{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://marmia.aviaryplatform.com/iiif/ks6j09z07s/manifest","type":"Manifest","label":{"en":["Harlem's Best Tap Dancer, 1980-07-24"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/053/original/cropped-marmia-logo-copy1.png?1586173104","metadata":[{"label":{"en":["Source Metadata URI"]},"value":{"en":["https://marmia.libraryhost.com/repositories/2/archival_objects/9263"]}},{"label":{"en":["Date"]},"value":{"en":["1980-07-24 (Broadcast)"]}},{"label":{"en":["Description"]},"value":{"en":["Be advised that this video may contain sensitive, triggering, and offensive language and content. (Content warning)","Digitized with funding provided by the Council on Library and Information Resources' \"Digitizing Hidden Special Collections and Archives: Amplifying Unheard Voices\" grant program. (Funding note)","Sandman Sims is interviewed in Harlem about his career in dance. (Scope and Content Note)"]}},{"label":{"en":["Format"]},"value":{"en":["1 U-matic"]}},{"label":{"en":["Identifier"]},"value":{"en":["WJZ-EVMAG-066-002 (Identifier)"]}},{"label":{"en":["Series Title"]},"value":{"en":["Evening Magazine"]}}],"summary":{"en":["Be advised that this video may contain sensitive, triggering, and offensive language and content.","Digitized with funding provided by the Council on Library and Information Resources' \"Digitizing Hidden Special Collections and Archives: Amplifying Unheard Voices\" grant program.","Sandman Sims is interviewed in Harlem about his career in dance."]},"provider":[{"id":"https://marmia.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["MARMIA"]},"homepage":[{"id":"https://marmia.aviaryplatform.com/","type":"Text","label":{"en":["MARMIA"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/053/original/cropped-marmia-logo-copy1.png?1586173104","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/266/875/small/thumbnail_266875_1741710046.jpg?1741710049","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/144399/file/266875","type":"Canvas","label":{"en":["Media File 1 of 2 - open-uri20250311-1605153-8rmw62.mp4"]},"duration":600.618,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/266/875/small/thumbnail_266875_1741710046.jpg?1741710049","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/144399/file/266875/content/1","type":"AnnotationPage","items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/144399/file/266875/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-marmia.s3.wasabisys.com/collection_resource_files/resource_files/000/266/875/original/open-uri20250311-1605153-8rmw62.mp4?1741709022","type":"Video","format":"video/mp4","duration":600.618,"width":640,"height":360},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/144399/file/266875","metadata":[]}]}],"annotations":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/144399/file/266875/transcript/77088","type":"AnnotationPage","label":{"en":["AUTO_TRINT_WJZ-EVMAG-066-002_FFV1.ia.mp4 [Transcript]"]},"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/144399/file/266875/transcript/77088/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e An American art form is enjoying a big comeback right now. Who would have thought that tap dancing would be enjoying such a renaissance? Tonight we're going to meet one of the greatest tap dancers of all times. His name is Sandman Sims. Recently we went to New York City and met up with Sandman up on his roof at 123rd and Adam Clayton Powell Boulevard in the heart of Harlem. Ladies and gentlemen, the legendary Sandman Sims. Thanks for watching!","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/144399/file/266875#t=23.64,48.4"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/144399/file/266875/transcript/77088/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Now, look, I want you to get up here. I was a born dancer. I was born dancer. I came from a dancing family. And when I first, like two or three years old, I knew I could dance. Nobody in the world could tell me that I couldn't dance, because I had to dance against my family. My brothers and sisters were dancers, and I had to dance in a hurry to catch up with them. And after they give me such a hard time with them, there's no way in the world I could give up, man, after all the whoopings I took. I had to find somebody I could whoop. That's it, follow me. And I knew when I was coming up through school and everything that I could dance, but it was no problem to me. I didn't neglect none of my grades in school and nothing else that I had to do. I could just dance. And I'm sitting here right now, I'm dancing now. Every time you see me, I'm dancing. I got a step on my mind. I can hold you a conversation and still talk about that, still think about dancing. That's all right. Yeah, yeah. That's a glove. Comfort. That's a glove. Yeah, let me see.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/144399/file/266875#t=84.84,141.21"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/144399/file/266875/transcript/77088/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e It was a film by George Nearingberg called No Maps on My Taps that propelled Sandman into the public eye again, along with dancers Chuck Green and Bunny Brigg.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/144399/file/266875#t=141.43,150.41"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/144399/file/266875/transcript/77088/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e The men that are in my film are jazz tap dancers. They tap dance to jazz music. And they become an instrument within a band, basically. They're playing music with their feet. Tap dancing traditionally, it's an American art form. It's indigenous to American culture. It was created on American soil by slaves, by black slaves. What they did is they integrated their own African body movements, circle dances, ring dances, with clog and jig dancing in those times, which were making sounds with their feet, to form a new art form altogether new, which in those days was known as jigging. And the best jiggers on each plantation would challenge one another. For the slave owners, the plantation owners, they'd come out and one slave from one plantation would challenge another. But the art form has gone through many stages from the time that it was just a straight up and down tap dancing to a rhythm tap dancing. There was novelty tap, there's ballet tap, there's acrobatic tap, flash acts, class acts, comedy tap dancers. There's a guy, Jimmy Smith, who tap dances on the xylophone.