Julie Coleman
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780199549375
- eISBN:
- 9780191720772
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199549375.003.0013
- Subject:
- Linguistics, Sociolinguistics / Anthropological Linguistics, Lexicography
This chapter draws together glossaries dealing with the slang of various branches of the entertainment industry: the circus, carnival, and stage. Later glossaries deal with the slang of swing, which ...
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This chapter draws together glossaries dealing with the slang of various branches of the entertainment industry: the circus, carnival, and stage. Later glossaries deal with the slang of swing, which introduces the relationship between popular music and slang and particularly the influence of African-Americans on slang that is to be so evident in the next volume.Less
This chapter draws together glossaries dealing with the slang of various branches of the entertainment industry: the circus, carnival, and stage. Later glossaries deal with the slang of swing, which introduces the relationship between popular music and slang and particularly the influence of African-Americans on slang that is to be so evident in the next volume.
Mushirul Hasan
- Published in print:
- 2009
- Published Online:
- October 2012
- ISBN:
- 9780198063117
- eISBN:
- 9780199080199
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198063117.003.0007
- Subject:
- History, Indian History
The author witnesses various forms of entertainment while in London, including the theatre and circus. The manner in which plays are acted, and balls and musical parties conducted, in Europe is ...
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The author witnesses various forms of entertainment while in London, including the theatre and circus. The manner in which plays are acted, and balls and musical parties conducted, in Europe is (entirely) different from that of Hindoostan. In India, people send for the singers to their own houses, where they view the entertainments, and spend a large sum of money for one night's amusement. In Europe, a few individuals usually enter into partnership, (or) as it is called in English, a company. In one night, dancers and musicians collect five or six thousand rupees in exchange for entertaining the audience. The author also saw an exhibition near the bazar of the Haymarket of a tall and corpulent female standing more than five cubits.Less
The author witnesses various forms of entertainment while in London, including the theatre and circus. The manner in which plays are acted, and balls and musical parties conducted, in Europe is (entirely) different from that of Hindoostan. In India, people send for the singers to their own houses, where they view the entertainments, and spend a large sum of money for one night's amusement. In Europe, a few individuals usually enter into partnership, (or) as it is called in English, a company. In one night, dancers and musicians collect five or six thousand rupees in exchange for entertaining the audience. The author also saw an exhibition near the bazar of the Haymarket of a tall and corpulent female standing more than five cubits.
Coleman Julie
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780199567256
- eISBN:
- 9780191595073
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199567256.003.0006
- Subject:
- Linguistics, Sociolinguistics / Anthropological Linguistics, Lexicography
American slang glossaries from this period celebrate novelty and inventiveness. They demonstrate an interest in the historical antecedents of contemporary slang, but are largely interested in current ...
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American slang glossaries from this period celebrate novelty and inventiveness. They demonstrate an interest in the historical antecedents of contemporary slang, but are largely interested in current usage. Subsections deal with circus and carnival slang, soda fountain slang, and hotel slang.Less
American slang glossaries from this period celebrate novelty and inventiveness. They demonstrate an interest in the historical antecedents of contemporary slang, but are largely interested in current usage. Subsections deal with circus and carnival slang, soda fountain slang, and hotel slang.
Judith Herrin
- Published in print:
- 2013
- Published Online:
- October 2017
- ISBN:
- 9780691153018
- eISBN:
- 9781400845224
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691153018.003.0007
- Subject:
- History, World Medieval History
This chapter examines the mutual relations of palace and city in Byzantium. More specifically, it considers the link between the imperial court within the Great Palace of Constantinople and the local ...
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This chapter examines the mutual relations of palace and city in Byzantium. More specifically, it considers the link between the imperial court within the Great Palace of Constantinople and the local population who called themselves “Byzantines.” Constantine's foundation of a new capital on the site of ancient Byzantion gave rise to a series of epithets for the metropolis: the Queen City, or ruling city, basileuontas polis, as it became known, or simply “the city.” In Constantinople “the palace” refers to the “Great Palace,” even though there were many other palaces in the city and suburban region. The chapter describes the occasions when the emperor had contact with three important groups of people who could enter the palace doors: circus factions, soldiers, and merchants. It also discusses two circumstances in which the emperor left the palace: journeys established by imperial protocol for fixed ceremonies, and unplanned visits to the city.Less
This chapter examines the mutual relations of palace and city in Byzantium. More specifically, it considers the link between the imperial court within the Great Palace of Constantinople and the local population who called themselves “Byzantines.” Constantine's foundation of a new capital on the site of ancient Byzantion gave rise to a series of epithets for the metropolis: the Queen City, or ruling city, basileuontas polis, as it became known, or simply “the city.” In Constantinople “the palace” refers to the “Great Palace,” even though there were many other palaces in the city and suburban region. The chapter describes the occasions when the emperor had contact with three important groups of people who could enter the palace doors: circus factions, soldiers, and merchants. It also discusses two circumstances in which the emperor left the palace: journeys established by imperial protocol for fixed ceremonies, and unplanned visits to the city.
