s she began applying her legal expertise to real estate development, media, and emerging cultural industries. Between 1966 and 1970, Toote owned and operated Toote Town Records and Town Sound Studios in Englewood. She leased and redeveloped a deteriorated multi-story building at the corner of North Dean Street and Palisade Avenue, converting it into one of the most technologically advanced independent recording studios on the East Coast. Known for its cutting-edge disc-cutting, multi-track recording, and mastering equipment, Town Sound attracted musicians, record companies, filmmakers, advertising agencies, and broadcasters. Under Toote’s leadership, Englewood became a serious destination within the regional recording industry. At the same time, Toote used Town Sound as a platform for community investment. The studio provided training and employment opportunities for young people and participated in cooperative education programs that placed graduates into professional technical careers. Her work in Englewood earned national recognition, including honors for community service and youth job training, and established her as one of the first Black women to originate and lead a major recording studio. After the destruction of Town Sound Studios by fire in 1970, Toote’s career increasingly shifted toward national public service and political leadership. She became a trusted advisor to multiple Republican administrations, including those of Richard Nixon, Gerald Ford, George H. W. Bush, and George W. Bush. From 1971 to 1973, she served as Assistant Director of ACTION, the federal agency overseeing domestic volunteer programs. From 1973 to 1975, she was appointed Assistant Secretary for Equal Opportunity at the U.S. Department of Housing and Urban Development, where she worked on fair housing and civil rights enforcement. During the Reagan administration, Toote served as Vice Chairman of the United States Office of Private Sector Initiatives, helping to expand partnerships between government, business, and nonprofit organizations. She was also a founding member of the National Black United Fund, reinforcing her long-standing commitment to economic empowerment and institutional development within Black communities. In the 1980s, Toote returned to real estate leadership as president of TREA Estates and Enterprises, and from 1984 to 1992 she served as Vice Chair of the National Political Congress of Black Women, playing a key role in national advocacy around political representation, economic equity, and public policy. Gloria Toote’s legacy is defined by her ability to move between worlds—law, music, government, and community development—while leaving a tangible imprint on each. Her Englewood years stand out as a rare moment when local innovation intersected with national influence, placing the city at the center of a groundbreaking experiment in Black-owned media, technology, and entrepreneurship. "Fire Ruins Studio in Englewood." The Record, June 2, 1970. "Studio Founder Honored." The Record, January 27, 1969. "Town Sound Studio Installs 45G Cutter." New York Amsterdam News, October 5, 1968. "Recording Industry Honoring Unsung Hero." New York Amsterdam News, January 25, 1969. "Dr. Gloria E. A. Toote." The Desert Sun, 21 June 2017, p. A12. “<a href="https://libraries.psu.edu/about/collections/few-good-women/gloria-toote">Gloria Toote</a>.” Penn State University Libraries. “<a href="http://www.thehistorymakers.org/biography/gloria-toote-41">Gloria Toote’s Biography</a>.” The HistoryMakers. Contributor An entity responsible for making contributions to the resource Colman, David Ludder, Rachelle African American Civil Rights Music Women's Rights 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 Music Organizations and Institutions A group of individuals cooperating under similar beliefs to reach an agreed-upon goal. Metadata for organizations and institutions provides information for the basis of an investigation into the creation, purpose, beliefs, and actors involved in an organization and institution. Date Started 1946 Type of Institution Educational Source of File Attached "Chansoneers Make Debut On Television Program." The Record, 13 Dec. 1950, p. 34. 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 Chansoneers Description An account of the resource The Chansoneers were the Dwight Morrow High School Choral Group, which began in 1940 at Bound Brook High School. It was founded by Thaddeus J. Kropczynski. He began a Chansoneers group when he moved to Englewood in 1946. Source A related resource from which the described resource is derived "Chansoneers Make Debut On Television Program." The Record, 13 Dec. 1950, p. 34. Contributor An entity responsible for making contributions to the resource Colman, David Ludder, Rachelle Education Music 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 Music People An individual. Metadata for a person provides detailed biographical information to describe the life of a historical figure. Birth Date 1918? Birthplace Savannah, Georgia, USA Death Date 1981-03-30 Occupation Musician Source of File Attached Spengier, David. "John Harms, master of music in Bergen, dies of stroke at 74." The Record, 1 Apr. 1981, p.A-18. 