Deconstructing Mare Island

2012 ◽  
Vol 2 (2) ◽  
pp. 55-69
Author(s):  
Richard White
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
Twentieth Century ◽  
New York Times ◽  
The New York Times ◽  
Industrial Economy ◽  
Photographic Essay ◽  
The Military

This is a photographic essay centered on the Carquinez Straits, particularly Mare Island. Once the Carquinez Strait was a center of the California economy. In the nineteenth century it was the center of the wheat trade. In the twentieth century, it was the center of the military industrial economy. Now Vallejo is Broke Town, USA, as the New York Times put it, and Mare Island has become a place were much of the old California is turned to scrap and shipped elsewhere. It is an industrial Pompeii, but it is also an instructive and hardly hopeless place. It is in many ways diagnostic of modern California, but the diagnosis is hardly hopeless.

All the Movements Fit to Print: Who, What, When, Where, and Why SMO Families Appeared in the New York Times in the Twentieth Century

2009 ◽  
Vol 74 (4) ◽  
pp. 636-656 ◽  
Author(s):  
Edwin Amenta ◽  
Neal Caren ◽  
Sheera Joy Olasky ◽  
James E. Stobaugh
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Civil Rights ◽  
Media Coverage ◽  
Standard Form ◽  
New York Times ◽  
Resource Mobilization ◽  
The New York Times ◽  
Political Partisanship ◽  
Civil Rights Movements

Why did some social movement organization (SMO) families receive extensive media coverage? In this article, we elaborate and appraise four core arguments in the literature on movements and their consequences: disruption, resource mobilization, political partisanship, and whether a movement benefits from an enforced policy. Our fuzzy-set qualitative comparative analyses (fsQCA) draw on new, unique data from the New York Times across the twentieth century on more than 1,200 SMOs and 34 SMO families. At the SMO family level, coverage correlates highly with common measures of the size and disruptive activity of movements, with the labor and African American civil rights movements receiving the most coverage. Addressing why some movement families experienced daily coverage, fsQCA indicates that disruption, resource mobilization, and an enforced policy are jointly sufficient; partisanship, the standard form of “political opportunity,” is not part of the solution. Our results support the main perspectives, while also suggesting that movement scholars may need to reexamine their ideas of favorable political contexts.

Visions of Salome: The Femme Fatale in American Popular Songs before 1920

2006 ◽  
Vol 59 (3) ◽  
pp. 631-696 ◽  
Author(s):  
LARRY HAMBERLIN
Keyword(s):  
New York ◽  
Twentieth Century ◽  
New York Times ◽  
Femme Fatale ◽  
The New York Times ◽  
Metropolitan Opera ◽  
Popular Songs ◽  
Early Twentieth Century ◽  
Important Marker

Abstract This article documents representations of Salome, an archetypal exotic femme fatale, in American popular songs of the early twentieth century. The production of Salome songs began shortly after the sensational 1907 U.S. premiere of Richard Strauss's Salome at New York's Metropolitan Opera. Vaudeville performers, beginning with the Met's own prima ballerina, capitalized on the ensuing fad for Salome dances, which the New York Times called “Salomania.” Relevant songs and dances figured in musical comedies and revues until some time after the return of Strauss's opera to the New York stage, in the 1909 Manhattan Opera Company production with Mary Garden in the title role. Through the next decade, musical, lyrical, and illustrative tropes that originated in the Salome songs became disassociated from the figure of Salome, gradually merging into “oriental fox-trots” and exotic romance songs. The topical humor of the Salome songs suggests that American audiences were skeptical of the allure of orientalist fantasy, then at its height in Europe, and that an unwillingness to grant artistic legitimacy to Salome's religious-themed eroticism is an important marker of the American reception of works such as Strauss's.

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