A River Runs through It

2017 ◽  
Author(s):  
Alan K. Rode
Keyword(s):  
New York ◽  
World War I ◽  
Early Life ◽  
New Technology ◽  
Birth Certificate ◽  
World War ◽  
Jewish Heritage ◽  
Art Form

Curtiz’s birth and early life in Hungary are delineated. Despite the numerous erroneous birth dates, some deliberately promulgated by Curtiz, his Christmas evening birthday of 1886 is verified by a birth certificate. Born as Mano Kaminer, he changed his name to MihályKertész to cloak his Jewish heritage while identifying himself as a Hungarian. The artistic role of pre–World War I Budapest, with its cultural incubator of coffeehouses—particularly the Café New York—is described in terms of its effect on the young Kertész. Transitioning from a circus roustabout to an apprentice actor, he was transfixed by the new technology of film and was determined to shape it into a new art form.

Blake Meets Sissle

Eubie Blake ◽  
2020 ◽  
pp. 52-84
Author(s):  
Richard Carlin ◽  
Ken Bloom
Keyword(s):  
New York ◽  
World War I ◽  
Early Life ◽  
Good Treatment ◽  
World War ◽  
Black Musicians ◽  
Song Writing ◽  
And Training ◽  
At Home

This chapter describes Eubie’s first meeting with Noble Sissle; Sissle’s early life and training; Sissle and Blake’s initial song writing; and their efforts at pitching their song “It’s All Your Fault” to singer Sophie Tucker, who made it a local success. The chapter also discusses Eubie’s travel to New York to join Sissle as assistant to James Reese Europe; his work leading Europe’s band to entertain New York’s society at dinners and parties; and the racism he encountered while performing. Furthermore, the chapter explores the recording of “Charleston Rag”; the outbreak of World War I and Eubie’s lack of desire to serve abroad; the good treatment of black musicians in France as opposed to what they encountered at home; and the death of Europe and its impact on Sissle and Blake.

scholarly journals The role of Michael Pupin in solving of Serbian national question

2004 ◽  
Vol 84 (2) ◽  
pp. 71-82
Author(s):  
Mirko Grcic ◽  
Rajko Gnjato
Keyword(s):  
New York ◽  
World War I ◽  
Maximum Level ◽  
World War ◽  
National Interests ◽  
American Citizen ◽  
The World ◽  
The Usa ◽  
The University

Michael I. Pupin was a professor at the University of Columbia, member and the president of Academy of Science in New York; one of the esteemed members of USA National Academy of Science; member and president of many experts and scientific institutions and societies in the USA; member of State Council for Scientific Research by president of the USA during the World War I. Of the great importance for political geography and geopolitics was his activity in Paris during the Peace Conference after the World War I in 1919 also as his great contribution to establishment of state borders of Kingdom of Serbs, Croats and Slovenians (later Yugoslavia), which helped those nations to establish their national borders at maximum level. Pupin claimed that he was Yugoslav patriot and American citizen. Role of M. Pupin in battle for national interests and Yugoslav borders after the World War I is shown in this article.

International Opera in Nineteenth-century New York

2020 ◽  
pp. 244-269
Author(s):  
Karen Ahlquist
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
New York City ◽  
World War I ◽  
Buenos Aires ◽  
Considerable Extent ◽  
World War ◽  
Metropolitan Opera ◽  
The City

This chapter charts how canonic repertories evolved in very different forms in New York City during the nineteenth century. The unstable succession of entrepreneurial touring troupes that visited the city adapted both repertory and individual pieces to the audience’s taste, from which there emerged a major theater, the Metropolitan Opera, offering a mix of German, Italian, and French works. The stable repertory in place there by 1910 resembles to a considerable extent that performed in the same theater today. Indeed, all of the twenty-five operas most often performed between 1883 and 2015 at the Metropolitan Opera were written before World War I. The repertory may seem haphazard in its diversity, but that very condition proved to be its strength in the long term. This chapter is paired with Benjamin Walton’s “Canons of real and imagined opera: Buenos Aires and Montevideo, 1810–1860.”

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