Conclusion

2017 ◽  
Author(s):  
Peter Gough ◽  
Peggy Seeger
Keyword(s):  
New Deal ◽  
American West ◽  
Historical Context ◽  
White Men ◽  
Cross Cultural ◽  
Music Program ◽  
Women Poor ◽  
General Welfare ◽  
Federal Music Project ◽  
The New Deal

This chapter argues that while the Federal Music Project (FMP) and WPA Music Program in the American West reflected many of the societal prejudices of the day, it was the New Deal emphasis on inclusion that distinguishes the musical productions within a historical context. Indeed, participation bridged many previous barriers and included black as well as white; men as well as women; poor and not; conservative, liberal, and radical; symphonic orchestras and orquestas tipicas; African American spirituals; folksong; satirical political revues; and the range of musical expression. These cross-cultural presentations most often found origin as grassroots ventures and were encouraged by a presidential administration that enthusiastically embraced its constitutionally mandated responsibility to “promote the general welfare” within a society where each citizen is assured of his or her own pursuit of happiness.

Disaster Relief, “Do Anything” Spending Powers, and the New Deal

2005 ◽  
Vol 23 (2) ◽  
pp. 443-450
Author(s):  
Howard Gillman
Keyword(s):  
United States ◽  
New Deal ◽  
The United States ◽  
Federal Funds ◽  
General Welfare ◽  
Local Manufacturing ◽  
General Power ◽  
The Common ◽  
The New Deal ◽  
The U.S

Less than two years after Justice Harlan Fiske Stone reportedly advised Franklin Roosevelt's secretary of labor that “You can do anything under the taxing power,” the U.S. Supreme Court ruled in U.S. v. Butler that Congress had no authority to create a system whereby farmers would receive subsidies for limiting production, with the funds coming from a tax on basic commodities. While Stone, along with Brandeis and Cardozo, voted to uphold this feature of the Agricultural Adjustment Act, a majority led by Justice Owen J. Roberts declared that this particular scheme of taxing and spending interfered with the reserve powers of the states to control local manufacturing and agriculture. Roberts cited the great nationalist Joseph Story for the proposition that “the Constitution was, from its very origin, contemplated to be a frame of a national government, of special and enumerated powers, and not of general and unlimited powers.… A power to lay taxes for the common defence and general welfare of the United States is not in common sense a general power. It is limited to those objects. It cannot constitutionally transcend them.” The AAA was “a scheme for purchasing with federal funds submission to federal regulation of a subject reserved to the states. … If the Act before us is a proper exercise of the federal taxing power, evidently the regulation of all industry throughout the United States may be accomplished by similar exercise of the same power.”

scholarly journals Développement des Pouvoirs de l’État Fédéral Américain dans un Contexte de Crise Économique: une Étude de Case Portant sur le New Deal et le Système des Poids et Contrepoids.

Federalism-E ◽  
1969 ◽  
Vol 6 (1) ◽  
Author(s):  
David Houle
Keyword(s):  
Great Depression ◽  
New Deal ◽  
Political System ◽  
Historical Context ◽  
Checks And Balances ◽  
American System ◽  
The Great Depression ◽  
Social Turmoil ◽  
The New Deal

This article analyses the principles of the American system of ‘checks and balances’ during the period of economic and social turmoil under the presidency of Franklin D Roosevelt – creator of the New Deal policy. The author describes the fundamental principles of the American system of ‘checks and balances,’ while commenting on historical context and the American political system in general. Finally, the author concludes with the suggestion that the federal executive capitalized on the Great Depression by increasing its power over the United State’s administration.

Back to Work

2020 ◽  
pp. 200-242
Author(s):  
Jarod Roll
Keyword(s):  
New Deal ◽  
Mining Industry ◽  
White Men ◽  
The Great Depression ◽  
Congress Of Industrial Organizations ◽  
Industrial Organizations ◽  
Company Union ◽  
A Company ◽  
The New Deal ◽  
Back To Work

As the Great Depression crushed the mining industry, Tri-State miners looked for ways to restore their standing as hard-working-white men and their faith in capitalism. The New Deal offered hope but brought labor unions back into the district. Some miners, but not a majority, looked to organized labor as the best way to roll back the power of the companies. This chapter explores their 1935 strike to regain what they had lost and the ways the New Deal labor regime was too weak to protect them. While strikers waited for allies in the nascent Congress of Industrial Organizations, the mining companies organized the majority of the district’s nonunion miners into a back-to-work movement that became a company union. This group rallied around old promises of racial superiority and high pay for loyal, hard-working white men who were willing to destroy the CIO union. The CIO, with the help of New Deal officials, eventually won this dispute in court, but it could not overrule the reactionary commitments in the hearts of the majority of Tri-State miners as a new world war brought the mining economy to life again.

Sounds of the New Deal

2015 ◽  
Author(s):  
Peter Gough
Keyword(s):  
New Deal ◽  
Folk Music ◽  
Popular Front ◽  
The West ◽  
The Public ◽  
Federal Music Project ◽  
Good Music ◽  
Musical Heritage ◽  
The New Deal ◽  
Front Movement

At its peak, the Federal Music Project (FMP) employed nearly 16,000 people who reached millions of Americans through performances, composing, teaching, and folksong collection and transcription. This book explores how the FMP's activities in the West shaped a new national appreciation for the diversity of American musical expression. From the onset, administrators and artists debated whether to represent highbrow, popular, or folk music in FMP activities. Though the administration privileged using “good” music to educate the public, in the West local preferences regularly trumped national priorities and allowed diverse vernacular musics to be heard. African American and Hispanic music found unprecedented popularity while the cultural mosaic illuminated by American folksong exemplified the spirit of the Popular Front movement. These new musical expressions combined the radical sensibilities of an invigorated Left with nationalistic impulses. At the same time, they blended traditional patriotic themes with an awareness of the country's varied ethnic musical heritage and vast—but endangered—store of grassroots music.

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