George, Nicholas, and Wilhelm: Three Royal Cousins on the Road to World War I. By Miranda Carter. (New York, NY: Alfred A. Knopf, 2010. Pp. xxv, 498. $30.00.)

Historian ◽  
2012 ◽  
Vol 74 (1) ◽  
pp. 146-148
Author(s):  
Christopher Fischer
Keyword(s):  
New York ◽  
World War I ◽  
World War ◽  
The Road ◽  
On The Road

Vaudeville

Eubie Blake ◽  
2020 ◽  
pp. 85-110
Author(s):  
Richard Carlin ◽  
Ken Bloom
Keyword(s):  
World War I ◽  
World War ◽  
The Road ◽  
Sound Film ◽  
First Sound ◽  
Dramatic Performance ◽  
On The Road ◽  
No Man's Land

This chapter describes Sissle and Blake’s career performing on white vaudeville. Unlike other black acts of the day, when appearing on stage, they insisted on performing without blackface and in formal clothing. Their act, including Sissle’s dramatic performance of songs like “On Patrol in No Man’s Land,” successfully drew on Sissle’s experiences in World War I. As black performers, however, they faced difficulties on the road and had to deal with the systematic racism of the day. The chapter also discusses the making of their first sound film for Lee De Forest; Eubie’s work making piano rolls; and initial recordings for Pathé. The chapter concludes with the foundations of their partnership with comedians Flournoy Miller and Aubrey Lyles, including their first meeting and their decision to collaborate on a Broadway show.

4. Cinema as art form

2017 ◽  
pp. 50-73
Author(s):  
Geoffrey Nowell-Smith
Keyword(s):  
World War I ◽  
World War ◽  
Film Genre ◽  
The Road ◽  
Art Form ◽  
Different Types ◽  
On The Road ◽  
Narrative Techniques

In the years before World War I there were few people who thought that cinema was or might become an art form. From about 1910, however, signs emerged that cinema was on the road to acquiring some sort of legitimacy. These signs initially pointed in different directions, but eventually a cluster of forms developed, which were to become the cinema as we know it today. ‘Cinema as art form’ considers how cinema has developed through the evolution of editing and narrative techniques and sound synchronization, and then discusses different types of film genre, the neo-realism movement, and the diverse varieties of modern cinema.

Beginnings

2020 ◽  
pp. 9-40
Author(s):  
Donna T. Haverty-Stacke
Keyword(s):  
World War I ◽  
Working Class ◽  
Women Religious ◽  
World War ◽  
Professional Career ◽  
The Road ◽  
Local Parish ◽  
On The Road ◽  
The Impact

Chapter 1 explores the various factors that shaped Carlson’s identity as a working-class Catholic young woman who was committed to social justice. These included her natal family and childhood neighborhood, her local parish, her women religious teachers, and the impact of World War I and the 1922 shopmen’s strike. Through her experience of World War I, as a working-class Irish and German girl, she had come to question government authority and the 100 percent Americanism that vigilante groups imposed on the community in St. Paul. As a result of her father’s experiences during the shopmen’s strike, she deepened her understanding of the importance of worker solidarity. And Grace came to appreciate early on the importance of education for the development of her autonomy. It was not only her mother, Mary Holmes, who instilled that lesson but also her women religious instructors in high school. The Josephites reinforced the value Grace placed on higher education as a route to economic independence for women and set her feet on the road to a professional career.

International Opera in Nineteenth-century New York

2020 ◽  
pp. 244-269
Author(s):  
Karen Ahlquist
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
New York City ◽  
World War I ◽  
Buenos Aires ◽  
Considerable Extent ◽  
World War ◽  
Metropolitan Opera ◽  
The City

This chapter charts how canonic repertories evolved in very different forms in New York City during the nineteenth century. The unstable succession of entrepreneurial touring troupes that visited the city adapted both repertory and individual pieces to the audience’s taste, from which there emerged a major theater, the Metropolitan Opera, offering a mix of German, Italian, and French works. The stable repertory in place there by 1910 resembles to a considerable extent that performed in the same theater today. Indeed, all of the twenty-five operas most often performed between 1883 and 2015 at the Metropolitan Opera were written before World War I. The repertory may seem haphazard in its diversity, but that very condition proved to be its strength in the long term. This chapter is paired with Benjamin Walton’s “Canons of real and imagined opera: Buenos Aires and Montevideo, 1810–1860.”

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