Noise

2018 ◽  
Author(s):  
E. Douglas Bomberger
Keyword(s):  
United States ◽  
New York ◽  
Symphony Orchestra ◽  
The United States ◽  
Musical Genre ◽  
Boston Symphony Orchestra ◽  
Pros And Cons ◽  
Jazz Band ◽  
Fritz Kreisler ◽  
The Moment

As the revelation of the Zimmermann telegram pushed the United States closer to war, jazz continued to grow in popularity. The Creole Band and Original Dixieland Jazz Band played simultaneous engagements in New York, and numerous journalists reported on the new musical genre. Fritz Kreisler played to loyal audiences of German Americans, while Karl Muck continued to emphasize Austro-German music in his Boston Symphony Orchestra concerts. Patron Henry Lee Higginson weighed the pros and cons of renewing Muck’s contract in light of the conductor’s frankly expressed loyalty to Germany. Walter Damrosch seized the moment by prominently featuring “The Star-Spangled Banner” in his concerts with the New York Symphony, which embarked on a ten-week national tour in mid-March.

Fallout

2018 ◽  
Author(s):  
E. Douglas Bomberger
Keyword(s):  
United States ◽  
New York ◽  
Atlantic Ocean ◽  
National Guard ◽  
The United States ◽  
Jazz Band ◽  
Fritz Kreisler

In a 2 December article entitled “Rising Tide of Sentiment against German Music,” critic W. J. Henderson detailed the ways that musical attitudes in the United States had been altered in recent months. Fritz Kreisler and Karl Muck were restricted in their performances, while Schumann-Heink took a temporary break from public concerts. Walter Damrosch and Leopold Stokowski took pains to emphasize their loyalty, but Damrosch’s new arrangement of “The Star-Spangled Banner” was criticized for being too ornate. The Original Dixieland Jazz Band and the Original Creole Band continued to ride the wave of jazz popularity. After further delays, the Fifteenth New York National Guard Regiment finally crossed the Atlantic Ocean and prepared to join the war in France.

Middle America

2018 ◽  
Author(s):  
E. Douglas Bomberger
Keyword(s):  
United States ◽  
New York ◽  
Puerto Rico ◽  
Symphony Orchestra ◽  
The United States ◽  
New Music ◽  
Boston Symphony Orchestra ◽  
Middle America ◽  
The Times

Within weeks of the release of the ODJB’s “Livery Stable Blues” on 15 April, jazz became a household word across the United States. The frantic, unbridled sound of the new music seemed to suit the spirit of the times ideally. In the midst of a copyright dispute with Victor, the ODJB recorded for Columbia. Walter Damrosch’s New York Symphony Orchestra toured from coast to coast, and Karl Muck brought the Boston Symphony Orchestra season to an end amid rumors of his loyalty to Germany. New restrictions on enemy aliens threatened to impact musical performers and presenters. James Reese Europe gathered woodwind players on a whirlwind trip to Puerto Rico, then took his Fifteenth Infantry Regiment Band to train and rehearse at Peekskill, New York.

scholarly journals The Alert Collector: Hip Hop in the United States

2016 ◽  
Vol 55 (3) ◽  
pp. 215
Author(s):  
Holly Boyer
Keyword(s):  
United States ◽  
New York ◽  
New York City ◽  
Hip Hop ◽  
Social Issues ◽  
Symphony Orchestra ◽  
The United States ◽  
South Bronx ◽  
Gangsta Rap ◽  
American Society

Hip hop is a ubiquitous part of American society in 2015—from Kanye West announcing his future presidential bid to discussions of feminism surrounding Nikki Minaj’s anatomy, to Kendrick Lamar’s concert with the National Symphony Orchestra, to Questlove leading the Tonight Show Band, hip hop has exerted its influence on American culture in every way and form.Hip hop’s origin in the early 1970s in the South Bronx of New York City is most often attributed to DJ Kool Herc and his desire to entertain at a party. In the 1980s, hip hop continued to gain popularity and speak about social issues faced by young African Americans. This started to change in the 1990s with the mainstream success of gangsta rap, where drugs, violence, and misogyny became more prominent, although artists who focused on social issues continued to create. The 2000s saw rap and hip hop cross genre boundaries, and innovative and alternative hip hop grew in popularity.