Judith Herrin
- Published in print:
- 2013
- Published Online:
- October 2017
- ISBN:
- 9780691153018
- eISBN:
- 9781400845224
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691153018.003.0008
- Subject:
- History, World Medieval History
This chapter examines the role played by the circus faction called the Greens in getting rid of Philippikos and replacing him with a civilian official, Artemios the secretary, as emperor of Byzantium ...
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This chapter examines the role played by the circus faction called the Greens in getting rid of Philippikos and replacing him with a civilian official, Artemios the secretary, as emperor of Byzantium in 713. Ever since the publication of Alan Cameron's book on the circus factions, it has been agreed that the Blues and Greens played a much less political role after the tumultuous reigns of Maurice and Phokas. Herakleios (610–41) diverted their energies into the far more manageable and benign roles of court entertainment: music and dancing, which had already been expanded in the sixth century. The chapter narrates the coup d'état staged by soldiers from the nearby military units of Opsikion and Thrace against Philippikos, who celebrated Constantinople's birthday on 11 May 713 with the customary races in the Hippodrome.Less
This chapter examines the role played by the circus faction called the Greens in getting rid of Philippikos and replacing him with a civilian official, Artemios the secretary, as emperor of Byzantium in 713. Ever since the publication of Alan Cameron's book on the circus factions, it has been agreed that the Blues and Greens played a much less political role after the tumultuous reigns of Maurice and Phokas. Herakleios (610–41) diverted their energies into the far more manageable and benign roles of court entertainment: music and dancing, which had already been expanded in the sixth century. The chapter narrates the coup d'état staged by soldiers from the nearby military units of Opsikion and Thrace against Philippikos, who celebrated Constantinople's birthday on 11 May 713 with the customary races in the Hippodrome.
Judith Herrin
- Published in print:
- 2013
- Published Online:
- October 2017
- ISBN:
- 9780691153018
- eISBN:
- 9781400845224
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691153018.003.0013
- Subject:
- History, World Medieval History
This chapter examines how charity came into existence under the Byzantine Empire. It discusses three stages in the development of Byzantine charity: the first, from Apostolic times to the ending of ...
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This chapter examines how charity came into existence under the Byzantine Empire. It discusses three stages in the development of Byzantine charity: the first, from Apostolic times to the ending of imperial persecution (313); the second, from the endowments of Constantine I to those of Justinian (527–65); and a third, from the Christian patronage of Justin II (565–78) to that of Herakleios (610–41). It considers the transition from the form of imperial largesse (symbolized by bread and circuses) to a different but also imperial form (soup and salvation, supported and often financed by Christian rulers). It shows that Christian charity totally replaced ancient philanthropy in the seventh century, sanctioned by the state–church alliance forged by Herakleios.Less
This chapter examines how charity came into existence under the Byzantine Empire. It discusses three stages in the development of Byzantine charity: the first, from Apostolic times to the ending of imperial persecution (313); the second, from the endowments of Constantine I to those of Justinian (527–65); and a third, from the Christian patronage of Justin II (565–78) to that of Herakleios (610–41). It considers the transition from the form of imperial largesse (symbolized by bread and circuses) to a different but also imperial form (soup and salvation, supported and often financed by Christian rulers). It shows that Christian charity totally replaced ancient philanthropy in the seventh century, sanctioned by the state–church alliance forged by Herakleios.
Joseph M. Hassett
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780199582907
- eISBN:
- 9780191723216
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199582907.003.0010
- Subject:
- Literature, Poetry, 20th-century and Contemporary Literature
Yeats extended his last, yearning grasp for the Muse toward Edith Shackleton Heald, whose Siren's evocation of the twin impulses of Eros and Thanatos propelled him to pursue sexual desire for the ...
