Charlotte Greenspan
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780195111101
- eISBN:
- 9780199865703
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195111101.003.0002
- Subject:
- Music, History, American
This chapter focuses on the family life of Dorothy Fields. Dorothy Fields was born on July 15, 1904, in Allenhurst, New Jersey, in a residence the Fields family was renting for the summer. When ...
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This chapter focuses on the family life of Dorothy Fields. Dorothy Fields was born on July 15, 1904, in Allenhurst, New Jersey, in a residence the Fields family was renting for the summer. When Dorothy was born, Lew and Rose Fields already had three children, a girl and two boys. Dorothy's family environment differed from that of her siblings, even beyond the fact that she was the baby and that her father was no longer an itinerant entertainer. Some things remained much the same. The family pattern of Rose making the household decisions continued. Although he was no longer touring, Lew was seldom at home because he spent long hours at the theater. No longer partnered with Joe Weber, Lew Fields was very active as a producer and actor. Moreover, one could say that Rose represented Lew's aspirations of what the family would become—something more solidly middle class and secure.Less
This chapter focuses on the family life of Dorothy Fields. Dorothy Fields was born on July 15, 1904, in Allenhurst, New Jersey, in a residence the Fields family was renting for the summer. When Dorothy was born, Lew and Rose Fields already had three children, a girl and two boys. Dorothy's family environment differed from that of her siblings, even beyond the fact that she was the baby and that her father was no longer an itinerant entertainer. Some things remained much the same. The family pattern of Rose making the household decisions continued. Although he was no longer touring, Lew was seldom at home because he spent long hours at the theater. No longer partnered with Joe Weber, Lew Fields was very active as a producer and actor. Moreover, one could say that Rose represented Lew's aspirations of what the family would become—something more solidly middle class and secure.
Andrew L. Erdman
- Published in print:
- 2012
- Published Online:
- August 2016
- ISBN:
- 9780801449703
- eISBN:
- 9780801465727
- Item type:
- book
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9780801449703.001.0001
- Subject:
- History, American History: 20th Century
In her day, Eva Tanguay (1879–1947) was one of the most famous women in America. She established herself as a vaudeville and musical comedy star in 1901 and at the height of a long career, that ...
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In her day, Eva Tanguay (1879–1947) was one of the most famous women in America. She established herself as a vaudeville and musical comedy star in 1901 and at the height of a long career, that stretched until the early 1930s, she was a trend-setting performer who embodied the emerging ideal of the bold and sexual female entertainer. She was a precursor to subsequent generations of performers, who have been both idolized and condemned for simultaneously displaying and playing with blatant displays of female sexuality. This book tells Eva Tanguay's remarkable life story. Born into the family of a country doctor in rural Quebec and raised in a New England mill town, Tanguay found a home on the vaudeville stage. The book follows the course of her life as she amasses fame and wealth, marries (and divorces) twice, engages in affairs closely followed in the press, declares herself a Christian Scientist, becomes one of the first celebrities to get plastic surgery, loses her fortune following the Wall Street Crash of 1929, and receives her last notice, an obituary in Variety. The arc of Tanguay's career follows the history of American popular culture in the first half of the twentieth century. Tanguay's appeal, so dependent on her physical presence and personal charisma, did not come across in the new media of radio and motion pictures. The book is a dynamic portrait of a dazzling and unjustly forgotten show business star.Less
In her day, Eva Tanguay (1879–1947) was one of the most famous women in America. She established herself as a vaudeville and musical comedy star in 1901 and at the height of a long career, that stretched until the early 1930s, she was a trend-setting performer who embodied the emerging ideal of the bold and sexual female entertainer. She was a precursor to subsequent generations of performers, who have been both idolized and condemned for simultaneously displaying and playing with blatant displays of female sexuality. This book tells Eva Tanguay's remarkable life story. Born into the family of a country doctor in rural Quebec and raised in a New England mill town, Tanguay found a home on the vaudeville stage. The book follows the course of her life as she amasses fame and wealth, marries (and divorces) twice, engages in affairs closely followed in the press, declares herself a Christian Scientist, becomes one of the first celebrities to get plastic surgery, loses her fortune following the Wall Street Crash of 1929, and receives her last notice, an obituary in Variety. The arc of Tanguay's career follows the history of American popular culture in the first half of the twentieth century. Tanguay's appeal, so dependent on her physical presence and personal charisma, did not come across in the new media of radio and motion pictures. The book is a dynamic portrait of a dazzling and unjustly forgotten show business star.
Julian Jackson
- Published in print:
- 2001
- Published Online:
- October 2011
- ISBN:
- 9780198207061
- eISBN:
- 9780191677465
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198207061.003.0014
- Subject:
- History, European Modern History
This chapter focuses on the responses of artists and intellectuals to the Vichy regime. The prestige attaching to intellectuals in France invested ...