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 Harms, John (1918?-1981) Subject The topic of the resource Music, Classical Description An account of the resource John Harms was a musician, conductor, and cultural entrepreneur whose vision helped shape Bergen County’s performing arts landscape in the mid-to-late twentieth century. Known for his tireless advocacy for live music and his ability to build audiences beyond traditional concert halls, Harms combined musical training with an entrepreneurial spirit that made him a central figure in northern New Jersey’s cultural life. Born in Savannah, Georgia, Harms showed musical promise at an early age and became a church organist while still a teenager. His early professional life was rooted in sacred music, and he developed a deep commitment to choral and organ traditions that would remain a constant throughout his career. After moving north, he served as organist and choir director at St. Paul’s School in Concord, New Hampshire, where he refined his skills as both a musician and educator. In 1942, Harms married soprano Iona Mull, a partnership that blended personal life with professional collaboration. The couple relocated to Englewood in 1947, a move that marked the beginning of Harms’s most influential period. From Englewood, he launched a series of ambitious musical ventures that brought nationally and internationally recognized performers to Bergen County at a time when such programming was rare outside New York City. Harms founded John Harms Concerts, Inc., an organization dedicated to presenting high-quality classical performances in accessible venues. Through these concerts, he introduced Bergen County audiences to major orchestras, renowned soloists, and emerging artists who would later achieve international fame. His programming emphasized both artistic excellence and community access, reflecting his belief that serious music should not be limited to elite urban audiences. Following the closure of the Plaza Theater, Harms helped establish the John Harms Center, repurposing the space as a performing arts venue. The center became a focal point for concerts and cultural events, reinforcing Englewood’s role as a regional arts hub. Although the center eventually closed, the site’s cultural mission endured, later reopening as what is now known as Bergen Performing Arts Center (bergenPAC), a lasting testament to Harms’s original vision. Beyond institutions and organizations, Harms was known for his hands-on approach—selling tickets himself, promoting concerts personally, and remaining deeply involved in every aspect of production. His legacy lies not only in the venues he helped create, but in the cultural infrastructure he built for Bergen County, ensuring that high-level music became a permanent and valued part of its civic life. Spengier, David. "John Harms, master of music in Bergen, dies of stroke at 74." The Record, 1 Apr. 1981, p.A-18. “<a href="http://www.bergenpac.org/about-bergenpac/mission-history">Mission & History</a>.” bergenPAC. Contributor An entity responsible for making contributions to the resource Ludder, Rachelle Education Music 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 Music People An individual. Metadata for a person provides detailed biographical information to describe the life of a historical figure. Birth Date 1917-01-7 Birthplace Tuscon, Arizona, USA Death Date 1995-05-20 Occupation Musician Source of File Attached Perkins, Lee S. "<a>Ulysses S. Kay (1917-1995)</a>." Blackpast.org, 1 Feb. 2013. 