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Yeats extended his last, yearning grasp for the Muse toward Edith Shackleton Heald, whose Siren's evocation of the twin impulses of Eros and Thanatos propelled him to pursue sexual desire for the sake of desire, even as he learned to relinquish longing for life or death. The stasis of Yeats's relationship with the Muse is apparent in ‘News for the Delphic Oracle’, where eroticism leaves the ‘golden codgers’ depleted rather than energized. Chapter 9 traces these remarkable developments to their culmination in Yeats's recognition that ‘lust and rage’ were unreliable sources of inspiration. Their sterility is apparent in ‘The Circus Animals' Desertion,’ which describes the poet's vain search for a theme. Yeats's next poem, ‘Politics’ the one he intended to complete his last volume, eschews the Furies and — as he enjoined himself in ‘Those Images’ — calls the Muses home. The poet focuses on ‘That girl standing there,’ and his longing — that of a true Muse poet — ‘that I were young again/And held her in my arms.’ The wheel had come full circle with Yeats's decision to end his body of work with quite a different song from ‘Words,’ where his Muse's unattainability was essential to generating his poetry. The poet of ‘Politics’ is a devotee of a Muse who, speaking in ‘The Three Bushes,’ insists on being captured because ‘None can rely upon/A love that lacks its proper food.’Less
Yeats extended his last, yearning grasp for the Muse toward Edith Shackleton Heald, whose Siren's evocation of the twin impulses of Eros and Thanatos propelled him to pursue sexual desire for the sake of desire, even as he learned to relinquish longing for life or death. The stasis of Yeats's relationship with the Muse is apparent in ‘News for the Delphic Oracle’, where eroticism leaves the ‘golden codgers’ depleted rather than energized. Chapter 9 traces these remarkable developments to their culmination in Yeats's recognition that ‘lust and rage’ were unreliable sources of inspiration. Their sterility is apparent in ‘The Circus Animals' Desertion,’ which describes the poet's vain search for a theme. Yeats's next poem, ‘Politics’ the one he intended to complete his last volume, eschews the Furies and — as he enjoined himself in ‘Those Images’ — calls the Muses home. The poet focuses on ‘That girl standing there,’ and his longing — that of a true Muse poet — ‘that I were young again/And held her in my arms.’ The wheel had come full circle with Yeats's decision to end his body of work with quite a different song from ‘Words,’ where his Muse's unattainability was essential to generating his poetry. The poet of ‘Politics’ is a devotee of a Muse who, speaking in ‘The Three Bushes,’ insists on being captured because ‘None can rely upon/A love that lacks its proper food.’
Theodor Michael
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9781781383117
- eISBN:
- 9781786944283
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781781383117.001.0001
- Subject:
- History, European Modern History
This is the first English translation of an important document in the history of the black presence in Germany and Europe: the autobiography of Theodor Michael. Theodor Michael is the last surviving ...
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This is the first English translation of an important document in the history of the black presence in Germany and Europe: the autobiography of Theodor Michael. Theodor Michael is the last surviving member of the first generation of ‘Afro-Germans’: Born in Germany in 1925 to a Cameroonian father and a German mother, he grew up in Berlin in the last days of the Weimar Republic. As a child and teenager he worked in circuses and films and experienced the tightening knot of racial discrimination under the Nazis in the years before the Second World War. He survived the war as a forced labourer, founding a family and making a career as a journalist and actor in post-war West Germany. Since the 1980s he has become an important spokesman for the black German consciousness movement, acting as a human link between the first black German community of the inter-war period, the pan-Africanism of the 1950s and 1960s, and new generations of Germans of African descent. His life story is a classic account of coming to consciousness of a man who understands himself as both black and German; accordingly, it illuminates key aspects of modern German social history as well as of the post-war history of the African diaspora.Less
This is the first English translation of an important document in the history of the black presence in Germany and Europe: the autobiography of Theodor Michael. Theodor Michael is the last surviving member of the first generation of ‘Afro-Germans’: Born in Germany in 1925 to a Cameroonian father and a German mother, he grew up in Berlin in the last days of the Weimar Republic. As a child and teenager he worked in circuses and films and experienced the tightening knot of racial discrimination under the Nazis in the years before the Second World War. He survived the war as a forced labourer, founding a family and making a career as a journalist and actor in post-war West Germany. Since the 1980s he has become an important spokesman for the black German consciousness movement, acting as a human link between the first black German community of the inter-war period, the pan-Africanism of the 1950s and 1960s, and new generations of Germans of African descent. His life story is a classic account of coming to consciousness of a man who understands himself as both black and German; accordingly, it illuminates key aspects of modern German social history as well as of the post-war history of the African diaspora.
Bruce Vermazen
- Published in print:
- 2009
- Published Online:
- January 2010
- ISBN:
- 9780195372182
- eISBN:
- 9780199864140
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195372182.001.0001
- Subject:
- Music, History, American
This book is about the Six Brown Brothers, a musical act on the burlesque, vaudeville, minstrel, and Broadway stages (1911-33) that was once reputed to have initiated the “saxophone craze” of the ...