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This chapter focuses on the responses of artists and intellectuals to the Vichy regime. The prestige attaching to intellectuals in France invested their actions with huge significance. The trials of intellectuals at the Liberation attracted as much publicity as those of Pétain and Laval: they were punished more for who they were than what they had done. The surest way to avoid compromising oneself was to go abroad. A considerable number of French artists and intellectuals chose exile. These include the film directors Jean Renoir, René Clair, Julien Duvivier, and Max Ophuls; the actors and actresses Michèle Morgan, Jean Gabin, Louis Jouvet, Françoise Rosay, and Jean-Pierre Aumont; the artists Marc Chagall, Tanguy, Man Ray, Amédée Ozenfant, Jacques Lipchitz, and Fernand Léger; the writers André Breton, Saint–John Perse, Georges Bernanos, Julien Green, Jules Romains, André Maurois, Antoine de Saint–Exupéry, and Jacques Maritain. For those who stayed in France, their post-war reputations have often been based more on rumour and innuendo than a balanced assessment of their conduct during the Occupation.Less
This chapter focuses on the responses of artists and intellectuals to the Vichy regime. The prestige attaching to intellectuals in France invested their actions with huge significance. The trials of intellectuals at the Liberation attracted as much publicity as those of Pétain and Laval: they were punished more for who they were than what they had done. The surest way to avoid compromising oneself was to go abroad. A considerable number of French artists and intellectuals chose exile. These include the film directors Jean Renoir, René Clair, Julien Duvivier, and Max Ophuls; the actors and actresses Michèle Morgan, Jean Gabin, Louis Jouvet, Françoise Rosay, and Jean-Pierre Aumont; the artists Marc Chagall, Tanguy, Man Ray, Amédée Ozenfant, Jacques Lipchitz, and Fernand Léger; the writers André Breton, Saint–John Perse, Georges Bernanos, Julien Green, Jules Romains, André Maurois, Antoine de Saint–Exupéry, and Jacques Maritain. For those who stayed in France, their post-war reputations have often been based more on rumour and innuendo than a balanced assessment of their conduct during the Occupation.
Wenqing Kang
- Published in print:
- 2009
- Published Online:
- September 2011
- ISBN:
- 9789622099807
- eISBN:
- 9789882207233
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789622099807.003.0006
- Subject:
- Society and Culture, Asian Studies
The announcement released by the Central Police Office of the Beijing Outer City on April 20, 1912, signified a shift in the meaning of male same-sex relations between Peking Opera actors and ...
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The announcement released by the Central Police Office of the Beijing Outer City on April 20, 1912, signified a shift in the meaning of male same-sex relations between Peking Opera actors and literati. Prior to the shift, men who patronized these male actors were initially regarded to be of high-class and have refined taste. After the shift, however, the practice was perceived to be unacceptable for the new republic. This literati-actor sexual relations practice had to be stopped because it represented a threat to contaminate the nation's body politic, as well as provide a reason for foreigners to express contempt. Eradicating the practice is believed to have contributed in building China's subsequent strong image. This chapter illustrates the rise and fall of the popularity of xianggong as forms of entertainment.Less
The announcement released by the Central Police Office of the Beijing Outer City on April 20, 1912, signified a shift in the meaning of male same-sex relations between Peking Opera actors and literati. Prior to the shift, men who patronized these male actors were initially regarded to be of high-class and have refined taste. After the shift, however, the practice was perceived to be unacceptable for the new republic. This literati-actor sexual relations practice had to be stopped because it represented a threat to contaminate the nation's body politic, as well as provide a reason for foreigners to express contempt. Eradicating the practice is believed to have contributed in building China's subsequent strong image. This chapter illustrates the rise and fall of the popularity of xianggong as forms of entertainment.
Beverly Bossler
- Published in print:
- 2008
- Published Online:
- March 2012
- ISBN:
- 9780520254435
- eISBN:
- 9780520941519
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520254435.003.0013
- Subject:
- History, World Medieval History
The extraordinary story of Emperor Zhenzong and Empress Liu reveals much about the interaction of gender, pleasure, and power at the Chinese court. Although Empress Liu was unusually successful in ...