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 Kay, Ulysses Simpson (1917-1995) Subject The topic of the resource Music, Classical Description An account of the resource Ulysses S. Kay was a prolific American classical composer whose work bridged music, history, and the Black freedom struggle. He was born into a distinguished musical family: his uncle was King Oliver, the legendary New Orleans jazz cornetist and bandleader who played a pivotal role in the development of early jazz and was a mentor to Louis Armstrong. Although Kay pursued a very different musical path, growing up in the world of classical composition rather than jazz performance, Oliver’s stature underscored the deep musical lineage from which Kay emerged. Over a career spanning more than five decades, Kay composed more than 135 works, including operas, large orchestral compositions, choral works, chamber music, and scores for film and television. His music was performed by leading orchestras throughout the United States, including the New York Philharmonic, the National Symphony Orchestra, and the Dallas Symphony, placing him among the most frequently performed African American composers of his generation. Kay received advanced musical training in the United States and abroad and became one of the first African American composers to win the Rome Prize, allowing him to study and compose in Italy. The award positioned him within an international community of composers and reinforced his commitment to writing concert music that was formally rigorous while engaging deeply with social history. Much of Kay’s work explored the lives and experiences of African Americans through classical forms. His final completed opera, Frederick Douglass, focused on the later life of the formerly enslaved abolitionist who became a leading newspaper publisher and moral voice during the Civil War. The opera premiered in 1991 at Newark Symphony Hall with the New Jersey State Opera and stands as a culminating statement of Kay’s artistic and historical vision. In addition to composing, Kay was a dedicated educator. He served as a professor at the City College of New York from 1968 until his retirement in 1988, mentoring generations of students while continuing to produce a substantial body of work. He believed that a composer’s music inevitably reflected their environment, politics, and cultural inheritance—even as it aspired to universal artistic standards. Kay lived for many years in Englewood, New Jersey, where his home was shaped by both music and activism. He was married to Barbara Kay, a civil rights activist and Freedom Rider, and together they raised a family immersed in classical music and social justice. Ulysses S. Kay died in 1995 at the age of 78 from Parkinson’s disease, leaving behind a legacy that firmly embedded Black history and experience within the canon of American classical music. “<a href="https://en.wikipedia.org/wiki/Ulysses_Kay">Ulysses Kay</a>.” Wikipedia, Wikimedia Foundation, 13 May 2024. Chollet, Laurence. "Ulysses Kay, 78, prominent American composer." The Record, 23 May 1995, p.NJ-9. Perkins, Lee S. "<a>Ulysses S. Kay (1917-1995)</a>." Blackpast.org, 1 Feb. 2013. "Music & Might." Detroit Free Press, July 11, 2004. Contributor An entity responsible for making contributions to the resource Ludder, Rachelle Music https://archive.englewoodmakeshistory.org/files/original/c9a393ce6abcc640919610043bb71e16.jpg d53794c06a6fcf0f58b0ba97dd00908b 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 Music Organizations and Institutions A group of individuals cooperating under similar beliefs to reach an agreed-upon goal. Metadata for organizations and institutions provides information for the basis of an investigation into the creation, purpose, beliefs, and actors involved in an organization and institution. Date Started 1954 Type of Institution Economic Source of File Attached “<a href="https://en.wikipedia.org/wiki/Showdown_%28Isley_Brothers_album%29">Showdown (Isley Brothers Album)</a>.” Wikipedia, Wikimedia Foundation, 25 July 2024. <div></div> 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 The Isley Brothers Subject The topic of the resource Music, R&B Music, Rock and Roll Description An account of the resource The Isley Brothers was a R&B music group. O'Kelly Jr, Rudolph, Ronald, and Vernon Isley created the group in the early 1950s. After Vernon passed away, the other three brothers moved to New York City. Their fourth single, "Shout", became their first single to land on the Billboard Hot 100. They also released other hits like "Twist and Shout," "This Old Heart of Mine (Is Weak for You)," and "It's Your Thing." They also created their own label, T-Neck Records. Their younger brothers, Ernie and Marvin joined in 1973 ad did brother-in-law Chris Jasper. The group split in 1983 with Marvin, Ernie, and Chris temporarily forming Isley-Jasper-Isley. The Isley Brothers were inducted into the Rock and Roll Hall of Fame in 1992. They continue to perform under Ronald and Ernie as of 2024. Source A related resource from which the described resource is derived "<a href="https://officialisleybrothers.com/bio/">The Isley Brothers Bio</a>." The Isley Brothers. <div></div> “<a href="https://en.wikipedia.org/wiki/The_Isley_Brothers">The Isley Brothers</a>.” Wikipedia, Wikimedia Foundation, 30 Aug. 2024. <div></div> Contributor An entity responsible for making contributions to the resource Colman, David Ludder, Rachelle Music https://archive.englewoodmakeshistory.org/files/original/5f9a5f02a23b2ace248b7a5b3709a501.png eab3a1f6952e6d7f6ab6d310b379810f 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 Music People An individual. Metadata for a person provides detailed biographical information to describe the life of a historical figure. Birth Date 1895-12-16 Birthplace Washington D.C., USA Death Date 1973-02-03 Occupation Poet Source of File Attached “<a href="https://en.wikipedia.org/wiki/Andy_Razaf">Andy Razaf</a>.” Wikipedia, Wikimedia Foundation, 26 July 2024. 