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/144399/file/266875#t=163.16,233.74"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/144399/file/266875/transcript/77088/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e These shoes on your foot are like a drum. This is your base. This is your melody. And the ball of your foot is the tom -tom. Now when you do the sand, that's the brushes. When you use the taps, that's the sticks. So this is what you do. You're using a whole drum set.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/144399/file/266875#t=234.87,251.81"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/144399/file/266875/transcript/77088/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Sandman's real name is Howard. He was born in Los Angeles and moved to Harlem in 1946. Now that's 34 years ago. Sandman's not talking when it comes to his age, but you can figure he's at least in his 50s, although you couldn't tell it by looking at it.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/144399/file/266875#t=257.23,270.13"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/144399/file/266875/transcript/77088/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e If you can walk, you can dance. And if you can dance, you don't need a jog. You don't need no bicycle, no skates. You can just dance and foot when you get ready. New York is competitive. And they don't want to know if you can dance or not. They want to know, are you the best? Or have you danced against the best? Or how good are you against the best? Or can you be the best? This is all they want to know. And they're ready for a challenge. Anytime two guys say they can do something and they get together, man, they'll crowd up in a minute. Can you do that? They want to see it. Thanks for watching! No, no, we don't need you. Go over that way. I can do it. Way over there. Run fast. How far? This way. That was a good one. Run, friends! Put your foot down, you ain't making no sound. I was on the job and the guy came and threw his shoes on the stage and told me, he said, I said, what is this? He said, them are my shoes, can I fill them? Right away, the audience said, yeah, let him go. You know, the audience is agitators. They say, yeah, let him dance, let him dance. So the guy that owned the club, he said, yeah, well, we'll keep this in. And he had a good show out of it. And then the Apollo, this was common. I stayed there 17 years and this is common. On that stage, you all, you all right, but when you come off of that stage and go in the back, all right, in the back, and they say, well, man, you did good on the stage. So how good are you back here? and they put them shoes on back there and they're here, you know, right away you find out what you can do. And you came to New York with the idea of making the Apollo. If I make the Apollo, man, I'm made. If I can just get in a week in the Apollo, I'm straight. And this is what the big times was. Right now we don't have that. Because the Apollo's closed and the people don't have no target to shoot at. Whether they get to Apollo or not, they're going on with it. But at that time... If you didn't make the Apollo, man, you wouldn't consider them shoulders. And I didn't know what give up meant. I didn't know what it meant. I mean, if I could dance, I'm gonna keep on dancing. Because just because it's not a livelihood, I got an enjoyment out of it myself. I like dancing better than anybody you know, because I'm the one that's doing it. I like it better than anybody like to watch it. So how am I gonna give up something that's part of my life? Like you say, you have five senses. You walk, you talk, you smell, you hear, you see. I have six. I mean, some people have six. A lot of people don't have to. take lessons to sing. They don't have to take lessons to play music. I don't have to take lessons to dance. It's just part of me.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/144399/file/266875#t=270.54,426.12"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/144399/file/266875/transcript/77088/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Tap dancing has a long and treasured history in this country. Sandman Sims is extending that heritage every day he walks down the street. The tap revival is growing stronger every day. As a matter of fact, Sandman is currently teaching Benverine to tap dance. Sandman Sims is a natural resource. For a while, it looked as if we might have to put tap dancers on the endangered species list. But we can be happy Sandman and all the rest are out there once again.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/144399/file/266875#t=428.96,454.48"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/144399/file/266875/transcript/77088/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Yeah, great job, Lee.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/144399/file/266875#t=465.34,466.4"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/144399/file/266875/transcript/77088/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e We'll be back with more Evening right after this.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/144399/file/266875#t=469.68,471.26"}]},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/144399/file/266875/transcript/77088","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/144399/file/266875/transcript/77088/annotation/11","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/077/088/original/trint_WJZ-EVMAG-066-002_FFV1_transcript.vtt?1741710905","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/077/088/original/trint_WJZ-EVMAG-066-002_FFV1_transcript.vtt?1741710905"}]}]},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/144399/file/266876","type":"Canvas","label":{"en":["Media File 2 of 2 - open-uri20250311-1605153-j9czfn.mp4"]},"duration":600.618,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/266/876/small/open-uri20250311-1605153-jtnxdk_1741706711.jpg?1741706711","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/144399/file/266876/content/1","type":"AnnotationPage","items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/144399/file/266876/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-marmia.s3.wasabisys.com/collection_resource_files/resource_files/000/266/876/original/open-uri20250311-1605153-j9czfn.mp4?1741709058","type":"Video","format":"video/mp4","duration":600.618,"width":640,"height":360},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/144399/file/266876","metadata":[]}]}],"annotations":[]}]}