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The extraordinary story of Emperor Zhenzong and Empress Liu reveals much about the interaction of gender, pleasure, and power at the Chinese court. Although Empress Liu was unusually successful in parlaying her entertainment skills into political power, she was far from unique. Yet entertainers—especially female entertainers—were highly anomalous figures at the court during the Song dynasty of China: they fell outside (or in between) regular categories of court women; they moved freely between the court and the outside world; they were among the most despised of social groups, but they circulated among the highest reaches of Song society. They were deployed as symbols of power and prestige, and invoked as signs of decadence and decline. The power of entertainers to attract imperial attention, together with the helplessness of the outer court in the face of such attraction, is nowhere more evident than in the biographies of two women who entered the court as entertainers and rose to become empresses of the realm: Empress Liu and Empress Yang.Less
The extraordinary story of Emperor Zhenzong and Empress Liu reveals much about the interaction of gender, pleasure, and power at the Chinese court. Although Empress Liu was unusually successful in parlaying her entertainment skills into political power, she was far from unique. Yet entertainers—especially female entertainers—were highly anomalous figures at the court during the Song dynasty of China: they fell outside (or in between) regular categories of court women; they moved freely between the court and the outside world; they were among the most despised of social groups, but they circulated among the highest reaches of Song society. They were deployed as symbols of power and prestige, and invoked as signs of decadence and decline. The power of entertainers to attract imperial attention, together with the helplessness of the outer court in the face of such attraction, is nowhere more evident than in the biographies of two women who entered the court as entertainers and rose to become empresses of the realm: Empress Liu and Empress Yang.
Richard Haynes
- Published in print:
- 2005
- Published Online:
- September 2012
- ISBN:
- 9780748618804
- eISBN:
- 9780748670994
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748618804.003.0007
- Subject:
- Society and Culture, Media Studies
Image rights refer to the commercial use of someone's image, voice, likeness, name or signature. They have become a common trait of the contemporary media economy and are strongly protected and ...
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Image rights refer to the commercial use of someone's image, voice, likeness, name or signature. They have become a common trait of the contemporary media economy and are strongly protected and policed by leading celebrities and their agents. The concept of image rights opens up wider philosophical questions around intellectual property that have a direct impact on the political economy of the media. Despite the concept of image rights gaining purchase within the entertainment industries, there is no legislation that recognises a statutory right of an individual to control the commercial use of their image. This chapter examines the inroads into media rights that have been made by, or on behalf of, leading entertainers and sports stars. It first discusses the philosophy of image rights and trademark law providing monopoly rights to personalities. It then considers the common-law tort of ‘passing off’ and sports-star endorsement, and legal means to protect the commercial worth and privacy of celebrities.Less
Image rights refer to the commercial use of someone's image, voice, likeness, name or signature. They have become a common trait of the contemporary media economy and are strongly protected and policed by leading celebrities and their agents. The concept of image rights opens up wider philosophical questions around intellectual property that have a direct impact on the political economy of the media. Despite the concept of image rights gaining purchase within the entertainment industries, there is no legislation that recognises a statutory right of an individual to control the commercial use of their image. This chapter examines the inroads into media rights that have been made by, or on behalf of, leading entertainers and sports stars. It first discusses the philosophy of image rights and trademark law providing monopoly rights to personalities. It then considers the common-law tort of ‘passing off’ and sports-star endorsement, and legal means to protect the commercial worth and privacy of celebrities.
Todd Decker
- Published in print:
- 2011
- Published Online:
- May 2012
- ISBN:
- 9780520268883
- eISBN:
- 9780520950061
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520268883.003.0002
- Subject:
- Music, History, American
Fred Astaire's path as dancer, singer, movie star, and icon is incomparable. Still, comparisons need to be made, if only to understand exactly how Astaire managed to carve out and sustain a uniquely ...
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Fred Astaire's path as dancer, singer, movie star, and icon is incomparable. Still, comparisons need to be made, if only to understand exactly how Astaire managed to carve out and sustain a uniquely empowered position as a dancer and dancemaker on film, television, and records, the signature creative media of the twentieth century. This chapter considers Astaire's peers in four categories: dancing leading men, singing leading men, tap dancers, and musicians. The first three situate Astaire in the Hollywood film industry; the fourth inserts him into the realm of popular music, specifically among jazz musicians of the swing era. That Astaire finds a meaningful place in each of these categories testifies to the breadth of his talents. And yet, in the entertainment industry as he knew it, the musical content of these four areas might easily overlap. Astaire's uniqueness lies in his historic ability to be, at once, dancer, singer, tapper, and musician. This context-setting chapter explores large patterns, using synoptic views of the careers of select entertainers as the unit of comparison.Less
Fred Astaire's path as dancer, singer, movie star, and icon is incomparable. Still, comparisons need to be made, if only to understand exactly how Astaire managed to carve out and sustain a uniquely empowered position as a dancer and dancemaker on film, television, and records, the signature creative media of the twentieth century. This chapter considers Astaire's peers in four categories: dancing leading men, singing leading men, tap dancers, and musicians. The first three situate Astaire in the Hollywood film industry; the fourth inserts him into the realm of popular music, specifically among jazz musicians of the swing era. That Astaire finds a meaningful place in each of these categories testifies to the breadth of his talents. And yet, in the entertainment industry as he knew it, the musical content of these four areas might easily overlap. Astaire's uniqueness lies in his historic ability to be, at once, dancer, singer, tapper, and musician. This context-setting chapter explores large patterns, using synoptic views of the careers of select entertainers as the unit of comparison.