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 Razafinkarefo, Andriamanantena Paul (1895-1973) Razaf, Andy Subject The topic of the resource Immigrants, African Music, Jazz Music, R&B Description An account of the resource Razaf, Andy (1895–1973), born Andrea Razafkeriefo, was one of the most prolific and influential lyricists in American music history. Over the course of his career, he wrote the words to hundreds—by many contemporary counts, thousands—of songs, shaping the emotional vocabulary of American jazz, swing, and popular music. His lyrics—by turns witty, tender, satirical, and politically alert—were performed and recorded by many of the most important musicians of the twentieth century. Yet during the 1940s, Razaf also became something far less expected: a local political insurgent in Englewood, New Jersey, where national cultural prestige collided with suburban machine politics. Razaf’s musical reputation was already firmly established by the time he settled in Englewood. A major figure of the Harlem Renaissance generation, he collaborated with leading composers and performers and was widely respected within Tin Pan Alley and the jazz world for both his productivity and his intellectual range. His work extended beyond entertainment into social commentary and spiritual expression, and he was recognized nationally as a writer whose lyrics carried both popular appeal and moral weight. In 194o, Razaf made Englewood his permanent home, residing at 332 Englewood Avenue. That house functioned not only as a residence but as an active creative site. Razaf continued to compose there, working at his piano and collaborating directly with visiting musicians. Among them was Fats Waller, his longtime collaborator and one of the defining figures of American jazz. Songs associated with the Harlem jazz tradition were, in this period, worked out at Razaf’s piano in Englewood, collapsing the distance between a quiet New Jersey street and the center of American musical innovation. At the same time, Razaf emerged as a visible civic figure in Englewood. Local newspapers routinely identified him as an “Englewood song writer,” reflecting how fully he had become associated with the city. He spoke at schools, churches, and civic gatherings, and appeared at political meetings where music and public life intersected. His belief that culture could mobilize people carried directly into his political organizing. That fusion became unmistakable during his 1946 Independent campaign for the Englewood Common Council from the Fourth Ward. The Fourth Ward, home to a large Black population, had long been governed through entrenched political arrangements that limited meaningful representation. Razaf’s candidacy was historically significant: it marked the first appearance in more than twenty years, and only the second time in Englewood’s history, that a candidate of African ancestry appeared on the ballot in a November general election. The campaign reached its high point at a major rally held in Englewood, staged as a full-scale cultural and political event. Far from a routine ward meeting, the rally drew hundreds of attendees and featured a parade of nationally known Black artists, musicians, and public figures, transforming the campaign into a kind of variety show fused with civic mobilization. The program included celebrated performers and songwriters, with Razaf himself taking the stage—blending entertainment, political speech, and communal singing. The event demonstrated both his deep connections within Black cultural networks and his belief that political participation should be participatory, expressive, and collective. Razaf paired this cultural visibility with a serious policy agenda. His 11-point platform called for proportional Black representation on city boards and commissions; an end to discriminatory school zoning and transfer practices; fair hiring and promotion in municipal employment; enforcement of housing standards; low-cost housing development; infrastructure improvements in the Fourth Ward; and the elimination of racial discrimination