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This book is about the Six Brown Brothers, a musical act on the burlesque, vaudeville, minstrel, and Broadway stages (1911-33) that was once reputed to have initiated the “saxophone craze” of the 1910s and 1920s. Ontario-born circus musician Tom Brown (1881-1950), the group's leader, founded a saxophone quartet c.1906 within the Ringling Brothers' show that included two of his brothers, Verne (1887-1964) and Percy (1883-1918). By 1908, the quartet had become the Five Brown Brothers, also including brothers Alex (or Alec, 1882-1974) and Fred (1890-1949). Their brother William (1879-1945) joined later, as did many unrelated musicians. The act is placed in the context of the introduction of the saxophone into North American popular music. The early part of the saxophone craze is described and the act's role in it assessed. The shows in which they appeared are described. Tom's life is detailed, and those of the other brothers are sketched. A discography of their recordings for U-S Everlasting, Columbia, Victor, Emerson, and Vitaphone is incorporated, and the recordings are discussed.Less
This book is about the Six Brown Brothers, a musical act on the burlesque, vaudeville, minstrel, and Broadway stages (1911-33) that was once reputed to have initiated the “saxophone craze” of the 1910s and 1920s. Ontario-born circus musician Tom Brown (1881-1950), the group's leader, founded a saxophone quartet c.1906 within the Ringling Brothers' show that included two of his brothers, Verne (1887-1964) and Percy (1883-1918). By 1908, the quartet had become the Five Brown Brothers, also including brothers Alex (or Alec, 1882-1974) and Fred (1890-1949). Their brother William (1879-1945) joined later, as did many unrelated musicians. The act is placed in the context of the introduction of the saxophone into North American popular music. The early part of the saxophone craze is described and the act's role in it assessed. The shows in which they appeared are described. Tom's life is detailed, and those of the other brothers are sketched. A discography of their recordings for U-S Everlasting, Columbia, Victor, Emerson, and Vitaphone is incorporated, and the recordings are discussed.
Bruce Vermazen
- Published in print:
- 2009
- Published Online:
- January 2010
- ISBN:
- 9780195372182
- eISBN:
- 9780199864140
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195372182.003.0001
- Subject:
- Music, History, American
This chapter briefly describes the Six Brown Brothers at their professional zenith (1914-1923) and explains their legendary status as the originators of the saxophone craze. It then summarizes and ...
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This chapter briefly describes the Six Brown Brothers at their professional zenith (1914-1923) and explains their legendary status as the originators of the saxophone craze. It then summarizes and theorizes about the history of the saxophone's acceptance in North America from its first known appearance (1853), through its use in brass bands, minstrel shows, circuses, and vaudeville, until its adoption by the Brothers c.1906. The beginning of the saxophone craze (c.1915) is described and theorized. Finally, the book's approach to telling the story of the Six Brown Brothers is outlined.Less
This chapter briefly describes the Six Brown Brothers at their professional zenith (1914-1923) and explains their legendary status as the originators of the saxophone craze. It then summarizes and theorizes about the history of the saxophone's acceptance in North America from its first known appearance (1853), through its use in brass bands, minstrel shows, circuses, and vaudeville, until its adoption by the Brothers c.1906. The beginning of the saxophone craze (c.1915) is described and theorized. Finally, the book's approach to telling the story of the Six Brown Brothers is outlined.
John R. Curran
- Published in print:
- 2002
- Published Online:
- January 2010
- ISBN:
- 9780199254200
- eISBN:
- 9780191715150
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199254200.003.0006
- Subject:
- Classical Studies, Ancient Religions
This chapter discusses the festival calendar, the importance of circus games, the iconography of the Circus Maximus in the 4th century, and the pompa circi and the Christian emperor. The festival ...
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This chapter discusses the festival calendar, the importance of circus games, the iconography of the Circus Maximus in the 4th century, and the pompa circi and the Christian emperor. The festival calendar was an ancient means of exposing very large numbers of spectators to the presence of the gods; the utility of the circus and its ceremonial made it an early platform for the promotion of the imperial cult. Christian emperors and their functionaries sought to keep the Circus Maximus and its races intact. Through their exploitation of the festival calendar, they increased the number and frequency of the entertainments which characterized the observance of feast days. They were thus able to continue and enhance what their pagan predecessors had sought through the promotion of the same institutions: the keeping of their names and achievements before the populace of Rome.Less
This chapter discusses the festival calendar, the importance of circus games, the iconography of the Circus Maximus in the 4th century, and the pompa circi and the Christian emperor. The festival calendar was an ancient means of exposing very large numbers of spectators to the presence of the gods; the utility of the circus and its ceremonial made it an early platform for the promotion of the imperial cult. Christian emperors and their functionaries sought to keep the Circus Maximus and its races intact. Through their exploitation of the festival calendar, they increased the number and frequency of the entertainments which characterized the observance of feast days. They were thus able to continue and enhance what their pagan predecessors had sought through the promotion of the same institutions: the keeping of their names and achievements before the populace of Rome.