Garth Fowden
- Published in print:
- 2004
- Published Online:
- March 2012
- ISBN:
- 9780520236653
- eISBN:
- 9780520929609
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520236653.003.0002
- Subject:
- Classical Studies, Archaeology: Classical
Quṣayr 'Amra makes relatively little use of gypsum. The use that was made of all the buildings depended, primarily, on their water supply. Since Quṣayr 'Amra lacks the large reservoirs that are so ...
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Quṣayr 'Amra makes relatively little use of gypsum. The use that was made of all the buildings depended, primarily, on their water supply. Since Quṣayr 'Amra lacks the large reservoirs that are so characteristic of other sites in the steppe and desert, it is unclear to what extent its irregular water supply could be stored and spread out over dry periods. In this chapter, it is noted that Quṣayr 'Amra's heyday was brief. Even during that short period, the bath house may have been used only seasonally. Among the bath's more bodily pleasures, athletic exercise had long been assigned an honored place by Greeks and Romans. Among the features of Quṣayr 'Amra that have always caught the attention of art historians is the abundance of naked, mainly female flesh displayed. The poetic and musical culture its depictions of entertainers and decorative women allude to was thoroughly Arab, even if it had analogues elsewhere.Less
Quṣayr 'Amra makes relatively little use of gypsum. The use that was made of all the buildings depended, primarily, on their water supply. Since Quṣayr 'Amra lacks the large reservoirs that are so characteristic of other sites in the steppe and desert, it is unclear to what extent its irregular water supply could be stored and spread out over dry periods. In this chapter, it is noted that Quṣayr 'Amra's heyday was brief. Even during that short period, the bath house may have been used only seasonally. Among the bath's more bodily pleasures, athletic exercise had long been assigned an honored place by Greeks and Romans. Among the features of Quṣayr 'Amra that have always caught the attention of art historians is the abundance of naked, mainly female flesh displayed. The poetic and musical culture its depictions of entertainers and decorative women allude to was thoroughly Arab, even if it had analogues elsewhere.
Alexia Bloch
- Published in print:
- 2017
- Published Online:
- September 2018
- ISBN:
- 9781501713149
- eISBN:
- 9781501709418
- Item type:
- chapter
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9781501713149.003.0006
- Subject:
- Anthropology, Asian Cultural Anthropology
Drawing on interviews and participant observation with 15 entertainers in Istanbul, this chapter shows how younger women migrants disavow discourses that would frame them as “victims” of ...
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Drawing on interviews and participant observation with 15 entertainers in Istanbul, this chapter shows how younger women migrants disavow discourses that would frame them as “victims” of trafficking. Entertainers often see new forms of mobility as creating a possibility of feeling cosmopolitan and modern, and unlike many other post-Soviet women migrants, they are comfortable with the possibilities sexuality affords. The chapter portrays how entertainers flaunt sexuality “without hang-ups”, along with ideals about intimacy, love, and romance, in their effort to provide the authentic “girlfriend experience” that Turkish men they encounter appear to seek. The chapter also reflects on the forms of agency post-Soviet exotic dancers have as they navigate within the constraints of a sexualized sphere of labor in Turkey.Less
Drawing on interviews and participant observation with 15 entertainers in Istanbul, this chapter shows how younger women migrants disavow discourses that would frame them as “victims” of trafficking. Entertainers often see new forms of mobility as creating a possibility of feeling cosmopolitan and modern, and unlike many other post-Soviet women migrants, they are comfortable with the possibilities sexuality affords. The chapter portrays how entertainers flaunt sexuality “without hang-ups”, along with ideals about intimacy, love, and romance, in their effort to provide the authentic “girlfriend experience” that Turkish men they encounter appear to seek. The chapter also reflects on the forms of agency post-Soviet exotic dancers have as they navigate within the constraints of a sexualized sphere of labor in Turkey.
Henry Spiller
- Published in print:
- 2010
- Published Online:
- March 2013
- ISBN:
- 9780226769585
- eISBN:
- 9780226769608
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226769608.001.0001
- Subject:
- Music, Ethnomusicology, World Music
In West Java, Indonesia, all it takes is a woman's voice and a drum beat to make a man get up and dance. Every day, men there—be they students, pedicab drivers, civil servants, or businessmen—breach ...