across city institutions. He also emerged as the only local candidate willing to oppose the proposed Palisades Parkway, arguing that Englewood’s resources should be directed toward immediate neighborhood needs—such as bus shelters, benches, and improved public transportation—rather than large projects offering little benefit to residents. At public forums, including one sponsored by the Englewood League of Women Voters, Razaf’s independence set him apart from both Republican and Democratic candidates. His refusal to align automatically with party positions drew sharp backlash. Republican leaders publicly questioned his legitimacy as a representative, casting doubt on his voting record and community standing despite his years of residence in Englewood and his visible local engagement. Coverage of the campaign makes clear that Razaf was confronting not just an opponent, but a political machine accustomed to predictable outcomes. These local battles mirrored conflicts Razaf was naming nationally. During the same period, he spoke out at the annual meeting of the American Society of Composers, Authors, and Publishers (ASCAP), identifying himself pointedly as “Andy Razaf of Englewood,” a seventeen-year member of the organization. He publicly noted that no Black member had ever been nominated to office within ASCAP, criticizing its undemocratic election practices and exposing the parallels between cultural and municipal exclusion. Razaf ultimately lost the 1946 council race, but the campaign itself was transformative. It disrupted entrenched political routines, mobilized voters who had long been marginalized, and forced questions of representation, planning, and equity into the public record. Even in defeat, Razaf remained a prominent public figure in Englewood, continuing to write, speak, and advocate from his home on Englewood Avenue. Andy Razaf’s Englewood years reveal a figure too often confined to music history alone. Here was a nationally celebrated songwriter composing at his piano with Fats Waller, organizing a celebrity-filled political rally in Englewood, and simultaneously challenging exclusion in City Hall and in America’s most powerful music institutions. His legacy in the city is not defined by electoral victory, but by democratic insistence—a refusal to separate art from citizenship, or cultural achievement from the struggle for representation. “New York Stars at Rally Here: Hazel Scott and Handy at Razaf Meeting.” The Record (Hackensack, NJ), 1946. Coverage of Andy Razaf’s Fourth Ward campaign rally at Lincoln School auditorium, attended by more than 450 people and featuring nationally known performers and public figures including Hazel Scott, W. C. Handy, and Congressman Adam Clayton Powell Jr. “Englewood’s ‘Texas’ Ready for Election; Council Contest Dominates City Balloting.” The Record (Hackensack, NJ), 1946. Reports on the three-candidate Fourth Ward council race, highlighting Andy Razaf’s independent candidacy, the political significance of the ward, and the prominence of Razaf’s campaign rally emphasizing representation for the ward’s Black residents. “Andy Razaf, N.J. Council Candidate, Long Active in Making Music History.” The Record (Hackensack, NJ), 1946. Profile of Razaf as author of more than 2,000 songs, detailing his national musical reputation, leadership credentials, and transition from cultural prominence to independent municipal politics in Englewood. “Group Planning to Sing Songs Honoring Writer.” The Record (Hackensack, NJ), 1958. Announcement of a Brotherhood Week program at Bethany Church honoring Andy Razaf, including performances of his compositions such as “A New Day Prayer,” and noting his continued recognition in Englewood years after his council candidacy. “Shape of Things.” The Afro-American (Baltimore, MD), 1946. Column describing Andy Razaf’s public remarks at the annual meeting of the American Society of Composers, Authors, and Publishers (ASCAP), where he criticized the organization’s exclusion of Black members from leadership and linked those concerns to his Englewood council campaign. “Rogers Drubs Shea by 2-1 in Englewood Third Ward.” The Record (Hackensack, NJ), 1946. Election coverage noting Andy Razaf’s role as a write-in and independent candidate, contextualizing his campaign within broader patterns of machine politics and voter turnout in Englewood. “Seen as Reason for Roth’s Win.” The Record (Hackensack, NJ), 1946. Post-election analysis referencing Andy Razaf’s close contest with incumbent Albert Moskin and emphasizing the competitive nature of the Fourth Ward race despite Razaf’s independent status. “Foe Says Razaf Does Not Truly Represent City; G.O.P. Club Secretary Queries Candidate’s Voting