My Last Will and Testament on Rapid Elimination and Ultimate Global Eradication of Poliomyelitis and Measles

PEDIATRICS ◽  
1992 ◽  
Vol 90 (1) ◽  
pp. 162-169
Author(s):  
Albert B. Sabin

It is a special pleasure for me to participate in today's symposium, in honor of my cousin Saul Krugman's 80th birthday and to celebrate his important contributions to our knowledge of infectious diseases. It so happens that I have also spent my life in the pursuit of knowledge of infectious diseases, and yet, despite our close family relationship—he is the son of my mother's brother—our paths rarely crossed until he was 35 years old. It was then that Saul, without any special training in bacteriology, virology, immunology, or pathology, decided to spend his life in academic pediatrics and infectious diseases. Was there any link between Saul's career in infectious diseases and my own, which began 64 years ago? In October 1946, after 5 years as a flight surgeon and a 6 months' residency at the Willard Parker Hospital, then the center for all the horrible communicable diseases of children in New York City, Saul applied for a residency in pediatrics. But there were no vacancies for this 35-year-old World War II veteran. It was then that Saul came to Cincinnati to seek my advice. In 1940, after a pediatric residency at Hopkins, Dr Robert Ward came to my laboratory to work on polio and other viruses. In 1943, when I left Cincinnati to join the Army, Robbie Ward was not accepted by the Army because of an old tuberculous lesion acquired on the wards of the Hopkins Harriet Lane Hospital, and he joined John R. Paul at Yale to work on polio and hepatitis.

1968 ◽  
Author(s):  
Leonard D. Heaton ◽  
Robert S. Anderson ◽  
W. P. Havens ◽  
Jr

Author(s):  
Andrea Harris

This chapter takes a biographical approach to Lincoln Kirstein’s creation of a modernist theory of ballet to situate its development in the 1930s cultural wing of the Popular Front and explore its evolution through and after World War II. Fueled by the cultural front’s belief in the role of the arts in social revolution, Kirstein seized the opportunity to decouple ballet from existing biases about its elitism and triviality, and formulate new ideas about its social relevance in the Depression period. After exploring the development of Kirstein’s social modernism in the cultural front, chapter 2 then turns to the challenges posed to the 1930s belief that art could be productively combined with politics through two major turning points in Kirstein’s life. These are his experiences in World War II, and the erosion of his own artistic role in the ballet company after the formation of the New York City Ballet and the ascendance of George Balanchine’s dance-for-dance-sake aesthetic in the late 1940s. The chapter illustrates Kirstein’s attempts to negotiate the social modernist aesthetic he crafted under the wing of the cultural front within the volatile political, economic, and artistic circumstances of World War II, anticommunism, and the Cold War.


2015 ◽  
Vol 44 (4) ◽  
pp. 643-668 ◽  
Author(s):  
Themis Chronopoulos

In the post–World War II period, the police department emerged as one of the most problematic municipal agencies in New York City. Patrolmen and their superiors did not pay much attention to crime; instead they looked the other way, received payoffs from organized crime, performed haphazardly, and tolerated conditions that were unacceptable in a modern city with global ambitions. At the same time, patrolmen demanded deference and respect from African American civilians and routinely demeaned and brutalized individuals who appeared to be challenging their authority. The antagonism between African Americans and the New York Police Department (NYPD) intensified as local and national black freedom organizations paid more attention to police behavior and made police reform one of their main goals.


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