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In West Java, Indonesia, all it takes is a woman's voice and a drum beat to make a man get up and dance. Every day, men there—be they students, pedicab drivers, civil servants, or businessmen—breach ordinary standards of decorum and succumb to the rhythm at village ceremonies, weddings, political rallies, and nightclubs. The music the men dance to varies from traditional gong ensembles to the contemporary pop known as dangdut, but they consistently dance with great enthusiasm. This book draws on decades of ethnographic research to explore the reasons behind this phenomenon, arguing that Sundanese men use dance to explore and enact contradictions in their gender identities. Framing the three crucial elements of Sundanese dance—the female entertainer, the drumming, and men's sense of freedom—as a triangle, the book connects them to a range of other theoretical perspectives, drawing on thinkers from Eve Kosofsky Sedgwick, Lév–Strauss, and Freud to Euclid. By granting men permission to literally perform their masculinity, the book ultimately concludes, dance provides a crucial space for both reinforcing and resisting orthodox gender ideologies.Less
In West Java, Indonesia, all it takes is a woman's voice and a drum beat to make a man get up and dance. Every day, men there—be they students, pedicab drivers, civil servants, or businessmen—breach ordinary standards of decorum and succumb to the rhythm at village ceremonies, weddings, political rallies, and nightclubs. The music the men dance to varies from traditional gong ensembles to the contemporary pop known as dangdut, but they consistently dance with great enthusiasm. This book draws on decades of ethnographic research to explore the reasons behind this phenomenon, arguing that Sundanese men use dance to explore and enact contradictions in their gender identities. Framing the three crucial elements of Sundanese dance—the female entertainer, the drumming, and men's sense of freedom—as a triangle, the book connects them to a range of other theoretical perspectives, drawing on thinkers from Eve Kosofsky Sedgwick, Lév–Strauss, and Freud to Euclid. By granting men permission to literally perform their masculinity, the book ultimately concludes, dance provides a crucial space for both reinforcing and resisting orthodox gender ideologies.
Sandra Jean Graham
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9780252041631
- eISBN:
- 9780252050305
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252041631.003.0008
- Subject:
- Music, History, American
By the late 1870s the jubilee marketplace was in full swing, and the term jubilee singer had become so diluted as to be essentially meaningless. All manner of jubilee singers represented themselves ...
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By the late 1870s the jubilee marketplace was in full swing, and the term jubilee singer had become so diluted as to be essentially meaningless. All manner of jubilee singers represented themselves as tradition bearers, giving rise to frequent skirmishes over legitimacy that were played out in marketing. As traditional spirituals, contrafacta, parodies, answer songs, and parodies of parodies cycled back on each other, the boundaries between them and their performers blurred. Some troupes, like the Wilmington Jubilee Singers, began as concert artists but ended up as minstrel or variety entertainers. Others, like the Nashville Students, successfully incorporated variety entertainment in their programs while maintaining their reputation as concert artists. The career of Sam Lucas demonstrates the nexus between folk and popular song traditions as the boundaries between the altruistic and the purely commercial, between the folk and the popular, and between “high” and “low” began to dissolve.Less
By the late 1870s the jubilee marketplace was in full swing, and the term jubilee singer had become so diluted as to be essentially meaningless. All manner of jubilee singers represented themselves as tradition bearers, giving rise to frequent skirmishes over legitimacy that were played out in marketing. As traditional spirituals, contrafacta, parodies, answer songs, and parodies of parodies cycled back on each other, the boundaries between them and their performers blurred. Some troupes, like the Wilmington Jubilee Singers, began as concert artists but ended up as minstrel or variety entertainers. Others, like the Nashville Students, successfully incorporated variety entertainment in their programs while maintaining their reputation as concert artists. The career of Sam Lucas demonstrates the nexus between folk and popular song traditions as the boundaries between the altruistic and the purely commercial, between the folk and the popular, and between “high” and “low” began to dissolve.
Sandra Jean Graham
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9780252041631
- eISBN:
- 9780252050305
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252041631.003.0009
- Subject:
- Music, History, American
The earliest literary recognitions of black music set up an artificial dichotomy between “white” and “black” traditions, suggesting for each of these two categories an essence and a stability that ...
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The earliest literary recognitions of black music set up an artificial dichotomy between “white” and “black” traditions, suggesting for each of these two categories an essence and a stability that didn’t exist. Concert spirituals, commercial spirituals, and indeed the entire black entertainment industry of the nineteenth century were shaped by a common dynamic. Music, dance, comedy, performance practice, and other expressive strategies that had emerged among black Americans—and that were closely bound up with their social and religious lives—were made to conform to the preferences and expectations of white audiences. This conclusion looks at why the spiritual became the common denominator among the different genres in this new entertainment industry, as well as the shift to black managers, arrangers, impresarios, and the role of women entertainers at this time.Less
The earliest literary recognitions of black music set up an artificial dichotomy between “white” and “black” traditions, suggesting for each of these two categories an essence and a stability that didn’t exist. Concert spirituals, commercial spirituals, and indeed the entire black entertainment industry of the nineteenth century were shaped by a common dynamic. Music, dance, comedy, performance practice, and other expressive strategies that had emerged among black Americans—and that were closely bound up with their social and religious lives—were made to conform to the preferences and expectations of white audiences. This conclusion looks at why the spiritual became the common denominator among the different genres in this new entertainment industry, as well as the shift to black managers, arrangers, impresarios, and the role of women entertainers at this time.