ROGER BECK
- Published in print:
- 2007
- Published Online:
- January 2010
- ISBN:
- 9780199216130
- eISBN:
- 9780191712128
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199216130.003.0008
- Subject:
- Classical Studies, Ancient Religions
This chapter explores the initiate's understanding of his mithraeum as ‘an image of the universe for induction into a mystery of the descent and departure of souls’. The mithraeum is analyzed in ...
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This chapter explores the initiate's understanding of his mithraeum as ‘an image of the universe for induction into a mystery of the descent and departure of souls’. The mithraeum is analyzed in detail using both the evidence from Porphyry's On the Cave and the archaeological sites to construct a normative template for the mithraeum. Other ‘images of the universe’ from antiquity are compared: the Pantheon, Nero's Domus Aurea, Varro's aviary, the circus, orreries, and sundials. Finally, the concept of the ‘cognized environment’ is taken from Biogenetic Structuralism to treat the mithraeum as the material representation of the initiate's cognized universe.Less
This chapter explores the initiate's understanding of his mithraeum as ‘an image of the universe for induction into a mystery of the descent and departure of souls’. The mithraeum is analyzed in detail using both the evidence from Porphyry's On the Cave and the archaeological sites to construct a normative template for the mithraeum. Other ‘images of the universe’ from antiquity are compared: the Pantheon, Nero's Domus Aurea, Varro's aviary, the circus, orreries, and sundials. Finally, the concept of the ‘cognized environment’ is taken from Biogenetic Structuralism to treat the mithraeum as the material representation of the initiate's cognized universe.
Menno Fenger and Paul Henman
- Published in print:
- 2000
- Published Online:
- March 2012
- ISBN:
- 9780748612390
- eISBN:
- 9780748651009
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748612390.003.0012
- Subject:
- Classical Studies, European History: BCE to 500CE
This chapter shows that the rites and festivals of Roman religion were still very much alive during the fourth century. Contrary to a widespread misconception, festivals of Christianity did not ...
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This chapter shows that the rites and festivals of Roman religion were still very much alive during the fourth century. Contrary to a widespread misconception, festivals of Christianity did not replace pagan ones, but were interspersed among them, adding their dates to those of the old festivals. The Calendar of 354 clearly shows the juxtaposition of the ancient festivals with those of Christianity. Imperial celebrations alone thus represented a little over sixty days of games in the calendar. Games, presented by magistrates taking up office or by benefactors as an entertainment greatly appreciated by the populace, were nevertheless a political lever for the Roman élite. The chapter also states the opposition to circus games by the Fathers of the Church, Theodosius and Honorius.Less
This chapter shows that the rites and festivals of Roman religion were still very much alive during the fourth century. Contrary to a widespread misconception, festivals of Christianity did not replace pagan ones, but were interspersed among them, adding their dates to those of the old festivals. The Calendar of 354 clearly shows the juxtaposition of the ancient festivals with those of Christianity. Imperial celebrations alone thus represented a little over sixty days of games in the calendar. Games, presented by magistrates taking up office or by benefactors as an entertainment greatly appreciated by the populace, were nevertheless a political lever for the Roman élite. The chapter also states the opposition to circus games by the Fathers of the Church, Theodosius and Honorius.
Filippo Coarelli
- Published in print:
- 2008
- Published Online:
- March 2012
- ISBN:
- 9780520079601
- eISBN:
- 9780520935099
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520079601.003.0012
- Subject:
- Classical Studies, Archaeology: Classical
This chapter discusses a series of important works between the end of the second and beginning of the first century bc that include the Forum Holitorium and the Temple of Portunus. It explains that ...
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This chapter discusses a series of important works between the end of the second and beginning of the first century bc that include the Forum Holitorium and the Temple of Portunus. It explains that the Forum Boarium and the Circus Maximus, together with the strip of land along the river, were included by Augustus in Region XI, which took its name from the Circus Maximus. The chapter details that from the third century on, the principal axis of the region was Via Nova, a large road parallel to Via Appia which must have originated at the southeastern gate of the Circus Maximus. The road may have been built by Septimius Severus; it was along this thoroughfare that the Baths of Caracalla would eventually rise.Less
This chapter discusses a series of important works between the end of the second and beginning of the first century bc that include the Forum Holitorium and the Temple of Portunus. It explains that the Forum Boarium and the Circus Maximus, together with the strip of land along the river, were included by Augustus in Region XI, which took its name from the Circus Maximus. The chapter details that from the third century on, the principal axis of the region was Via Nova, a large road parallel to Via Appia which must have originated at the southeastern gate of the Circus Maximus. The road may have been built by Septimius Severus; it was along this thoroughfare that the Baths of Caracalla would eventually rise.
