Jazz, Blues, and Ragtime in America, 1900–1945

2016 ◽  
Author(s):  
Court Carney
Keyword(s):  
New York ◽  
World War Ii ◽  
New Technologies ◽  
Cultural Transformation ◽  
Musical Culture ◽  
The Great Depression ◽  
Demographic Shifts ◽  
Jazz Performance ◽  
Radio Programs ◽  
Carnegie Hall

In January 1938, Benny Goodman took command of Carnegie Hall on a blustery New York City evening and for two hours his band tore through the history of jazz in a performance that came to define the entire Swing Era. Goodman played Carnegie Hall at the top of his jazz game leading his crack band—including Gene Krupa on drums and Harry James on trumpet—through new, original arrangements by Fletcher Henderson. Compounding the historic nature of the highly publicized jazz concert, Goodman welcomed onto the stage members of Duke Ellington’s band to join in on what would be the first major jazz performance by an integrated band. With its sprit of inclusion as well as its emphasis on the historical contours of the first decades of jazz, Goodman’s Carnegie Hall concert represented the apex of jazz music’s acceptance as the most popular form of American musical expression. In addition, Goodman’s concert coincided with the resurgence of the record industry, hit hard by the Great Depression. By the late 1930s, millions of Americans purchased swing records and tuned into jazz radio programs, including Goodman’s own show, which averaged two million listeners during that period. And yet, only forty years separated this major popular triumph and the very origins of jazz music. Between 1900 and 1945, American musical culture changed dramatically; new sounds via new technologies came to define the national experience. At the same time, there were massive demographic shifts as black southerners moved to the Midwest and North, and urban culture eclipsed rural life as the norm. America in 1900 was mainly a rural and disconnected nation, defined by regional identities where cultural forms were transmitted through live performances. By the end of World War II, however, a definable national musical culture had emerged, as radio came to link Americans across time and space. Regional cultures blurred as a national culture emerged via radio transmissions, motion picture releases, and phonograph records. The turbulent decade of the 1920s sat at the center of this musical and cultural transformation as American life underwent dramatic changes in the first decades of the 20th century.

Follow the Flag

2019 ◽  
Author(s):  
H. Roger Grant
Keyword(s):  
New York ◽  
World War Ii ◽  
Kansas City ◽  
Small Firms ◽  
Folk Song ◽  
The Great Depression ◽  
Ann Arbor ◽  
History Of ◽  
The 1960S ◽  
Railroad Company

This book offers a history of the Wabash Railroad Company, a once-vital interregional carrier. Like most major American carriers, the Wabash grew out of an assortment of small firms. Thanks in part to the genius of financier Jay Gould, by the early 1880s what was then known as the Wabash, St. Louis & Pacific Railway reached the principal gateways of Chicago, Des Moines, Detroit, Kansas City, and St. Louis. In the 1890s, the Wabash gained access to Buffalo and direct connections to Boston and New York City. One extension fizzled, and in 1904 entry into Pittsburgh caused financial turmoil, ultimately throwing the Wabash into receivership. A subsequent reorganization allowed the Wabash to become an important carrier during the go-go years of the 1920s and permitted the company to take control of a strategic “bridge” property, the Ann Arbor Railroad. The Great Depression forced the company into another receivership, but an effective reorganization during the early days of World War II gave rise to a generally robust road. In the 1960s, the Wabash, along with the Nickel Plate Road, joined the prosperous Norfolk & Western Railway, a merger that worked well for all three carriers. Immortalized in the popular folk song “Wabash Cannonball,” the midwestern railroad has left important legacies. Today, forty years after becoming a “fallen flag” carrier, key components of the former Wabash remain busy rail arteries and terminals, attesting to its historic value to American transportation.

scholarly journals The Development and Historic Use of Habitat Structures in Channel Restoration in the United States: The Grand Experiment in Fisheries Management