Stephen Cottrell
- Published in print:
- 2013
- Published Online:
- October 2013
- ISBN:
- 9780300100419
- eISBN:
- 9780300190953
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300100419.003.0005
- Subject:
- Music, History, Western
This chapter explores the musical genres in which the saxophone emerged and established its presence. At the turn of the twentieth century, the saxophone was adopted in several popular genres that ...
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This chapter explores the musical genres in which the saxophone emerged and established its presence. At the turn of the twentieth century, the saxophone was adopted in several popular genres that introduced the instrument to a wider audience as well as gave it a more diverse profile. Vaudeville entertainers in the United States as well as travelling circus bands made us of the saxophone, for example, and give it a sense of novelty—sits unfamiliar sound and shape making it even more attractive. In these vaudeville circuits, some notable performers included Frank Mudge and Miss Nellie Graham. Variety magazine also listed various performers that enlisted the use of the saxophone such as, Newell and Niblo, and Garden and Somers, “The World's Greatest Xylophonists.” This chapter thus examines what light and popular music emerged during the century that would utilize the saxophone in its compositions.Less
This chapter explores the musical genres in which the saxophone emerged and established its presence. At the turn of the twentieth century, the saxophone was adopted in several popular genres that introduced the instrument to a wider audience as well as gave it a more diverse profile. Vaudeville entertainers in the United States as well as travelling circus bands made us of the saxophone, for example, and give it a sense of novelty—sits unfamiliar sound and shape making it even more attractive. In these vaudeville circuits, some notable performers included Frank Mudge and Miss Nellie Graham. Variety magazine also listed various performers that enlisted the use of the saxophone such as, Newell and Niblo, and Garden and Somers, “The World's Greatest Xylophonists.” This chapter thus examines what light and popular music emerged during the century that would utilize the saxophone in its compositions.
Sonja Arntzen and Itō Moriyuki
- Published in print:
- 2014
- Published Online:
- November 2015
- ISBN:
- 9780231167185
- eISBN:
- 9780231537452
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231167185.003.0004
- Subject:
- History, Asian History
This chapter looks takes the child's viewpoint in the Sarashina Diary in relation to the text's narration. It first considers the three layers of narration in the Sarashina Diary: Sugawara no Takasue ...
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This chapter looks takes the child's viewpoint in the Sarashina Diary in relation to the text's narration. It first considers the three layers of narration in the Sarashina Diary: Sugawara no Takasue no Musume the author, the persona of the child established at the beginning of the text, and the narrative voice of an older self who views the young self from a distance and interjects critical comments from time to time. It then discusses the quality of the child's viewpoint in the account of the three women entertainers appearing out of the dark woods of the Ashigara Mountains. It also describes Takasue no Musume's sense of being apart from others, along with two passages in the diary that have a positive, optimistic tone. Finally, it looks at Takasue no Musume's persona and self-portrayal in her diary.Less
This chapter looks takes the child's viewpoint in the Sarashina Diary in relation to the text's narration. It first considers the three layers of narration in the Sarashina Diary: Sugawara no Takasue no Musume the author, the persona of the child established at the beginning of the text, and the narrative voice of an older self who views the young self from a distance and interjects critical comments from time to time. It then discusses the quality of the child's viewpoint in the account of the three women entertainers appearing out of the dark woods of the Ashigara Mountains. It also describes Takasue no Musume's sense of being apart from others, along with two passages in the diary that have a positive, optimistic tone. Finally, it looks at Takasue no Musume's persona and self-portrayal in her diary.
Marion Jacobson
- Published in print:
- 2012
- Published Online:
- April 2017
- ISBN:
- 9780252036750
- eISBN:
- 9780252093852
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252036750.003.0004
- Subject:
- Music, Ethnomusicology, World Music
This chapter pays tribute to the instrument's ethnic American roots. It discusses the accordion's ongoing importance in particular regions of the country—particularly the Upper Midwest—and in several ...