Mark Berresford
- Published in print:
- 2010
- Published Online:
- March 2014
- ISBN:
- 9781604730999
- eISBN:
- 9781604733716
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781604730999.001.0001
- Subject:
- Music, History, American
Wilbur C. Sweatman (1882–1961) is one of the most important, yet unheralded, African American musicians involved in the transition of ragtime into jazz in the early twentieth century. This book ...
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Wilbur C. Sweatman (1882–1961) is one of the most important, yet unheralded, African American musicians involved in the transition of ragtime into jazz in the early twentieth century. This book tracks this energetic pioneer over a seven-decade career. Sweatman’s talent transformed every genre of black music before the advent of rock and roll: “pickaninny” bands, minstrelsy, circus sideshows, vaudeville (both black and white), night clubs, and cabarets. Sweatman was the first African American musician to be offered a long-term recording contract, and he dazzled listeners with jazz clarinet solos before the Original Dixieland Jazz Band’s so-called “first jazz records.” He toured the vaudeville circuit for over twenty years and presented African American music to white music lovers without resorting to the hitherto obligatory “plantation” costumes and blackface makeup. Sweatman’s bands were a fertile breeding ground of young jazz talent, featuring such future stars as Duke Ellington, Coleman Hawkins, and Jimmie Lunceford. Sweatman subsequently played pioneering roles in radio and recording production. His high profile and sterling reputation in both the black and white entertainment communities made him a natural choice for administering the estate of Scott Joplin and other notable black performers and composers. This book is a full-length biography of this pivotal figure in black popular culture, providing an account of his life and times.Less
Wilbur C. Sweatman (1882–1961) is one of the most important, yet unheralded, African American musicians involved in the transition of ragtime into jazz in the early twentieth century. This book tracks this energetic pioneer over a seven-decade career. Sweatman’s talent transformed every genre of black music before the advent of rock and roll: “pickaninny” bands, minstrelsy, circus sideshows, vaudeville (both black and white), night clubs, and cabarets. Sweatman was the first African American musician to be offered a long-term recording contract, and he dazzled listeners with jazz clarinet solos before the Original Dixieland Jazz Band’s so-called “first jazz records.” He toured the vaudeville circuit for over twenty years and presented African American music to white music lovers without resorting to the hitherto obligatory “plantation” costumes and blackface makeup. Sweatman’s bands were a fertile breeding ground of young jazz talent, featuring such future stars as Duke Ellington, Coleman Hawkins, and Jimmie Lunceford. Sweatman subsequently played pioneering roles in radio and recording production. His high profile and sterling reputation in both the black and white entertainment communities made him a natural choice for administering the estate of Scott Joplin and other notable black performers and composers. This book is a full-length biography of this pivotal figure in black popular culture, providing an account of his life and times.
Sean Cubitt
- Published in print:
- 2016
- Published Online:
- September 2017
- ISBN:
- 9789888208920
- eISBN:
- 9789888313839
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888208920.003.0005
- Subject:
- Society and Culture, Media Studies
This chapter examines the large screens of Piccadilly Circus, London, to extrapolate how digital capitalism produces a depoliticised neoliberal public. From the narrow technological parameters to ...
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This chapter examines the large screens of Piccadilly Circus, London, to extrapolate how digital capitalism produces a depoliticised neoliberal public. From the narrow technological parameters to optimise visibility, to the relentless commercial occupation of these ‘public’ screens, Cubitt demonstrates how the possibility of a political public sphere within the space of Piccadilly Circus is foreclosed by corporations that sell the illusion of control and freedom which they have long since usurped. This is further illustrated by his analysis of a novel artistic installation, performed by Fluxus artist Yoko Ono in 2013, which intervened in the corporate occupation of the Piccadilly Circus screens to foreground the triumph of branding over substance that circumvents the democratic potential of large screens in public spaces.Less
This chapter examines the large screens of Piccadilly Circus, London, to extrapolate how digital capitalism produces a depoliticised neoliberal public. From the narrow technological parameters to optimise visibility, to the relentless commercial occupation of these ‘public’ screens, Cubitt demonstrates how the possibility of a political public sphere within the space of Piccadilly Circus is foreclosed by corporations that sell the illusion of control and freedom which they have long since usurped. This is further illustrated by his analysis of a novel artistic installation, performed by Fluxus artist Yoko Ono in 2013, which intervened in the corporate occupation of the Piccadilly Circus screens to foreground the triumph of branding over substance that circumvents the democratic potential of large screens in public spaces.