2004 ◽  
Vol 56 (1) ◽  
pp. 45-60 ◽  
Author(s):  
Douglas M. Thompson ◽  
Gregory N. Stull
Keyword(s):  
United States ◽  
New York ◽  
World War Ii ◽  
The United States ◽  
Fish Populations ◽  
The Great Depression ◽  
The Government ◽  
Conservation Projects ◽  
Long Term Impact ◽  
The Impact

Abstract The use of instream structures to modify aquatic habitat has a long history in the United States. Pioneering work by wealthy landowners in the Catskills region of New York produced a range of designs in the decades preceding the Great Depression in an effort to replenish fish populations depleted from overfishing. The scientific evaluation of structures began in 1930. Within two years, a Michigan research team claimed improved fish populations. Cheap labor and government-sponsored conservation projects spearheaded by the Civilian Conservation Corps allowed the widespread adoption of the techniques in the 1930s, before adequate testing of the long-term impact of the devices. The start of World War II temporarily ended the government conservation efforts and prevented the continued evaluation of structures. During the 1940s, 1950s and 1960s, designs of instream structures remained essentially unchanged. Meanwhile, the small number of evaluations of the impact of the structures often were flawed. The continued use of early designs of instream structures helped instill a false belief that instream structures were proven to be a benefit to fish. Even modern use of instream structures continues to rely on the basic blueprints developed in the Catskills, despite documented problems with the use of these designs.

An Interview with Harris Gaylord Warren: From the Borderlands to Paraguay

1989 ◽  
Vol 45 (4) ◽  
pp. 443-460
Keyword(s):  
United States ◽  
New York ◽  
World War Ii ◽  
United States Army ◽  
North American ◽  
Military Service ◽  
Mexican Revolution ◽  
The United States ◽  
The Great Depression ◽  
History Of

Harris Gaylord Warren was, by common consent, the father of Paraguayan studies in the United States. His broad-ranging activities —from diplomatic undertakings in South America to military service in Italy to administrative and scholarly work at various North American universities—marked him as an historian of rare depth and insight. Not commonly known is that Dr. Warren began his career as a historian in the 1930s as a borderlands specialist. The Sword was their Passport: A History of American Filibustering in the Mexican Revolution (Baton Rouge, 1943) is yet recognized as the definitive work on North American adventurers in that turbulent era. As an officer in the United States Army in World War II he was selected for various military history projects. After the war Dr. Warren returned to teaching and then administration. At that time his publications ranged from texts to Herbert Hoover and the Great Depression, (New York, 1959).

scholarly journals عروض مختصرة

2001 ◽  
Vol 6 (24) ◽  
pp. 148-143
Author(s):  
فتحي حسن ملكاوي
Keyword(s):  
New York ◽  
World War Ii ◽  
Soviet Union ◽  
Washington Dc ◽  
University Of Minnesota ◽  
New Politics ◽  
The Great Depression ◽  
Princeton University ◽  
The Soviet Union ◽  
Christian Understanding