Record, Endorses Moskin.” The Record (Hackensack, NJ), October 1946. “League Finds Candidates Think Alike; Razaf’s the Only One to Block Parkway.” The Record (Hackensack, NJ), October 1946. “Nominee Razaf Pledges Negro Representation; Platform Vows Fighting Race Bias Reported Now Existing.” The Record (Hackensack, NJ), October 1946. “Writer of Top Love Tunes Says Second Wife Left Him.” The Record (Hackensack, NJ), September 1945. “Razaf Entry No Racial Battle, Says Manager; Municipal Betterment Is Goal at Englewood, Claims Taylor.” The Record (Hackensack, NJ), October 1946. “Andy Razaf to File as Moskin’s Opponent; Song Writer Says He’ll Run as Independent Against Veteran G.O.P. Leader.” The Record (Hackensack, NJ), October 1946. “Parkway Project Assailed, Razaf Asks Bus-Stop Seats; Independent Englewood Council Candidate Says Money Should Be Spent in City.” The Record (Hackensack, NJ), October 1946. “New York Stars Appear at Rally Here; Hazel Scott and Handy at Razaf Meeting.” The Record (Hackensack, NJ), October 1946. Contributor An entity responsible for making contributions to the resource Ludder, Rachelle Colman, David African African American Immigration Music https://archive.englewoodmakeshistory.org/files/original/4129e4fcf3c3d5ddf9ff3cbcd0a2174b.jpg 24410d7b1fd57012e6c5dc5860928834 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 Music People An individual. Metadata for a person provides detailed biographical information to describe the life of a historical figure. Birth Date 1927-01-17 Birthplace North, South Carolina, USA Death Date 2008-12-31 Occupation Actress Musician Activist, Civil Rights Singer Activist, Peace Source of File Attached “<a href="https://en.wikipedia.org/wiki/Eartha_Kitt">Eartha Kitt</a>.” Wikipedia, Wikimedia Foundation, 24 July 2024. <div></div> 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 Kitt, Eartha Mae (1927-2008) Subject The topic of the resource Civil Rights Movement Activism, Civil Rights Activism, Peace Movies Description An account of the resource Eartha Kitt (born Eartha Mae Keith; January 17, 1927 – December 25, 2008) was an internationally acclaimed singer, actress, and outspoken civil rights activist whose career spanned music, theater, film, and television. She began her professional career in the early 1940s, appearing on Broadway in productions such as New Faces of 1952, which helped launch her into international stardom. Kitt became especially well known for her distinctive voice and sophisticated persona, recording enduring hits including “C’est si bon” (1953) and the holiday classic “Santa Baby.” Television audiences later embraced her for her iconic portrayal of Catwoman on the Batman television series in 1967. Beyond entertainment, Kitt was deeply engaged in political and humanitarian causes. During the mid-1960s, she worked closely with Englewood City Councilwoman Shirley Lacy to raise funds for the Southern Civil Rights Movement, particularly voter-registration drives following the passage of the Voting Rights Act. In 1965, Kitt headlined a major benefit gala in Paramus at the newly remodeled Neptune Inn, organized under the auspices of the Southern Voter Registration Drive Committee of Bergen County. The event, billed as an “Evening With Eartha,” marked her first public appearance in Bergen County and drew significant local attention. The gala brought together a notable group of performers and community figures, including actor Alan Alda, singer Clyde McPhatter of Englewood, and The Isley Brothers, also longtime Englewood residents. Proceeds from the evening were directed to civil-rights workers engaged in large-scale voter-registration efforts across the South, underscoring Kitt’s commitment to using her celebrity to support grassroots activism. Kitt’s personal life was marked by both public attention and independence. She married John William McDonald in 1960; the couple separated in 1964. She later raised her daughter, Kitt (Kitt Shapiro), largely as a single mother while continuing her international career. Together, Kitt’s artistic achievements and her activism—particularly her ties to Englewood and Bergen County—reflect a life dedicated not only to performance, but also to social justice and political engagement. “Eartha Kitt to Headline Benefit Gala.” The Record (Hackensack, NJ), 1965, Bergen County edition. Source A related resource from which the described resource is derived Hoerburger, Rob. "<a href="https://www.nytimes.com/2008/12/26/arts/26kitt.html">Eartha Kitt, a seducer of Audiences, Dies at 81</a>." The New York Times, 25 Dec. 2008. Contributor An entity responsible for making contributions to the resource Colman, David Ludder, Rachelle Civil Rights Entertainment Peace