Katherine Roeder
- Published in print:
- 2014
- Published Online:
- September 2014
- ISBN:
- 9781617039607
- eISBN:
- 9781626740112
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617039607.003.0004
- Subject:
- Literature, Comics Studies
Chapter four traces connections between commercial entertainment and McCay's work through a study of the landscapes of Slumberland. From the topsy-turvy funhouse of Befuddle Hall, to the onion domes ...
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Chapter four traces connections between commercial entertainment and McCay's work through a study of the landscapes of Slumberland. From the topsy-turvy funhouse of Befuddle Hall, to the onion domes of Morpheus' palace, Slumberland is pictured as a faraway dreamworld. However, the fantastic landscapes were recognizable to an audience acquainted with circuses, amusement parks, and world's fairs: the period's most popular forms of commercial entertainment. McCaypepperedLittle Nemo with allusions to circus poster typography, Coney Island thrill rides, and the architecture of the midway. This encouraged readers to draw connections between the various forms of mass culture, providing an entry point into the magical world of the comic. Circuses, amusement parks, and fairs acted in concert to provide audiences with spectacular entertainment and safe encounters with the exotic. Like Nemo, who ends each comic safe in his bed, they provided visitors with the illusion of adventure in a controlled environment.Less
Chapter four traces connections between commercial entertainment and McCay's work through a study of the landscapes of Slumberland. From the topsy-turvy funhouse of Befuddle Hall, to the onion domes of Morpheus' palace, Slumberland is pictured as a faraway dreamworld. However, the fantastic landscapes were recognizable to an audience acquainted with circuses, amusement parks, and world's fairs: the period's most popular forms of commercial entertainment. McCaypepperedLittle Nemo with allusions to circus poster typography, Coney Island thrill rides, and the architecture of the midway. This encouraged readers to draw connections between the various forms of mass culture, providing an entry point into the magical world of the comic. Circuses, amusement parks, and fairs acted in concert to provide audiences with spectacular entertainment and safe encounters with the exotic. Like Nemo, who ends each comic safe in his bed, they provided visitors with the illusion of adventure in a controlled environment.
Mark Storey
- Published in print:
- 2013
- Published Online:
- May 2013
- ISBN:
- 9780199893188
- eISBN:
- 9780199332793
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199893188.003.0003
- Subject:
- Literature, American, 19th Century Literature
Offering an exploration of how one of the most popular and spectacular forms of postbellum entertainment was represented in the period's fiction, this chapter considers the way the circus became both ...
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Offering an exploration of how one of the most popular and spectacular forms of postbellum entertainment was represented in the period's fiction, this chapter considers the way the circus became both a recognisably modern form of commercial business as well as a site of exotic and sensual escape. The arrival of a travelling circus in town is a frequent episode in postbellum rural fiction, and this chapter considers the complex and often contradictory narrative implications of such an episode—representing the presence of a modern capitalist economy and a disruption to everyday life, the circus also embodies and enacts many of the complex sensual, social and psychological connotations of urban modernity. Amongst others, the chapter examines the place of the circus in rural fictions by Sarah Orne Jewett, Hamlin Garland, Booth Tarkington, and Alice Brown.Less
Offering an exploration of how one of the most popular and spectacular forms of postbellum entertainment was represented in the period's fiction, this chapter considers the way the circus became both a recognisably modern form of commercial business as well as a site of exotic and sensual escape. The arrival of a travelling circus in town is a frequent episode in postbellum rural fiction, and this chapter considers the complex and often contradictory narrative implications of such an episode—representing the presence of a modern capitalist economy and a disruption to everyday life, the circus also embodies and enacts many of the complex sensual, social and psychological connotations of urban modernity. Amongst others, the chapter examines the place of the circus in rural fictions by Sarah Orne Jewett, Hamlin Garland, Booth Tarkington, and Alice Brown.
Cynthia J. Moss, Harvey Croze, and Phyllis C. Lee (eds)
- Published in print:
- 2011
- Published Online:
- February 2013
- ISBN:
- 9780226542232
- eISBN:
- 9780226542263
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226542263.001.0001
- Subject:
- Biology, Animal Behavior / Behavioral Ecology
Elephants have fascinated humans for millennia. Their ivory has been sought after and treasured in most cultures, and they have delighted zoo and circus audiences worldwide for centuries. But it was ...