فرج، بسام. الفكر السياسي عند ابن تيمية. عمان: دار الياقوت، 2000، (506 صفحات). طه عبد الرحمن. سؤال الأخلاق: مساهمة في النقد الأخلاقي للحداثة الغربية. الدار البيضاء: المركز الثقافي العربي عام 2000 (240 صفحة). وصفي محمد رضا، الفكر الإسلامي المعاصر في إيران، بيروت: دار الجديد، 2001، (374 صفحة). بدوي عبد الفتاح، فلسفة العلوم. القاهرة: دار قباء 2001، (370 صفحة). عبد الوهاب المسيري، "العالم من منظور غربي" القاهرة: دار الهلال 2000، سلسلة كتاب الهلال رقم 602، (375 صفحة من القطع الصغير). تاريخ اسبانيا الإسلامية، تأليف ليفي بروفنسال، وترجمة علي عبد الرؤوف البنبي وعلي ابراهيم المنوفي وعبد الظاهر عبد الله، ومراجعة صلاح فضل. القاهرة: المجلس الأعلى للثقافة بمصر، سلسلة المشروع القومي للترجمة. 2000 (500 صفحة). انتوني جيدينز، قواعد جديدة لمنهج علم الاجتماع، ترجمة د. محمد مح الدين ومراجعة د. محمد الجوهري. القاهرة: المجلس الأعلى للثقافة، سلسلة المشروع القومي للترجمة بمصر، رقم 214. 2000 (205 صفحات). Emmanuel Maurice Wallerstein, The End of The World as We Know It: Social Science for the Twenty First Century. University of Minnesota Press. 2000, 248pp. Yaaacov Ro’I, Islam in the Soviet Union: From World War II to Perestroika. New York: Columbia Univ. Press. 2000, 764pp. Harold James, The End of Globalization: Lessons from the Great Depression. Cambridge: Harvard Univ. Press. 2001, 288 PP. Muslims and the West: Encounter and Dialogue, Edited by Zafar I. Ansari and John L. Esposito. Islamabad: Islamic Research Institute and Washington DC: Center for Muslim-Christian Understanding 2001, 354 PP. Berghan, Volker R., America and the Intellectual Cold War in Europe. Princeton: Princeton University Press, 2001, 362 pp. Shadid, Anthony. Legacy of the Prophet: Despots, Democrats, and the New politics of Islam. Westview, 2001, 340 pp. للحصول على كامل المقالة مجانا يرجى النّقر على ملف ال PDF  في اعلى يمين الصفحة.

Federal Art Project

2018 ◽  
Author(s):  
Antonia Pocock
Keyword(s):  
New York ◽  
World War Ii ◽  
New Deal ◽  
Public Works ◽  
Visual Artists ◽  
Community Art ◽  
Federal Art Project ◽  
The Great Depression ◽  
Federal Music Project ◽  
War Propaganda

The Federal Art Project (FAP) was a branch of the Works Progress Administration (WPA), a work relief agency established in 1935 by President Franklin Delano Roosevelt’s Second New Deal. Aimed at mitigating unemployment during the Great Depression, the WPA hired 8.5 million Americans for public works projects, focused mainly on infrastructure improvements. The WPA’s Federal Project Number One—which comprised the FAP, the Federal Writers’ Project, Federal Theater Project, Federal Music Project, and Historical Records Survey—subsidized the creative activities of 40,000 artists, writers, actors, and musicians. The FAP commissioned 5,000 visual artists to paint murals in public buildings; create easel paintings, sculptures, prints, and drawings that were displayed in traveling exhibitions; teach in newly established Community Art Centers; document the activities of the WPA photographically; and design posters promoting New Deal policies. In addition to providing financial aid to destitute artists, the FAP aimed to preserve their skills and encourage a thriving American artistic tradition at a time when there were few private commissions. Though it operated nationwide, the FAP was concentrated in New York City, where 3,000 artists participated in the project, including many who went on to achieve international recognition after World War II as part of the Abstract Expressionist movement. By 1941, the FAP was limited to the production of war propaganda and training aids, and in 1943, President Roosevelt terminated all WPA projects.

The Birth of the Nashville Recording Industry

2020 ◽  
pp. 25-62
Author(s):  
Travis D. Stimeling
Keyword(s):  
New York ◽  
World War Ii ◽  
Los Angeles ◽  
Ad Hoc ◽  
New Technologies ◽  
State Of The Art ◽  
Country Music ◽  
Recording Industry ◽  
Mainstream Press ◽  
The City

Country music was recorded in Nashville as early as the 1920s, but it was not until the mid-1950s that the city became a significant center for the production of recorded country music. This chapter traces the development of Nashville’s recording studio infrastructure from ad hoc facilities used in the decade following the end of World War II to the mid-1970s, when the city was home to several state-of-the-art permanent recording facilities. This chapter not only explores the business of recording in Nashville, but also examines how new technologies that were deployed within the city’s recording studios changed the ways in which musicians created their work (Horning 2013). Finally, this chapter considers how trade publications, the mainstream press, and films promoted Nashville as both a state-of-the-art recording center and a relaxed, small-town alternative to urban recording industries in New York, Chicago, and Los Angeles.