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This chapter pays tribute to the instrument's ethnic American roots. It discusses the accordion's ongoing importance in particular regions of the country—particularly the Upper Midwest—and in several ethnic styles of music: Slovenian and “Dutchman” style polka in the Midwest and Upper Peninsula and Valtaro musette in Manhattan's Italian neighborhoods. These communities generated many accomplished accordionists, a few of whom became popular “crossover” entertainers with international careers. These worlds predated and coexisted alongside the “accordion industrial complex,” described in the previous chapter, but few eminent accordion teachers valued or drew on any of these folk traditions. The chapter also sets the stage for an examination on the later revival of the accordion through a discussion of conflict and continuity between the accordion's role in “folk communities” and the accordion industrial complex.Less
This chapter pays tribute to the instrument's ethnic American roots. It discusses the accordion's ongoing importance in particular regions of the country—particularly the Upper Midwest—and in several ethnic styles of music: Slovenian and “Dutchman” style polka in the Midwest and Upper Peninsula and Valtaro musette in Manhattan's Italian neighborhoods. These communities generated many accomplished accordionists, a few of whom became popular “crossover” entertainers with international careers. These worlds predated and coexisted alongside the “accordion industrial complex,” described in the previous chapter, but few eminent accordion teachers valued or drew on any of these folk traditions. The chapter also sets the stage for an examination on the later revival of the accordion through a discussion of conflict and continuity between the accordion's role in “folk communities” and the accordion industrial complex.
Ediberto Román and Michael A. Olivas
- Published in print:
- 2013
- Published Online:
- March 2016
- ISBN:
- 9780814776575
- eISBN:
- 9780814776582
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9780814776575.003.0002
- Subject:
- History, Political History
This chapter examines the dominant narrative, which is largely negative, concerning undocumented immigration in America. In particular, it considers the claims that illegal immigrants are part of a ...
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This chapter examines the dominant narrative, which is largely negative, concerning undocumented immigration in America. In particular, it considers the claims that illegal immigrants are part of a cultural and population overthrow, that they are the main cause of the crime wave sweeping the country, and that they are hurting the national economy by stealing American jobs and lowering domestic wages, among other things. The chapter first discusses the anti-immigrant rhetoric of politicians such as Mitt Romney and entertainers like comedians Katt Williams and Gilbert Gottfried. It then explores hateful anti-immigrant rhetoric by media personalities including John Gibson, Michael Savage, Pat Buchanan, and Lou Dobbs. It also looks at the anti-immigrant hate speech generated by extremist vigilante organizations and how anti-immigrant rhetoric leads to violence against those perceived as undocumented immigrants.Less
This chapter examines the dominant narrative, which is largely negative, concerning undocumented immigration in America. In particular, it considers the claims that illegal immigrants are part of a cultural and population overthrow, that they are the main cause of the crime wave sweeping the country, and that they are hurting the national economy by stealing American jobs and lowering domestic wages, among other things. The chapter first discusses the anti-immigrant rhetoric of politicians such as Mitt Romney and entertainers like comedians Katt Williams and Gilbert Gottfried. It then explores hateful anti-immigrant rhetoric by media personalities including John Gibson, Michael Savage, Pat Buchanan, and Lou Dobbs. It also looks at the anti-immigrant hate speech generated by extremist vigilante organizations and how anti-immigrant rhetoric leads to violence against those perceived as undocumented immigrants.
Jeffrey Knapp
- Published in print:
- 2009
- Published Online:
- February 2013
- ISBN:
- 9780226445717
- eISBN:
- 9780226445731
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226445731.003.0002
- Subject:
- Literature, Shakespeare Studies
This chapter, which examines Shakespeare's career as a mass entertainer from the literary perspective of his sonnets, begins by examining Shakespeare's quite different contemporary reputation as a ...
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This chapter, which examines Shakespeare's career as a mass entertainer from the literary perspective of his sonnets, begins by examining Shakespeare's quite different contemporary reputation as a commanding writer. It shows how celebrations of Shakespeare as a sovereign poet were complicated by the very popularity of his work for the stage, and how Shakespeare himself emphasized this complication in his sonnets. The first portion of the sonnets, which portrays the speaker's love for a lordly young man, expresses at times a supreme confidence in the speaker's literary power. Although authorship ceases to be a sufficient description of the speaker in the later sonnets, a strangely base kind of sovereignty becomes more prominent there, as the high-mindedly ambitious poet metamorphoses into a singularly vulgar mass entertainer.Less
This chapter, which examines Shakespeare's career as a mass entertainer from the literary perspective of his sonnets, begins by examining Shakespeare's quite different contemporary reputation as a commanding writer. It shows how celebrations of Shakespeare as a sovereign poet were complicated by the very popularity of his work for the stage, and how Shakespeare himself emphasized this complication in his sonnets. The first portion of the sonnets, which portrays the speaker's love for a lordly young man, expresses at times a supreme confidence in the speaker's literary power. Although authorship ceases to be a sufficient description of the speaker in the later sonnets, a strangely base kind of sovereignty becomes more prominent there, as the high-mindedly ambitious poet metamorphoses into a singularly vulgar mass entertainer.