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Elephants have fascinated humans for millennia. Their ivory has been sought after and treasured in most cultures, and they have delighted zoo and circus audiences worldwide for centuries. But it was not until the second half of the twentieth century that people started to take an interest in elephants in the wild, and some of the most important studies of these intelligent giants have been conducted at Amboseli National Park in Kenya. This book provides a summation of what has been learned from the Amboseli Elephant Research Project—the longest continuously running elephant research project in the world. It presents more than three decades of uninterrupted study of over 2,500 individual elephants, from newborn calves to adult bulls to old matriarchs in their 60s. Chapters explore such topics as elephant ecosystems, genetics, communication, social behavior, and reproduction, as well as new developments from the study of elephant minds and cognition. The book closes with a view to the future, making arguments for the ethical treatment of elephants and suggestions to aid in their conservation.Less
Elephants have fascinated humans for millennia. Their ivory has been sought after and treasured in most cultures, and they have delighted zoo and circus audiences worldwide for centuries. But it was not until the second half of the twentieth century that people started to take an interest in elephants in the wild, and some of the most important studies of these intelligent giants have been conducted at Amboseli National Park in Kenya. This book provides a summation of what has been learned from the Amboseli Elephant Research Project—the longest continuously running elephant research project in the world. It presents more than three decades of uninterrupted study of over 2,500 individual elephants, from newborn calves to adult bulls to old matriarchs in their 60s. Chapters explore such topics as elephant ecosystems, genetics, communication, social behavior, and reproduction, as well as new developments from the study of elephant minds and cognition. The book closes with a view to the future, making arguments for the ethical treatment of elephants and suggestions to aid in their conservation.
Kirsten Shepherd-Barr
- Published in print:
- 2015
- Published Online:
- November 2015
- ISBN:
- 9780231164702
- eISBN:
- 9780231538923
- Item type:
- book
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231164702.001.0001
- Subject:
- Film, Television and Radio, Film
Evolutionary theory made its stage debut as early as the 1840s, reflecting a scientific advancement that was fast changing the world. Tracing this development in dozens of mainstream European and ...
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Evolutionary theory made its stage debut as early as the 1840s, reflecting a scientific advancement that was fast changing the world. Tracing this development in dozens of mainstream European and American plays, as well as in circus, vaudeville, pantomime, and “missing link” performances, this book reveals the deep, transformative entanglement among science, art, and culture in modern times. The stage proved to be no mere handmaiden to evolutionary science, though, often resisting and altering the ideas at its core. Many dramatists cast suspicion on the arguments of evolutionary theory and rejected its claims, even as they entertained its thrilling possibilities. Engaging directly with the relation of science and culture, this book considers the influence of not only Charles Darwin but also Jean-Baptiste Lamarck, Robert Chambers, Herbert Spencer, Alfred Russel Wallace, Ernst Haeckel, Hugo de Vries, and other evolutionists on 150 years of theater. It shares insights into the work of Henrik Ibsen, George Bernard Shaw, Thornton Wilder, and Samuel Beckett, and writes female playwrights, such as Susan Glaspell and Elizabeth Baker, into the theatrical record, unpacking their dramatic explorations of biological determinism, gender essentialism, the maternal instinct, and the “cult of motherhood.” It is likely that more people encountered evolution at the theater than through any other art form in the late nineteenth and early twentieth centuries.Less
Evolutionary theory made its stage debut as early as the 1840s, reflecting a scientific advancement that was fast changing the world. Tracing this development in dozens of mainstream European and American plays, as well as in circus, vaudeville, pantomime, and “missing link” performances, this book reveals the deep, transformative entanglement among science, art, and culture in modern times. The stage proved to be no mere handmaiden to evolutionary science, though, often resisting and altering the ideas at its core. Many dramatists cast suspicion on the arguments of evolutionary theory and rejected its claims, even as they entertained its thrilling possibilities. Engaging directly with the relation of science and culture, this book considers the influence of not only Charles Darwin but also Jean-Baptiste Lamarck, Robert Chambers, Herbert Spencer, Alfred Russel Wallace, Ernst Haeckel, Hugo de Vries, and other evolutionists on 150 years of theater. It shares insights into the work of Henrik Ibsen, George Bernard Shaw, Thornton Wilder, and Samuel Beckett, and writes female playwrights, such as Susan Glaspell and Elizabeth Baker, into the theatrical record, unpacking their dramatic explorations of biological determinism, gender essentialism, the maternal instinct, and the “cult of motherhood.” It is likely that more people encountered evolution at the theater than through any other art form in the late nineteenth and early twentieth centuries.