scholarly journals Walter Heinrich Munk. 19 October 1917—8 February 2019

2020 ◽  
Author(s):  
Chris Garrett ◽  
Carl Wunsch
Keyword(s):  
New York ◽  
World War Ii ◽  
Ocean Circulation ◽  
New Technologies ◽  
New York State ◽  
Ocean Waves ◽  
Advisory Group ◽  
Mixing Processes ◽  
Post War ◽  
La Jolla

Born in Vienna, Austria, shortly before the Austro-Hungarian Empire lost its access to the sea, Walter Munk became a leading geophysicist and physical oceanographer after being sent to school in New York State and later moving west to California. He and Harald Sverdrup developed wave prediction schemes that were used by the Allies in World War II to evaluate whether amphibious landings would be feasible. His post-war research included further major contributions to the understanding of ocean waves, as well as ocean circulation, tides, internal waves, mixing processes and many other phenomena. He showed how variations in the Earth's rotation contained a wealth of valuable geophysical information and was an instigator of the ‘Mohole’ project that failed for political reasons but paved the way for the Deep Sea Drilling Project. Although primarily a theoretician, throughout his career he was an enthusiastic adopter of new technologies and data analysis techniques. He showed how acoustic transmissions could be used to map ocean eddies and currents as well as to monitor temperature changes of whole ocean basins. He was a key adviser to the US Navy and a dedicated member of the science advisory group, JASON, that focuses on national security. As well as his scientific contributions, his legacy includes the La Jolla Institute of Geophysics and Planetary Physics. He was liberal in his political outlook, gregarious, hospitable and treated everyone, from undergraduate to admiral, with the same interest and respect.

“We Are the Only Wonderful Things”

2020 ◽  
pp. 269-314
Author(s):  
Melissa J. Homestead
Keyword(s):  
New York ◽  
World War Ii ◽  
World War ◽  
The Great Depression ◽  
Greenwich Village ◽  
Park Avenue ◽  
Living Together ◽  
Permanent Home ◽  
Desert Island ◽  
The City

After losing their Greenwich Village apartment in 1927, Cather and Lewis had no permanent home in New York City, living together instead at the Grosvenor Hotel when both were in the city. In 1932, they finally leased an apartment on Park Avenue. The first half of this chapter reconstructs their life together in the 1930s and 1940s living on Park Avenue and traveling to Europe and Mt. Desert Island in Maine. The chapter includes their responses to the Great Depression and World War II, the formation of new friendships and maintenance of old ones, the deeper intertwining of their families, and Cather’s declining health. After describing Cather’s death and burial, the second half of the chapter tells the story of Edith Lewis’s mourning for Cather in the years immediately after Cather’s death and her work as Cather’s literary executor.

Reimagining Social Reform

2017 ◽  
Author(s):  
Nicholas K. Rademacher
Keyword(s):  
New York ◽  
Social Justice ◽  
World War Ii ◽  
Social Reform ◽  
Medical Science ◽  
World War ◽  
Catholic Worker ◽  
Cultural Approach ◽  
The Great Depression ◽  
New Directions

Paul Hanly Furfey realigned his approach to social reform during and after his sabbatical in Germany, questioning now the efficacy of a purely scientific approach. Furfey’s scientific studies in Germany, the onset of the Great Depression and stirrings of World War II led Furfey to re-evaluate his hypotheses on social reform. His emphasis shifted to a supernatural perspective. Furfey’s progress from optimism in 1931 to a revised approach in 1935 can be traced across three benchmarks: first, his request to study medical science in Germany and his subsequent intellectual conversion while there; second, his report to the rector of CUA upon his return, a report in which Furfey frankly outlined the new directions in his outlook consequent to what he learned while abroad; and, third, his gravitation toward a more determinedly counter-cultural approach to social reform that was inspired, in part, by the Catholic Worker community in New York City. By 1935, Furfey was in the midst of blending these new insights into his already existing theoretical and practical frameworks for promoting social justice.

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