Taking the German Muse out of Music: The Chronicle and US Musical Opinion in World War I

2020 ◽  
Vol 14 (2) ◽  
pp. 141-175
Author(s):  
E. DOUGLAS BOMBERGER
Keyword(s):  
New York ◽  
World War I ◽  
Symphony Orchestra ◽  
The United States ◽  
Arts Organizations ◽  
World War ◽  
The Public ◽  
News Stories ◽  
Boston Symphony Orchestra ◽  
First Time

AbstractThe case of conductor Karl Muck and the Boston Symphony Orchestra during World War I is notorious for its combination of nationalist patriotism and opposition to international influence on US concert organizations. Although it seemed on the surface to be a spontaneous uprising against a foreign musician who refused to play “The Star-Spangled Banner,” the public outcry against Muck was part of a larger campaign orchestrated by a shadowy propaganda magazine named The Chronicle, published in New York from March 1917 to November 1918. This journal was marketed to the United States’ wealthy elite and was available to subscribers by invitation only. By strategic publication of fake news stories and xenophobic opinion pieces, editor Richard Fletcher spread fear and suspicion through the most rarefied strata of US society. The journal was instrumental in blacklisting suspicious arts organizations and fomenting prejudice against enemy aliens. This article examines for the first time the role of this magazine in the banning of German-language operas at the Met, the internment of Muck, and the near-elimination of German repertoire from US orchestral programs.

Moral Masquerades

2019 ◽  
pp. 63-98
Author(s):  
William Cheng
Keyword(s):  
United States ◽  
Symphony Orchestra ◽  
The United States ◽  
Hiring Practices ◽  
Reality Show ◽  
Boston Symphony Orchestra ◽  
Hidden Cost ◽  
The Voice ◽  
Musical Excellence

Chapter 3 drops in on a variety of “blind” auditions, commonly upheld as a gold standard in appraisals of musical excellence. Using screens and anonymizing apparatus, judges evaluate auditionees on sound alone, thereby doing right by the music they love. But a hidden cost of such auditions, whether for the Boston Symphony Orchestra or the reality show The Voice, is the wholesale severing of musicianship from human identity at large. With auditionees out of sight, the conceits of impartiality and meritocracy enable all parties to avoid talking about issues of discrimination altogether—that is, why anonymity is desirable or necessary to begin with. A short case study ventures outside the United States to consider the illustrious, nearly all-white and all-male Vienna Philharmonic Orchestra. Tellingly, however, criticisms of this orchestra have come overwhelmingly from the United States, with music lovers exporting American brands of feminism and social justice to protest the ensemble’s discriminatory hiring practices.

Introduction

2016 ◽  
Author(s):  
Sara E. Gorman ◽  
Jack M. Gorman
Keyword(s):  
United States ◽  
New York ◽  
Public Transportation ◽  
Ebola Virus ◽  
The United States ◽  
African Countries ◽  
First Case ◽  
Control And Prevention ◽  
Media Reports ◽  
The Moment

On October 8, 2014, Thomas Eric Duncan died in a Dallas hospital from Ebola virus infection. From the moment he was diagnosed with Ebola newspapers all over the country blared the news that the first case of Ebola in the United States had oc¬curred. Blame for his death was immediately assigned to the hospital that cared for him and to the U.S. Centers for Disease Control and Prevention (CDC). By the end of the month a total of four cases had developed in the United States: two in people— including Duncan— who acquired it in African countries where the disease was epidemic and two in nurses who cared for Duncan. Headlines about Ebola continued to dominate the pages of American newspapers throughout the month, warning of the risk we now faced of this deadly disease. These media reports were frightening and caused some people to wonder if it was safe to send their children to school or ride on public transportation— even if they lived miles from any of the four cases. “There are reports of kids being pulled out of schools and even some school closings,” reported Dean Baker in the Huffington Post. “People in many areas are not going to work and others are driving cars rather than taking mass transit because they fear catching Ebola from fellow passengers. There are also reports of people staying away from stores, restaurants, and other public places.” An elementary school in Maine suspended a teacher because she stayed in a hotel in Dallas that is 9.5 miles away from the hospital where two nurses contracted the virus. As Charles Blow put it in his New York Times column, “We aren’t battling a virus in this country as much as a mania, one whipped up by reactionary politicians and irresponsible media.” It turns out that Thomas Duncan was not the only person who died in the United States on October 8, 2014. If we extrapolate from national annual figures, we can say that on that day almost 7,000 people died in the United States.

Fifty Shades of Blackness: Recovering an Aesthetics of the Afrifuge

2020 ◽  
Vol 7 (2) ◽  
pp. 107-120
Author(s):  
Dilip Menon
Keyword(s):  
United States ◽  
New York ◽  
South African ◽  
Comic Books ◽  
Black Body ◽  
The United States ◽  
Historical Circumstance ◽  
South African Universities ◽  
The Moment ◽  
Black Panther

Black lives and histories are to the fore at the moment: from #BlackLivesMatter in the United States to the movement to decolonize syllabi and pedagogy in South African universities. The film Black Panther is watched within a visual and political terrain in which the black body is presented no longer only within histories of previous abjection—slavery and apartheid—but in visions of future reconstitution. This article will put together the changing representation of T’Challa from 1966 to the present in Marvel Comics and the film and argue that blackness has meant different things at different times to the creators as much as within the historical circumstance within which the black superhero has been seen and understood. Central to this has been the dilemma of bringing together the histories of “Africa” and the tenements of the United States—Wakanda and Oakland, California, in the film, and Harlem, New York, in the comic books.

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