[MODERATOR NOTE: Many posts here were moved from the sprawling thread about the history of CBS' 30th Street Studios in an effort to keep that thread more focused on 30th Street, without having multiple tangents regarding Liederkranz Hall.] The Plaut Collection: For the past few days I've been diligently working on correlating the pictures that I intook (is that a word) at Yale in October with the index that is in each folder for its contents. After three days and about 15 hours I'm through two boxes and into a third (out of 16). Sheesh! Although it is very time consuming and particular, it's been fascinating to learn about these opera and other people who I have never heard of but who had quite significant careers and influence. (I learned a long time ago that whether or not I have heard of somebody says more about me than it does about them.) The other interesting thing is that most but not all of these early sessions were not in 30th St, although the ones that we've talked about here that look like they might be are actually at Liederkranz Hall. It is quite surprising to see the similarities in design and style between the two, and I've learned a few things today that I want to share with you. First of all, if you've read the thread you might recall some pictures of a Paul Robeson session that I hoped were at 30th St but which lukpac clearly said were at Liederkranz. I believed it and still do, but have some more perspective of what that hall might have been like. Here are some more Robeson pictures from the same session but different than what you've already seen. Note that I'm using my phone as a personal hot spot, so I've dialed the resolution back a bit so the file sizes are manageable but I think you can still see the space. This first one is of Robeson and his accompanist (anyone know who?). At the far right of the frame dead center through a considerable opening in the wall we can see the right side of what looks like a control room window. That side looks squared off. We've seen that before. (Extra points if you can find the Plaut dog in the picture.) Next is a view of Robeson leaning on the piano, looking across the width of the piano. Hey, there's another control room window! And it's the funny one with two pieces of glass forming a corner. Here's a more side-on view: These are partners in music and life Rae Davidson and Ethel Bartlett. You can clearly see the corner of the windows and the flat facing on the control room, as opposed to the polycylindrical diffusors on the walls. And also as opposed to the polycylindrical diffusors that were on the control room wall at 30th St. after January 1949 but before December 1949 until they were removed in or slightly before March 1956. Here's the best view of the inside of that corner that I've seen today: This is Gian Carlo Menotti on the right (I think; here's the wikipedia article about him Gian Carlo Menotti - Wikipedia ) who wrote the opera "The Telephone" in 1947. This picture must have been taken around then, as the woman is Marilyn Cotlow who is best remembered for originating the role of Lucy in that opera, and the guy in the middle is Frank Rogier her co-star in it. Two more pictures in the next post.