{"value"=>"<p>General financial records consist primarily of paid and unpaid bills. Also included are receipts, estimates, budgets, salary lists, Hippodrome supply requisition forms, expense account statements, bank slips, rough notes, and some letters and memoranda. These document a wide range of expenses associated with Burnside's theatrical productions: costs of sets and lighting; costumes; salaries of performers, designers, laborers, office workers, and others associated with productions; purchase and rental of books and music; rental of theaters and halls; paint, lumber, fabric, and other supplies; photography; printing; insurance; advertising; legal expenses; theater maintenance and repairs; more. Also documented are more peripheral and personal expenses such as taxis, car rental, flowers, liquor, hotels and restaurants, theatrical club dues, and subscriptions to trade journals. As the dates suggest, these records document productions with which Burnside was associated over the course of his entire career in the United States. Of note is a group of daily financial reports, 1924, for Burnside's film <span class=\"title\">Manhattan</span>.</p> <p>A fair amount of family financial records are mixed in with the above. These consist of department store, tuition, medical, automotive, and home maintenance bills; stock certificates; insurance policies; tax documents; leases; mortgages; and rent statements and other documents from a building that Burnside owned at 121 Manhattan Ave. in Harlem. A small group of family financial records, 1896-1949, were found separate from the bulk of the financial records, and have been maintained as a separate unit.</p> <p>The bulk of the financial records are arranged by decade. Some portions of the records are in finer chronological order, reflecting work done by the Theater Division.</p> <p>There are account books, 1903-1929 and undated, and bank books, 1897-1943, both with gaps, that document both personal and professional finances.</p> <p>The Box Office and Royalty Statements subseries has materials from theaters throughout the United States where shows that Burnside wrote and/or staged (including Gilbert and Sullivan productions, 1930s-1940s, and Hippodrome road shows) were touring. The box office statements show the number of tickets sold at each price per performance, and the gross receipts. Most also show the state of the weather, the local “opposition” with which Burnside's show had to compete, and the percentages taken by the company and the theater. Box office statements are accompanied by royalty statements showing Burnside's percentage of the weekly gross. Some miscellaneous royalty statements are included. Box office and royalty statements are in chronological order.</p> <p>There are royalty statements from <span class=\"persname\">T.B. Harms</span> and <span class=\"corpname\">Francis, Day and Hunter</span> (known as <span class=\"corpname\">Harms, Inc.</span> by the 1940s), publishers of Burnside's songs, and possibly other works. Some related letters and receipts, 1918-1920s, are included.</p> <p>The Hippodrome weekly statements show receipts from performances (and from other income-producing activities, such as the sale of programs, candy, and cigars, the cloakroom, and the tearoom) and operating expenses. Statements from <span class=\"corpname\">Hippodrome</span> road shows, showing additional expenses for railroad fares, loading, extra musicians, and other travel requirements are included among these. These are in chronological order, but they are incomplete, and there is a large gap from 1912-1915.</p> <p>A few similar statements, 1907-1931, from miscellaneous non-Hippodrome performances, particularly the Ripples Company, 1930, are also included.</p>"}