https://archive.englewoodmakeshistory.org/files/original/5de2b7ac01185f4e4ce283f64a937ffa.png 1fefce23c0470124140b61356662a14e 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 Music People An individual. Metadata for a person provides detailed biographical information to describe the life of a historical figure. Birth Date 1942-11-27 Birthplace Seattle, Washington, USA Death Date 1970-09-18 Occupation Singer Musician Songwriter Source of File Attached “<a href="https://en.wikipedia.org/wiki/Jimi_Hendrix">Jimi Hendrix</a>.” Wikipedia, Wikimedia Foundation, 3 Sept. 2024. <div></div> 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 Hendrix, James Marshall "Jimi" (1942-1970) Hendrix, Johnny Allen Description An account of the resource Jimi Hendrix (born Johnny Allen Hendrix, November 27, 1942 – September 18, 1970) was a singer, songwriter, and guitarist whose revolutionary approach to the electric guitar permanently reshaped modern music. While Hendrix would later become an international icon, some of the most formative years of his artistic development unfolded quietly in Englewood, New Jersey, where he lived with the Isley Brothers between 1963 and 1965. By the early 1960s, Hendrix was already a gifted, self-taught guitarist, having begun playing in his mid-teens. After moving through the touring R&B circuit, he was recruited by the Isley Brothers, who were then emerging as one of the most dynamic vocal groups in American popular music. During this period, Hendrix resided in the Isley family home on Liberty Road in Englewood, a setting that provided him with something rare in his early career: stability, daily rehearsal space, and immersion in a professional musical household. In Englewood, Hendrix practiced relentlessly, often experimenting with technique, tone, and stage movement in front of mirrors. Members of the Isley family later recalled that he was constantly playing—refining his sound, flipping the guitar behind his back, and testing unconventional approaches that would later become his signature. These years were crucial to his growth, as he absorbed the discipline of touring musicianship while pushing beyond the boundaries of traditional rhythm-and-blues guitar playing. While living in Englewood, Hendrix performed extensively with the Isley Brothers and shared close quarters with Ernie Isley, who was still a child at the time but would later become a celebrated guitarist himself. Hendrix’s presence left a lasting impression on the household, influencing not only the Isley Brothers’ evolving sound but also the next generation of musicians who witnessed his dedication firsthand. After leaving the Isleys in 1965, Hendrix continued to work as a sideman with artists such as Tina Turner, Sam Cooke, Little Richard, and Curtis Knight before relocating to England, where his career accelerated dramatically under the management of Chas Chandler. With the Jimi Hendrix Experience, he achieved global fame through landmark recordings including Are You Experienced, Axis: Bold as Love, and Electric Ladyland, the latter reaching number one on the Billboard 200. Songs such as “Hey Joe,” “Purple Haze,” and “The Wind Cries Mary” cemented his reputation as a transformative artist. Hendrix became widely known for pioneering the expressive use of amplifier feedback, distortion, wah-wah, and stereophonic effects, turning the electric guitar into a vehicle for sonic experimentation. Yet behind the mythic figure stands the lesser-known chapter of his life in Englewood—a period of discipline, growth, and creative incubation that played a critical role in shaping the artist he would become. For Englewood, Hendrix’s residency represents a quiet but profound connection to one of the most influential musicians of the twentieth century. "All Star Hendrix Celebration." The Record, February 10, 2011. "Happy Mother's Day's from the Isley Brothers." Home News Tribune, May 6, 2022. "Hendix: Lived in Englewood for 2 Years." The Record, September 25, 2014. “<a href="https://en.wikipedia.org/wiki/Jimi_Hendrix">Jimi Hendrix</a>.” Wikipedia, Wikimedia Foundation, 3 Sept. 2024. Subject The topic of the resource Music, R&B Music, Rock and Roll Contributor An entity responsible for making contributions to the resource Colman, David Ludder, Rachelle Creator An entity primarily responsible for making the resource unknown photographer Publisher An entity responsible for making the resource available wikipedia Date A point or period of time associated with an event in the lifecycle of the resource May 24, 1967 Jimi Hendrix at the amusement park Gröna Lund in Stockholm, Sweden, May 24, 1967. Rights Information about rights held in and over the resource Public Domain Source A related resource from which the described resource is derived attributed to scanpix Music 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 Music People An individual. Metadata for a person provides detailed biographical information to describe the life of a historical figure. Birth Date 1915-05-02 Birthplace Albany, Georgia, USA Death Date 1988-02-12 Source of File Attached "The Isley Brothers." Facebook. 