David Gilbert
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9781469622699
- eISBN:
- 9781469622712
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469622699.003.0003
- Subject:
- History, African-American History
This chapter explores how, by embracing and selling racial difference, black musicians were able to become leading cultural innovators, symbols of modern black representation, and central players in ...
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This chapter explores how, by embracing and selling racial difference, black musicians were able to become leading cultural innovators, symbols of modern black representation, and central players in the formation of modern American culture. This emerging racial formation was essentially strengthened by its diversity within the Manhattan marketplace. The popularity of ragtime empowered African American musicians to intervene in the city's local—but nationalizing—commercial culture industries with new and inventive musical commodities that, in turn, further propelled black innovators to the top of Manhattan markets. This reflexive, mutually propelling circuit promoted the increase of black artistry alongside the expansion of New York culture industries such as song publishing, musical theater, and vaudeville. It reinforced the idea that African American entertainers were some of the best in New York City and, increasingly, throughout America.Less
This chapter explores how, by embracing and selling racial difference, black musicians were able to become leading cultural innovators, symbols of modern black representation, and central players in the formation of modern American culture. This emerging racial formation was essentially strengthened by its diversity within the Manhattan marketplace. The popularity of ragtime empowered African American musicians to intervene in the city's local—but nationalizing—commercial culture industries with new and inventive musical commodities that, in turn, further propelled black innovators to the top of Manhattan markets. This reflexive, mutually propelling circuit promoted the increase of black artistry alongside the expansion of New York culture industries such as song publishing, musical theater, and vaudeville. It reinforced the idea that African American entertainers were some of the best in New York City and, increasingly, throughout America.
Stephen R. Ross
- Published in print:
- 2014
- Published Online:
- June 2014
- ISBN:
- 9780199977994
- eISBN:
- 9780199375172
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199977994.003.0005
- Subject:
- Philosophy, Moral Philosophy, General
Chimpanzees have lived as captive animals in the United States for over a century and today exist in a wide variety of circumstances including zoos, roadside attractions, circuses, sanctuaries, ...
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Chimpanzees have lived as captive animals in the United States for over a century and today exist in a wide variety of circumstances including zoos, roadside attractions, circuses, sanctuaries, laboratories, and also as privately owned pets and entertainers. This chapter discusses what is known about the critical elements of captive chimpanzee environments and how they might affect behavior and, ultimately, psychological well-being. Within that context follows a historical-based description of the wide array of settings in which chimpanzees live today with particular attention to the features of each that might influence the welfare of this complex species. In sum, the chapter provides an overview of the complex relationship between humans, their closest living relative, and the artificial environments in which chimpanzees are housed.Less
Chimpanzees have lived as captive animals in the United States for over a century and today exist in a wide variety of circumstances including zoos, roadside attractions, circuses, sanctuaries, laboratories, and also as privately owned pets and entertainers. This chapter discusses what is known about the critical elements of captive chimpanzee environments and how they might affect behavior and, ultimately, psychological well-being. Within that context follows a historical-based description of the wide array of settings in which chimpanzees live today with particular attention to the features of each that might influence the welfare of this complex species. In sum, the chapter provides an overview of the complex relationship between humans, their closest living relative, and the artificial environments in which chimpanzees are housed.
Stephanie Dunson
- Published in print:
- 2011
- Published Online:
- July 2014
- ISBN:
- 9780807834626
- eISBN:
- 9781469602967
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/9780807878026_brundage.6
- Subject:
- History, African-American History
This chapter argues that we must initially turn our attention back to the antebellum decades that saw the rise of the blackface minstrel tradition—when white men in black facepaint entertained ...
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This chapter argues that we must initially turn our attention back to the antebellum decades that saw the rise of the blackface minstrel tradition—when white men in black facepaint entertained northern audiences with songs and skits meant to represent black culture—if we are to appreciate the challenges and expectations that African American entertainers had to contend with in the early era of twentieth-century mass culture. In truth, no music played a more central role in nineteenth-century American culture than the melodies generated by blackface minstrelsy, from the 1820s, when individual blackface performers popularized routines that were meant to reproduce black dance and music for white northern audiences, to the end of the century, when Tin Pan Alley songwriters cranked out “coon songs” for consumers who took racial stereotypes for granted.Less
This chapter argues that we must initially turn our attention back to the antebellum decades that saw the rise of the blackface minstrel tradition—when white men in black facepaint entertained northern audiences with songs and skits meant to represent black culture—if we are to appreciate the challenges and expectations that African American entertainers had to contend with in the early era of twentieth-century mass culture. In truth, no music played a more central role in nineteenth-century American culture than the melodies generated by blackface minstrelsy, from the 1820s, when individual blackface performers popularized routines that were meant to reproduce black dance and music for white northern audiences, to the end of the century, when Tin Pan Alley songwriters cranked out “coon songs” for consumers who took racial stereotypes for granted.