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 Isley, Sallye Bernice Bell "Mother Isley" (1915-1988) Description An account of the resource <div class="flex flex-col text-sm pb-25"> <div class="text-base my-auto mx-auto pb-10 [--thread-content-margin:--spacing(4)] @w-sm/main:[--thread-content-margin:--spacing(6)] @w-lg/main:[--thread-content-margin:--spacing(16)] px-(--thread-content-margin)"> <div class="[--thread-content-max-width:40rem] @w-lg/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn"> <div class="flex max-w-full flex-col grow"> <div class="min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+&]:mt-1"> <div class="flex w-full flex-col gap-1 empty:hidden first:pt-[1px]"> <div class="markdown prose dark:prose-invert w-full wrap-break-word light markdown-new-styling"> Sallye Bernice Bell Isley was the matriarchal force behind one of the most influential family groups in American music history and a quiet but enduring presence in the cultural life of Englewood, where music, faith, and family converged in ways that would ripple far beyond northern New Jersey. Born and raised in a deeply musical and religious tradition, Sallye Isley was a trained pianist and organist who served as the church musician at the First Baptist Church in Cincinnati. Music in the Isley household was not a hobby but a discipline—rooted in gospel, harmony, and collective responsibility. She personally taught her sons to sing, instilling in them the call-and-response patterns, vocal blend, and spiritual intensity that would later define the sound of the Isley Brothers. In the summer of 1959, at a pivotal moment just after the breakout success of “Shout,” Sallye Isley relocated her younger children east to Englewood, effectively anchoring the family during the group’s rapid rise. The move was both practical and symbolic. Englewood offered proximity to New York’s recording industry while providing a quieter, more grounded environment where a large, working family could remain intact amid the pressures of fame. As her sons toured and recorded, Sallye ensured that Englewood remained a stable home base rather than a temporary stopover. The Isley home in Englewood quickly became a hub of creativity. Instruments were everywhere—guitars, amplifiers, keyboards—and music was constant. It was in this setting that Sallye Isley made one of her most consequential decisions: she opened her home to a young, still-unknown guitarist named Jimi Hendrix. For roughly three years in the early 1960s, Hendrix lived with the Isley family in Englewood while working closely with the brothers. Sallye’s willingness to provide food, shelter, and structure to an aspiring musician reflected her broader ethos—talent should be nurtured, community mattered, and success was something to be shared, not guarded. During these years, while the older brothers were recording hits and navigating the music industry, the younger Isley sons attended Englewood schools, including Dwight Morrow High School, further rooting the family in the city. Sallye managed the household with a firm but steady hand, emphasizing discipline, unity, and faith. Her influence helped sustain the group through industry shifts—from early rock and roll to Motown, and later to the family-run T-Neck Records—without losing their identity as a family first and an act second. Though she never sought public recognition, Sallye Bernice Bell Isley’s impact was profound. In Englewood, she created a home that functioned as a training ground, refuge, and incubator for musical innovation. Through her guidance, generosity, and unwavering commitment to family, she shaped not only the Isley Brothers’ success but also a small yet significant chapter of Englewood’s cultural history—one in which a quiet residential city helped nurture sounds that would change American music. </div> </div> </div> </div> <div class="z-0 flex min-h-[46px] justify-start">"Isley Brothers: A Family Affair." New York Times, March 13, 1977. "Narrative generated by chatgpt, 5.5 , Open AI, June 3, 2026. The author provided original archival research and subsequently edited the content for historical accuracy and historiographical alignment."</div> </div> </div> </div> Contributor An entity responsible for making contributions to the resource Colman, David Ludder, Rachelle